Rubies

Ruby is the birthstone for July

The name comes from the Latin ‘ruber’ meaning red. It is seen as a symbol of love and commitment. In Asia particularly, it is associated with luck, passion and power.

Burmese warriors had rubies set into their armour, as they believed they would offer them protection in battle. Some even had rubies embedded in their flesh for added security.

Rubies, like sapphires, are a form of corundum – the name for aluminium oxide. Unlike sapphires, which come in an array of colours, rubies are always red, and the colour derives from chromium in their chemical make-up. Shades vary from the ultra desirable, but challengingly named, pigeon’s blood ruby to much pinker varieties.

Historically, the most sought after rubies came from Burma (now Myanmar). However, nowadays Mozambique has become one of the largest suppliers of new rubies into the market.

After diamonds, rubies are the hardest of all gemstones and also the most expensive coloured gemstone.

Until recently, ‘The Sunrise Ruby’, which formed the centrepiece of a sensational ruby and diamond ring by Cartier, was the most expensive ruby in the world and the most expensive coloured stone. However, on 8th June 2023 Sotheby’s sold the world’s largest Mozambiquan ruby, which weighs 55.22 carats. It made a world record-breaking $34.8 million, thus becoming the largest and most valuable ruby ever to sell at auction.

The ruby and diamond necklace worn by Julia Roberts in the film Pretty Woman, was said to be worth about $750,000 shortly after the movie was made 30 years ago. The price of rubies has soared since then. Imagine what it might be worth today.

Old Master Sales, July, London

The Old Master Sales in London last week proved once again that freshness to the market and condition are key to paintings achieving spectacular prices. The perfect example of this was the beautiful Artist’s Studio with a Seamstress by the enigmatic Flemish painter Michael Sweerts (1618-1664), which came up at Christie’s.

This was painted in Rome sometime between 1646-1652 and was unknown to scholars having spent most of its life in a Belgian castle. It had never been cleaned or lined in its almost 400 year history and sold for an astonishing £12.6M (including premium), 6 times the previous world record for the artist! Christie’s also had a pair of recently re-discovered portraits by Rembrandt (1606-1669) which hadn’t been seen since 1824. Despite being on tiny oak panels measuring just 8 ½ x 6 ½ ins they made a well-deserved £11.2M (including premium).

One of the stars of Sotheby’s evening sale was the panel of the Pentecost by the unidentified 15th Century Bruges Painter, known as The Master of the Baroncelli Portraits. Despite appearing as recently as 2010 at Christie’s, where it sold for £4.19M, its beautiful execution and almost pristine condition helped it soar to £7.9M.

Sotheby’s also had a distinguished re-discovery in the form of a Saint Sebastian by Sir Peter Paul Rubens (1577-1640). This canvas was probably painted in Rome around 1608 for the Spinola family of Genoa, but had spent most of the last 100 years in St Louis, Missouri, USA undetected. It had appeared at an auction there in 2008, catalogued as attributed to Laurent de la Hire (sic). With its new attribution, it sold for £4.9M.

The week of sales totalled well over £100M, the best result for 6 years with Christie’s evening sale generating £53.9M, while Sotheby’s came in at £39M. The day sales, of lesser fry, were much quieter with slightly higher BI rates. Sotheby’s sale totalled £911,000, Bonhams £1.35M and Christie’s just over £2M. On average, 70% of the lots offered found buyers on the day and more will have sold subsequently suggesting that although Old Masters are not as fashionable as contemporary paintings, there is still a market for them.

What to wear for Wimbledon

For Ascot it’s all about hats, at Henley it’s blazers, but what to wear for Wimbledon…?

Let’s start with jewellery and what more fitting piece than a tennis bracelet. One of the most sought after easily worn pieces in any capsule jewellery collection and beyond, this now ubiquitous item came to prominence in 1987 when, during a match in the U.S. Open, Chris Evert ‘lost’ her diamond bracelet when the clasp broke. Play was suspended so that it could be retrieved, which it was.

