Bugs and minibeasts in jewellery

Posted on February 1, 2022January 16, 2025 by Jenny Knott

History is crawling with jewellery depicting bugs and minibeasts. Our preoccupation with insects and mini-reptiles is thousands of years old. Mankind has always made jewellery to be beautiful, but also often talismanic. In the case of bugs and minibeasts it was believed the jewellery would bring to the wearer the attributes associated with creatures themselves.

Ancient Egyptian scarab images are familiar to most of us. The Egyptians saw the beetle as a symbol of renewal and rebirth. It was believed to be a manifestation of Ra, God of the sun, and the connection was thought to be so powerful that the sun god was considered to be reborn each morning in the form of a winged scarab beetle. This connection with renewal, rebirth, hope and good luck makes it easy to understand why the scarab has such a prominent place in jewellery from ancient times and remains a potent and popular motif to this day.

The interest in all things Egyptian reached a crescendo with the Egyptian Revival, a movement centred around archaeological discoveries in the 19th century, the translation of the Rosetta stone; the construction of the Suez Canal and later, importantly, the discovery of the tomb of Tutankhamun; in which there was, of course, much jewellery, including gold and carved lapis lazuli scarab jewellery which was put into the tomb to help with the transition to the next life.

These events provoked a huge wave of popularity in all things Egyptian; including an interest in snakes which became hugely commercial in the Victorian period. This trend was undoubtedly encouraged by the engagement ring presented to Queen Victoria by Prince Albert in the earlier part of the century. The ring, in the form of a coiled snake, symbolised eternal love with its endless coil. Victoria’s ring was set with an emerald to the head, this being Victora’s birthstone. Known as an ouroboros, the emblematic snake or serpent with its tail in its mouth represents eternity and rebirth. It is a motif which occurs frequently in jewellery, not only in rings but also necklaces and often suspending a heart locket.

The bee was also an important symbol in some early civilisations. It was considered to be sacred and was believed to be a bridge between the natural world and the underworld. The Mayans thought that the bee was a symbol of goodness and would bring life and abundance. Ancient Greeks saw bees as characterising wealth and well-being. The hierarchy of the hive with its Queen and workers as well associations with hard work and individuals working together for communal good added to the imagery. It is easy to see why humankind has been drawn to the bee as a powerful symbol.

The fascination with insects and minibeasts arguably reached its zenith in 19th century. The rise of industrialisation and with it rapid urbanisation meant a large migration to town and city dwelling. This gave rise to a nostalgia for the countryside and nature. People felt that they were falling out of step with nature, and they sought to reconnect through jewellery depicting birds and insects.

It’s easy to see why butterflies, lady birds, and dragon flies lend themselves to beautiful and inspirational jewellery. However, the Victorians embraced all insects, including flies which symbolised secrets and secret keeping; as well as the fly on the wall which hears all but does not divulge. Spiders, similarly, were related to intrigue and secrets and remain a perennially popular motif. You may remember Baroness Hale wore a substantial spider brooch when delivering the verdict on the legitimacy of Boris Johnson’s prorogation of parliament. There was much speculation about what she might have intended to convey. Retrospectively, she said that had she known that people would be looking to interpret the brooch she might have chosen innocuous bunch of flowers. However, the episode serves to show the power of the symbolism. Politicians started to wear spider brooch tee-shirts and the late Ruth Bader-Ginsburg described the stylish arachnid as ‘a symbol of swashbuckling womanhood’. Not bad for a costume piece that had cost £12 from Cards Galore.

We are drawn to wear insect jewellery for its symbolism and meaning, but that is not the whole story. The other side of the equation is how well the subject matter lends itself to interpretation in so many of the media associated with jewellery making; from fine pavé set pieces with emeralds, diamonds, rubies and sapphires, to enamel work, glass, carved stones and pearls. The interpretations are almost limitless, as is the appetite for this jewellery. Although not every interpretation is easy to stomach. Now considered in questionable taste we have also used the body parts of insects themselves as part of the jewels, including butterfly wings and scarab shells. Even this, however, is not as distasteful as the practice of late 19th century Britain, and still current in some parts of South America, of wearing live insects, sometimes caged and occasionally even with jewel encrusted shells.

Notwithstanding the huge influence of the 19th century, insect jewellery continued to be popular in the early 20th century. René Lalique produced some exquisite plique-a-jour butterfly and dragonfly pieces. Child and Child produced realistically designed butterfly pieces in shaded enamels; Boucheron is known for its bee pins and many other important ateliers produced fine gem-set pieces in this genre. These are always in high demand when they come up at auction.