She later said “When I competed, I wanted to wear something that gave me confidence and empowered me, both as a woman and an athlete. My tennis bracelet added a personal element to my style on the court and served as a daily reminder that I can do and be anything.” Who wouldn’t want some of that?

This style of line bracelet has been popular since the Art Deco period, but it was Chris Evert that brought it to such wide prominence and caused the change of name.

Tiffany Victoria diamond tennis bracelet which retails for £19,700

You’ll also be needing a stylish watch and there is a plethora of choices endorsed by tennis stars. Roger Federer became a brand ambassador for Rolex in 2006 with what was, at the time the largest single endorsement for any professional athlete. He was contracted to Rolex for 10 years for which he received $15,000,000. Others now in the Rolex stable are Dominic Thiem for the Daytona; Garbiñe Muguruza with the DateJust and Jo-Wilfred Tsonga with the Milgauss. If you want to dress the part but favour other brands, Nadal wears a Richard Mille and Serena Williams an Audemars Piguet diamond outrage.

Perhaps you will fancy something unique and eye catching to adorn your outfit, you might look at vintage novelty tennis related items. These two tennis racket brooches were sold at auction and the ruby and diamond brooch is Edwardian and set with ruby, pearls and rose diamonds.

Last year Ralph Lauren unveiled new uniforms for the court officials. The instantly recognisable polo shirt is now produced in wide navy blue and white stripes and they stated that they were combining the heritage of the brand with sustainable modern fabrics and modern silhouettes.

As for the outfit itself no-one does Wimbledon better than The Princess of Wales. As Patron of the All England Club and a keen tennis player herself, she often attends the championships and well as presenting the trophies.

In 2022 she chose polka dots by Alessandra Rich and a bright yellow dress by Roskanda. If you wish to emulate her style, similar dresses are available by these designers at about £1,400 each.

Whatever your style choice and however you enjoy watching Wimbledon, we hope you enjoy the championships and regardless of your outfit, the event is definitely best served up with Pimm’s; and strawberries and cream.

David Hockney soon to be 86 on July 9th

David Hockney is one of my all time favourite British artists and throughout his career he has created many truly iconic paintings. While it’s subjective to determine the “most famous” ones, here are some of his most notable works:

These are just a few examples of David Hockney’s most famous paintings, but his extensive body of work covers a wide range of materials, dates, subjects and styles, showcasing his endless versatility as an artist.

David Hockney is a renowned British artist known for his contributions to the Pop Art movement and his vibrant, colourful paintings, drawings, and prints. Hockney was born on July 9, 1937, the fourth of five children in Bradford, W est Yorkshire. He demonstrated a keen interest in art from an early age.

Hockney’s parents were Kenneth and Laura Hockney. His father, Kenneth, was a conscientious objector during World War II and worked as a conscientious objectors’ medic. Hockney’s parents were supportive of his artistic endeavours, even though they did not initially understand his decision to pursue art as a career. Throughout his life, Hockney maintained a close relationship with his family, particularly with his mother, who played a significant role in his life and artistic journey.

He attended Bradford Grammar School and then Bradford College of Art from 1953 to 1957, where he gained a solid foundation in traditional artistic techniques and disciplines. His fellow students included Derek Boshier, Pauline Boty, Norman Stevens, David Oxtoby and John Loker. Later, he pursued higher education at the Royal College of Art in London from 1959 to 1962, where he met R B Kitaj and also featured alongside Peter Blake in an exhibition there called ‘New Contemporaries’ which heralded the arrival of British Pop Art, a period when his artistic style began to take shape and evolve.

In the 1960s, Hockney rose to prominence as a key figure in the Pop Art movement, which challenged the traditions of art by incorporating popular culture and everyday objects into artworks. Alongside artists like Andy Warhol and Roy Lichtenstein, Hockney explored themes such as consumerism, mass media, and the impact of technology on society.

Here are a few examples of some of Hockney’s most expensive paintings at auction.

Here are some lesser-known facts about David Hockney: Hockney has a love of new Technology, especially that which will help him to make art, and he has embraced it in his artistic practice. He was an early adopter of the iPhone and iPad, and he has created numerous artworks using these devices. He even published a book of iPhone and iPad drawings titled “David Hockney: A Bigger Book.”

Hockney is secretly an author: In addition to his artistic endeavours, he has also authored several books. One notable example is “Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters,” in which he explores the possibility that some of the Old Masters employed optical devices such as the camera obscura to aid in their artwork.

Stage design: Hockney’s creative talents extend beyond the realm of visual arts. He has designed sets for numerous operas, including productions at the Glyndebourne Festival Opera, the Metropolitan Opera, and the Los Angeles Opera. His stage designs are known for their vibrant colours and innovative use of space.

Dual nationality: Hockney holds both British and American citizenship. He moved to California in the 1960s and became inspired by the vibrant landscapes and lifestyle of Southern California, which greatly influenced his artwork during that period.

Knighthood: In 1990, David Hockney was awarded the Order of the British Empire (OBE) for his contributions to the arts. Later in 2012, he was further honoured with a knighthood, becoming Sir David Hockney.

Love for nature: Hockney is drawn to the beauty of nature and has spent considerable time painting landscapes, particularly in his native Yorkshire. He finds inspiration in the changing seasons and has captured the essence of nature’s colours and textures in his artwork.

David Hockney has had several close friends and acquaintances throughout his life, including notable figures from the art world, literature, and entertainment industry. Some of his close friends include, Peter Schlesinger, an artist and photographer, was one of Hockney’s closest friends and a frequent subject of his paintings. They were in a relationship during the late 1960s and early 1970s.

Celia Birtwell, a renowned textile designer and fashion icon, became friends with Hockney in the 1960s, and he often used her as a muse in his paintings. Birtwell’s vibrant and patterned fabrics also influenced Hockney’s artistic style. Ossie Clark was a British fashion designer and a close friend of Hockney. Clark’s designs were known for their bohemian style, and Hockney often collaborated with him, creating artwork inspired by Clark’s fashion. Jonathan Silver was a major patron and collector of Hockney’s work. He was a close friend of the artist and played a significant role in supporting and promoting his career at his gallery space at Salt’s Mill in Bradford.

At 86 David Hockney is a shining example of how making art and being constantly busy and creative can stop the years creeping up on you, long may he continue!

The Princess of Wales jewellery trooping the colour

What a year it has been for the Royal family and ceremonial events and on the 17th June, they did it again, for the King’s birthday, also known as Trooping the Colour. The Princess of Wales was as regal as ever, and her outfit full of meaning – as they usually are.

When I first glanced at her stylish green outfit, my first thought was how reminiscent of the late Queen it was.

But when looking closer at the jewellery, the true meaning of the green came to light. Earlier in the year The Princess of Wales took over the role from her husband as the 11th Colonel of the Irish Guards. Her outfit designed by the fashion designer Andrew GN is called “emerald green triple crème coat dress with satin trim” and retails for £2,839 and is a deliberate choice of colour on this very special occasion.

It is completed by handcrafted jewelled buttons which appear to be a mix of turquoise, chalcedony or chrysoprase, and echoes the British flag design.

The jewelled button was also carefully placed on the back of the wide trimmed hat, by Philip Treacy.

The coat dress was paired with her signature shamrock brooch which she has been seen wearing on St Patrick’s day.

The brooch of textured design, features a single emerald to the centre. It was crafted by Cartier and then presented to Princess Mary, the Princess Royal, by the regiment in 1961. Though others state that the piece may have belonged to Queen Alexandra first. When Princess Mary died, the brooch was sold at auction and bought by the regiment and it was worn by the Queen Mother until her death in 2002, followed by Princess Anne between 2002 and 2011, and is on these occasions, loaned by the regiment.