Hello magazine recently announced, ‘Butterfly jewellery is making a comeback’. Good to know, but it’s never really gone away. The Duchess of Sussex often wears a pair of butterfly earrings which used to belong to Princess Diana and other celebrities are pictured with butterfly jewellery; but the truth is that this jewellery has never gone out of fashion. Prices at auction are strong with huge demand for good pieces; but more modest offerings do well too. Whether antique or modern where demand is great, price matches demand. As I have been writing this two of the pieces illustrated, the snake necklace and the costume butterfly brooch went under the hammer. Both realised twice their higher end estimates. Proof, if proof were needed that the world of insects is indeed buzzing – sorry, I couldn’t help myself!

Sir John Lavery and the image of tennis

Posted on January 25, 2022January 16, 2025 by Ben Hanly

2022 is not a year that anyone except the most reclusive could possibly claim not to have heard of the Australian Tennis Open – the high profile legal wranglings between the Australian Government and Novak Djokovic over his entry visa, covid vaccinations and his deportation, have made the already famous sports tournament front page news worldwide. Founded in 1905, the Australian Open, or the ‘happy slam’ as it is affectionately known, is the first of the 4 grand slam tournaments worldwide, which takes place in Melbourne every year. Although it is not the highest paid tournament (the prize money is only A$75m!), the Australian Open is by far the most popular in terms of attendance numbers, with 812,000 spectators attending the 2020 tournament.

Notwithstanding our current fascination with the dramas playing out in Oz, we, the public, have always had a fondness and affection for the game of tennis, one which is totally different to that of other sports, and one which goes back centuries to its origins. The racket sport we now call tennis, is the direct descendant of ‘real’ tennis or ‘royal‘ tennis, which continues to be played today as a separate sport with more complex rules. Most historians believe that tennis originated in the monastic cloisters in northern France in the 12th century, but the ball was then struck with the palm of the hand; hence, the name jeu de paume (game of the palm). It was not until the 16th century when rackets came into use, and the game as we know it emerged. The roots of the game are firmly linked to the royal courts of France and England, with Henry VIII of England being one of the most avid players of his day – his luxurious tennis courts still remain to this day at Hampton Court Palace. In France the sport was so firmly associated with the Court and Nobility that during the Revolution many of the tennis courts we deliberately destroyed as a sign of a new era emerging.

Subliminally these Aristocratic links and associations have remained with us into modern times. Tennis still has the perception of being a genteel sport, one which is played out on immaculate lawns on sunny summer afternoons, with players dressed in immaculate tennis whites. One only has to look at Wimbledon to confirm this – the tournament is so much more than simply a sporting occasion, it has become a firm part of London’s social season, with its Royal Box, champagne, strawberries and cream! Without doubt this image belies the seriousness of the sport, and the huge financials at stake in modern tennis, however, it is also this je ne sais quoi that also adds to its modern success.

Depictions of tennis in western art very much follow the image of tennis as a jolly, social pastime played by the leisured classes and gilded youth. The summer is always eternal, and the player are carefree without a worry in the world! One of the most brilliant and prolific painters of this subject is the Victorian artist Sir John Lavery, who is more usually associated with the glamorous and elegant society portraits he produced throughout his life. Tennis, however, fascinated him and he returned to paint the theme on a number of occasions, producing both informal studies and highly complicated compositions.

One of the earliest depictions is Lavery’s 1885 painting, Played!! which captures the movement and drama of an exciting new sport, as a young woman lunges to return serve. In the early 1880s, Lavery had returned from Paris, where he was studying at the prestigious Academie Julian, and was quickly taken by the game. In the summer of 1885, he visited the home of a friend in the suburbs of Glasgow, where a tennis court had been set up. The painting was inspired by this visit, and marked a new direction for the artist, away from his more usual society portraits towards depictions of ‘modern’ life – no doubt influenced by the Impressionist works he would have seen during his stay in Paris. His choice of the subject and naturalistic portrayal was considered extremely avant-garde at the time. Lawn tennis was then at an interesting stage in its development as a modern sport. It had emerged in the 1870s and had been inaugurated at Wimbledon as recently as 1877, when the All England Croquet and Lawn Tennis Club introduced men’s singles championships. Ladies’ singles and men’s doubles had not been incorporated until 1884. The process by which women arrived on court was a gradual one, then, and mixed doubles matches were yet to come.

Played!! turned out to be a mere prelude to Lavery’s undoubted masterpiece on the subject which painted the same year. The Tennis Party, which is in the collection of the Aberdeen Art Gallery and Museums, is an absolute tour de force of a painting, showing huge sophistication of composition, movement and bravura brushwork. In spite of its apparent spontaneity the picture is not merely an arbitrary slice of life, rather it is highly constructed work aimed at giving the illusion of spontaneity. The depiction of both male and female players in the same game, which seems uneventful to a modern viewer, would have been the height of modernism at the time, where casual, real-time depictions of the opposite sexes cavorting together was very rare at the time.