In 2014, a similar four-leaf clover brooch came up for auction, the brooch made in 1957 by Cartier sold for £2,000 (including buyer’s premium). Today, I would place an insurance replacement value of £10,000 on this brooch.

To complete the look, the Princess of Wales wore Princess Diana’s sapphire and diamond cluster earrings.

The earrings feature two cabochon sapphires within a diamond surround, each cluster connected by a single diamond. The earrings are said to be part of a suite gifted to Princess Diana for her wedding by the Crown Prince of Saudi Arabia. The suite comprises of Burmese sapphire and diamond pendant with matching earrings, a ring, bracelet, and a watch.

The author of The Queen’s Jewels, Leslie Field described the Saudi set as, “Made by Asprey, it consists of an enormous Burmese sapphire pendant set in a jagged sunray fringe of baguette diamonds and hung on a thin diamond necklace; a matching pair of earrings and ring; a two-row bracelet of brilliant-cut diamonds with a smaller version of the sapphire pendant as a centrepiece; and a wristwatch, the face set in the same diamond sunray fringe and the strap consisting of seven oval sapphires set in clusters of diamonds.”

In 2007, Sotheby’s sold a similar sapphire and diamond cluster ring, comprised of a 3.52cts Burmese sapphire within a diamond surround, totalling 5.50cts. It sold for USD 12,000 (including buyer’s premium). Today, I would place an insurance replacement value of at least £50,000 for this piece.

For every event, The Princess of Wales carefully curates and matches her outfits including jewellery with the attention to detail simply impeccable.

Look at for her next time and spot the details within her dress and jewellery.

As jewellery replacement values continue to increase, please can we remind you to update your insurance valuations and if you have never had a valuation please call us to discuss.

Art Basel

Last week’s Art Basel 2023 contemporary art fair, June 15 – June 18, defied forecasts of a market slowdown, with wealthy collectors buying works with seven or eight-figure price tags.

Described by its new chief executive Noah Horowitz as ‘the single most important annual event in the global art market’ and the ‘barometer of the industry’, Art Basel opened its doors to VIPs last Tuesday – the first two and a half days of the fair are traditionally reserved for wealthy collectors, before the doors open to the public from Thursday to Sunday.

Some 284 galleries representing more than 4,000 artists are represented at the fair in the Swiss city, which for one week every year becomes the centre of the global contemporary art market. Among them are regulars of the art event such as Gagosian, Hauser & Wirth, Pace, David Zwirner and Perrotin. Some 20 galleries from Europe, Africa, Asia and America will have a stand for the first time.

Three of the first-time labels are entering directly into the main Galleries sector, namely Blank projects (Cape Town), Empty Gallery (Hong Kong) and Offer Waterman (London). The Feature sector will host eight first-time exhibitors, including David Castillo (Miami), Thomas Erben Gallery (New York) and Gajah Gallery (Jakarta, Yogyakarta, Singapore), compared to 10 for the Statements sector.

Art Basel director Noah Horowitz hopes this year’s event helps maintain Art Basel’s status as the world’s leading contemporary art fair.

‘I am incredibly excited to welcome the international art community to Basel in June for another premier edition of our show and my first as the organization’s CEO,’ he said in a statement. ’Ranging from bold contemporary positions to rare presentations by 20th-century icons, our Basel fair will once again reaffirm its pre-eminent position as a platform for discovery and encounters that drive the art world.’

Alongside the contemporary art fair itself, visitors to Art Basel were able to discover some 20 special installations around Münsterplatz and downtown Basel.

One of these was a ‘sprawling superstructure’ designed by French-Moroccan artist Latifa Echakhch, a former Marcel-Duchamp Prize winner and Switzerland’s representative at the Venice Biennale in 2022. In addition, the city’s museums and cultural centres offered a wide range of exhibitions and events throughout the week.

While stock markets jitters and soaring interest rates had triggered predictions that the art market was cooling, that was not evident at the fair, where it was reported by Marc Glimcher, CEO of Pace NY ‘the art market seems quite healthy here in Basel. People are not paying crazy high prices, but they are not asking us to sell at crazy low prices either.’

At its VIP Day last Tuesday, Zurich’s Hauser & Wirth confirmed that they had sold a major 1996 spider sculpture by Louise Bourgeois to a US collector for US$22.5m (the most expensive sale of the day), and also an oil on canvas by US painter Philippe Guston for US$9.5m.

Similarly, New York’s Pace Gallery sold two fox sculptures from a new series by US artist Jeff Koons, even though one of the works had yet to be finished. They went for US$3m each. They also sold a Alexander Calder mobile for $2.8m and two smaller works by the artist, offered by his family, for $775,000 and $675,000. David Zwirner exhibited and sold Gerhard Richter’s oversized 2023 sculpture STRIP TOWER for $2.5m. Blue-chip work on the primary market that sold on VIP Day included a new painting by Jonas Wood, offered by David Kordansky Gallery for $2.5m.

Other highlights to be seen at the fair included a gorgeous sunset collured Rothko painting offered at $60m by Acquavalla Galleries; an impressive Picasso for $25m at Landau and a $14m Joan Mitchell triptych at Pace.

After a healthy rebound in 2021, the art market grew three percent in 2022 to US$67.8b, according to Art Basel’s annual art report published by Clare McAndrew.

McAndrew writes that while the first half of 2022 was marked by strong sales, and a number of record prices, the market was more subdued in the latter half due to political and economic instability, the war in Ukraine, increasing inflation rates, supply issues and looming recessions in key markets.

Whilst the Art Market is almost certainly cooling, this is a necessary correction that happens in the market every now and again. The market is still buoyant, with good things selling, but buyers are simply not paying over inflated prices. As art dealer David Nolan reported, ‘tricky times are often prime opportunities to buy art, with galleries more amenable to discounts and collectors looking to free up capital. There is such diversity in the types of people who come to Basel, many of whom budget specifically to buy at Art Basel, and who are less affected by the stock market and the interest rate fluctuations.’

Caring for Silver

Six simple rules to keep your silver in top condition

Rule one

Caring for your silver starts with understanding a little about the properties of silver. Sterling silver is 92.5% silver and therefore only 7.5% alloy. Compare this with 9 carat gold which is 37.5% gold and 72.5% alloy, or even 18 carat gold which is 75% gold. Silver, therefore, which is not an inherently hard metal, is extremely vulnerable to scratching. According to the Mohs scale which measures the hardness of materials; in order of softness, you have sterling silver, 9 carat gold, 18 carat gold, platinum and palladium. Rule number one is therefore to avoid cleaning with anything even slightly abrasive. I prefer pastes and foams which you apply with warm water.

Rule two

Given that silver is a soft metal, you also need to be careful not to bend it or make it vulnerable to dents. For example, it is common to see legs of sauce boats pushed in. Splits can also occur around the edges of pieces so rule number two is to always handle your silver ware with care, remembering that the lighter and thinner it is the more vulnerable it will be to damage.

Rule three

Can you put silver in the dishwasher? I would say that the answer is yes. However, rule number three – do not load silver and stainless steel in the same compartment or where they might touch. This will lead to oxidation and oxidation is what causes silver to tarnish or blacken. For those who think I am a philistine to suggest that it is acceptable to wash silver in the dish washer I would say this – the method of dish washing is no more likely to damage the silver than washing by hand. Drying silver is as likely, if not more so, to remove some of the silver and cause rubbing. If you’ve ever noticed that hallmarks have become obscure and difficult to read this is because polishing or cleaning has worn down the surface.

Whilst we are on the subject of dish washers, if you have bone handled knives, do not put them in the dishwasher. They will dry out, crack and the pitch that holds the blades in place my seep out. Knives should always be washed by hand.

Rule four

Oxidisation is the principal cause of tarnishing, so rule number four is to adhere to following suggestions to minimise the chances of your silver tarnishing. The less you have to polish it, the less likely that you will be rubbing away the silver itself. The first suggestion is use your silver. Most silverware will be cleaned after using and frequent light cleaning will be much kinder on your silver than trying to remove heavy tarnish.

If you do need to store your silver, store in a dry place away from high temperatures. Both heat and humidity accelerate the rate at which silver tarnishes. If you are storing flatware, use special tarnish reducing storage bags or for bulkier items, acid free tissue paper. Do not use newspaper as the ink is acidic and can cause damage. The same goes for rubber bands. Tempting though it may be to bundle items together, rubber bands contain sulphur which causes rapid and destructive tarnishing.

Do not store silver in plastic bags as they can retain moisture. Finally, you now have a use for those little silica gel sachets which seem to come with so many purchases – pop these in with your silver and they will help absorb moisture. Incidentally oils, onions, eggs, salad dressings all contain ingredients which will accelerate the speed of tarnishing, so if you do use silver with these products wash them quickly afterwards and dry them. You may have noticed that egg spoons often have gilded bowls, this is because gold does not tarnish in the same way and it is there to protect the silver.

Rule five

You may also have observed that silver salts usually have glass liners or are gilded. Salt corrodes silver. This is different from tarnish which can be fairly easily poshed off. Badly corroded silver might need to be taken to a professional to clean or replate. Therefore, rule number five clean your silver after use and do not leave salt sitting in your salt container. Salty snacks like peanuts and crisps will have the same effect. Even if the gilded of liner protects the base, it will often not protect the borders. And take the salt spoons out of the salts.

Rule six

Rule number six, use and enjoy your silver. Use impregnated soft cloths, foams and basic mild detergent and warm water to keep your silver sparkling; and finally, know that notwithstanding your best efforts silver will always tarnish, so employ the simple rules to keep this to a minimum.

Recent classic and collector car market trends mean you’re probably under-insured

Since the full force of the coronavirus pandemic hit in the spring of 2020, we have all experienced unforeseen ups and downs in many aspects of our lives.

Whilst it doesn’t begin to compare to what many people have suffered over the last three years, the classic and collector car market has also experienced significant turbulence and unpredictability in relation to values.

As a result, many classic car owners are very likely to be under-insured with out-of-date valuations and would find themselves heavily out-of-pocket in the event of a claim.

What has been happening in the market?

Having experienced something of a dip towards the end of 2019, classic and collector car market values spiked considerably not long after the first lockdown came into force at the end of March 2020 – according to recently released price index data from the insurer Hagerty.

Stuck at home with little to do and unable to go away on holiday, buyers spent significant amounts of money on classic cars; with the increasing demand pushing values sharply upwards. With physical dealerships closed, online classic car auction platforms with detailed photographs and thorough descriptions provided a low risk route to purchase.

These digital-only outlets, such as The Market by Bonhams in the UK and Bring a Trailer in the US, reported record sales figures during 2020.

As the world went back to work during 2021, average market values cooled a little but the rising cost of living and then the invasion of Ukraine in early 2022 caused higher fuel prices and a more significant dip.

Where are we now?

The first data points of 2023 show that average values in most classic car categories are now well above where they were pre-pandemic.

The category that has performed the best over that period is what Hagerty tracks as their Gold Index. This segment includes top-end collector cars such as the Mercedes-Benz 300SL Gullwing, Ferrari F40 and Ford GT40, and shows an average market value increase of 21.4% since late 2019.

Not far behind on a 17.4% increase is the Hot Hatch grouping. These are the cars that Generation X-ers wanted to buy in their late teens and twenties but couldn’t afford. Now in their middle-age with a greater disposable income, fast Fords and GTIs are being snapped up in waves of nostalgia.

Less than a percent adrift are the Best of British cars at +16.6% and at an 11.4% increase is the Classic category which represents the “everyman” classic cars and by far the biggest slice of the market.

Is your car under-valued?

Based on these findings, there is a very good chance that unless you’ve had your car valued recently, it will be under-insured.

Indices such as those from Hagerty are based on market value averages across a range of models, so it is important to get a valuation not just on the make, model and year of cars that you own but for your actual cars in their current condition and with any particular history or provenance.

Market valuations – what you could expect to sell the car for – are most appropriate for valuing assets for probate, inheritance tax or division of chattels, but you need to value cars differently for insurance purposes.

An insurance valuation assesses what it would cost to replace a car if it were stolen or badly damaged and could include all manner of additional expenses beyond the purchase price of a similar car or just the cost of repair – particularly if the car is a hard-to-find model or requires specialist parts and extensive labour to restore it to your particular specification.

Get an up to date valuation

At Doerr Dallas Valuations, we usually recommend revaluation at least every 2-3 years to incorporate market trends. Never has this been more important than now due to the heavily fluctuating classic and collector car market.

Get in touch with us to discuss how our independent team of specialist valuers can help to make sure your cherished vehicles are properly covered.

The Care of Books

Rupert Neelands gives his best advice for caring for books:

Space

Libraries great and small suffer from a shortage of space — there is never as much room on the shelf as one would like. This is a permanent problem for the collector, but the desire to squeeze on an extra volume has to be resisted. Give your books enough space and ensure they are kept in a room with a free flow of air, preventing mould and dampness. Shelving should not be erected on exterior walls, and it must be of sufficient strength.

Chatsworth, the library-living room with upper gallery - caring for books

Size

The size of books dictates their natural pecking order; the place for heavy folios and quartos is on the lower shelves, octavos of standard size and smaller are traditionally shelved at eye level or above. The top shelf of a grand library is usually the place for the smallest and least interesting volumes only accessible with a high ladder.

At the other end of the spectrum, large volumes with magnificent plates are happiest when safely placed in a bottom shelf or cupboard; they may alternatively be kept flat on a library table, easing pressure on the spine. For a free flow of air and absence of direct sunlight, there is no better environment than a draughty Scottish castle with few windows, thick stone walls and no heating.

Conservation history

The 19th-century bibliophile William Blades first published The Enemies of Books in 1880 (the second edition of 1888 is now available online through the Gutenberg Project). A short monograph, it went through many editions and has long been the classic work on the subject. In his opening chapters on “Fire” and “Water” (“liquid” and “vapour”), Blades gives an account of the terrible conflagrations and inundations which have resulted in the loss of so many books over the centuries.

William Blades - caring for books

Damp

Many would consider “damp” to be the greatest enemy of books, and Blades describes the “irreparable injury” which it can do. “The substance of the paper succumbs to the unhealthy influence and rots and rots until all fibre disappears, and the paper is reduced to a white decay which crumbles into powder”. He has a surprisingly modern remedy to suggest for the damp atmosphere that produces spotting and visible staining to blank margins or the text itself. On the basis that “our worst enemies are sometimes our real friends”, he suggests having hot water circulate through pipes under the floor. However, he believes this heating system cannot be allowed to supersede “the open grate”, going on to argue the case for coal and even (frightful thought) asbestos fires.

In the event of spillage

The antiquarian book with its thick rag paper and durable binding of leather or vellum is nevertheless a resilient object and minor blemishes are easy to tolerate providing a book is complete with no missing pages or hiatuses in the text. Should you spill an entire glass of water over an important volume, the situation may be retrievable. Stand the volume upright, and fan out the leaves allowing any liquid to drain off. A hair drier is an effective tool for supplying an air flow from a distance. With the right treatment the unhappy accident may leave no trace at all.

Heat and sunlight

The desecrators of books denounced in Blades’ subsequent chapters are: “Gas and Heat”, “Dust and Neglect”, “Ignorance and Bigotry”, “The Bookworm”,“Other Vermin”, “Bookbinders”, “Collectors”, and finally “Servants and Children”. While Gas has long ceased to be used for lighting, its ill effect may still be seen on grimy books; it was the sulphur in the gas fumes that caused bindings on the upper shelves to deteriorate. The problem of “desiccation” also persists today, whether ascribed to the open fires and gas lighting of the past or to the natural power of sunlight. Blades defined the process as “the leather losing all its natural oils by long exposure to much heat”.

The sun can do damage we may easily be unconscious of. Leather and cloth spines and invaluable dust-jackets will all fade as a result of regular exposure to sunlight, leather becomes brittle, condition is altered for the worse and value plummets.

Franciscans burning book scrolls

Worm holes

The chapter on “The Bookworm” is one of my favourites. Blades observes the fascinating manner in which a worm hole, far from being of even size, can slowly grow as the pages of a folio are turned, and then just as gradually diminish and disappear. Although the cataloguer has to count these holes as defects, watching their growth and disappearance can provide a welcome diversion from the collation of a lengthy text. Modern books don’t suffer in the same way. Blades comments wryly on “the scarcity of edible books of the present [19th] century”, observing that “one result of the extensive adulteration of modern paper is that the worm will not touch it. His instinct forbids him to eat the china clay, the bleaches, the plaster of Paris, the sulphate of barytes, the scores of adulterants now used to mix with the fibre … the worm has a bad time of it”.

Book work - caring for books

Bookbinders

There is no chapter on book dealers but there is one on “Bookbinders”, placed after “Other Vermin”, revealing the sorry practices of the book trade in the late 19th century. As Blades states in fury, binders not only cut away book margins and any annotations on them with utter ruthlessness; they also destroyed old bindings to make new ones, and habitually washed books leaf by leaf, perhaps adding hydrochloric acid, oxalic acid or caustic potash to remove every mark. Fortunately, today’s binders have higher allegiances and are very much on the side of the conservation rather than the desecration of books.

The attack is taken to collectors themselves, “two-legged depredators” who indulge the habit of cutting out illuminated initials and engravings from books, and making separate collections of them. The one obsessive collector to be mentioned by name is the celebrated Sir Thomas Phillipps of Middle Hill who lived in ‘a mansion crammed with books; he purchased whole libraries and never even saw what he had bought’. Phillips possessed one of the greatest bibliographical treasures in the form of the first book printed in English, “The Recuyell of the Histories of Troye”, translated and printed by William Caxton. But it was a volume “he could never find” among so many others piled on his shelves.

Sir Thomas Phillips failed to protect his unrivalled collection of manuscripts

Dust

Blades’ final chapter, “Servants and Children”, instructs the former how to dust books with due care. Recommending the simple use of a duster, without any cleaning agent, might seem old-fashioned. Today we have a tendency to believe that leather bindings require some form of polish or wax to restore them to full bloom, and a large number of such products are available on the market. But Shelly Smith, as head of New York Public Library’s Conservation Team, takes the same view as Blades, writing: “Don’t use oil or leather dressing on your leather bindings … it can actually cause deterioration to the volume as the oil or leather dressing ages. Simply wiping leather bindings with a plain soft cloth is best” (NYPL Newsletter, August 2020).

Pepys Library - Caring for Books

It is a cardinal rule never to take a book from the shelf by pulling at the top of the spine. Blades comments on the tendency of home helps “to fill the shelves too tightly,” which only made extracting a volume safely that much more difficult. Once safe in one’s hands, a rare book can be read but should never be fully opened — a big risk to the binding. This does not mean that, like Sir Thomas Phillipps, one should ignore one’s collection. Books are to be admired. Whatever the hazards, an important part of their care is to handle them at least occasionally. This lets fresh air penetrate the pages while the oil occurring naturally in our fingers is enough to keep calf or morocco bindings nourished.

 


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