Throughout his career Lavery, returned often to the subject of tennis, which more than any other sport held his fascination. Although Lavery’s first depictions of tennis might have been painted in Scotland, his later works were increasingly international showing the growing popularity of the sport. The paintings Lavery produced in the first quarter of the 20th century whilst on the French Riviera and in America are some of the most spontaneous and evocative depictions ever produced on the subject. Whether they were painted at the famous courts at the Hôtel Beau Site in Cannes – then ‘the’ place to go for well healed British holiday makers, or at the courts of the Breakers Hotel in Florida or in the private residences of Palm Beach, these paintings have a freshness and sense of movement which still have the power mesmerise to this day.

Lavery’s 1885 The Tennis Party remains, however, his most accomplished and monumental depiction of the sport, an image which, more than any other artwork has influenced our vision of what we feel tennis ‘should’ be, and it remains to this day the quintessential image of the sport.

How are traditional auction houses changing?

Posted on January 18, 2022January 16, 2025 by Jonathan Horwich

It’s fantastic to see so many new artists’ work coming to the fore all over the globe, and how the role of buying and selling fine art is evolving to attract new audiences.

Attracting new buyers

Somehow the art world has managed to fast forward thanks to technological advances brought in as a matter of necessity during the pandemic, removing many or all of the old barriers that were putting first time buyers off auctions, or more positively pulling them in!

How many online bidders at Christie’s?

As an auctions career ‘lifer’ myself, I have always believed it’s a numbers game. The more active bidders you have in any auction the better it will perform.
Thanks to technology – Christie’s managed, in a heartbeat, to get from an average 8-1,200 hundred online bidders to 50,000, which is what happened at their global ‘one’ event in 2020. There were so many bidders that when I tried logging on, it bounced me out!

Is online bidding here to stay?

Although the online affect could diminish as the post-pandemic era progresses, thousands of new collectors and buyers are now hooked as auction houses have demystified the process of an auction.
I can see that it’s happened by accident and not design. We’re entering into a new era with contemporary art auctions still growing, Old Masters are doing well especially Prints. Jewellery, Watches and Design are still strong but the focus is heavily on masterworks or special pieces.

How are auction houses evolving?

New ways of selling are now starting to emerge thanks to the new owner of Sotheby’s Patrick Drahi who bought the business pre-lockdown. He has quite logically seen his brand is much more able to penetrate into new areas. Yes Sotheby’s is an auction house but it’s also a luxury shop selling branded goods.

Christie’s ‘One’ live auction held all one day July 10th 2020, it was one very long auction broadcast from four locations starting in Hong Kong,
then switching seamlessly to Paris, London and finally New York

New auctioning ideas are appearing all the time with the most recent being the Las Vegas MGM Grand live auction of works by Picasso from the Casino Picasso Dining room this October. Only 11 pictures, all by Picasso were in the auction, and raised a staggering total of $110,000,000 from what is only a selection of works the Casino owns.

The next day luxury items, sneakers, handbags, watches and the like all did equally well in a smaller MGM Casino downtown. This was truly an event auction and I think it will set the trend for the years to come.

I think we can all be encouraged by the fact that more people than ever before are taking an active interest in auctions both as buyers and sellers.

Here are some fine art pieces sold highlighting what an extraordinary year 2021 has been.

Reflections on The Old Master Sales

Posted on January 11, 2022February 3, 2025 by David Dallas

“There are too many auctions and not enough collectors”, that is how Scott Reyburn’s article in the Art Newspaper in December 2021 began. It makes rather gloomy reading for any fan of Old Masters, but it is, sadly, the truth. Sotheby’s and Christie’s sales were down 20% on the year before the pandemic (2019). If a good Old Master in excellent state comes on to the market after an absence of several decades, it will make a strong price but there are simply not enough of them.

For those of you lucky enough to have come to our champagne private view at Bonhams, you might be interested to hear what happened to the paintings we examined there. The beautiful unlined, unrestored Lawrence of Jane Allnutt with her spaniel made £150,000 hammer, which I think is less than it deserved. The early Turner watercolour of North Wales, painted in rather muted tones made £40,000 which was twice the bottom estimate. The famous racehorse, Flying Childers, however, did not fly and is still under starter’s orders.

Rather than dwell on what were basically mediocre paintings making mediocre prices, I’d like to draw your attention to a couple of surprises. There was a very fine portrait of a man attributed to Frans Hals by Sotheby’s, which they offered with a very cagey estimate of £80,000-£120,000. The reason for their caution was that the two main experts on Frans Hals disagreed about its authenticity and the more recent of the scholars suggested it was by his son.

Not knowing what his son’s work looks like, I thought it looked like Frans himself. I was not alone in this as it made £1.95 million!

Sotheby’s also had, like Bonhams, an early Turner, theirs too was also Welsh, but this one was in oil and South Walian. It was a view of Cilgerran Castle dated 1799 and made £1 million against an estimate of £300,000-£500,000 proving once again the magic of the Turner name. The Constables on offer had a more varied outcome mostly due to the erratic estimating.
I am into my 6th decade of looking at Old Masters professionally and I am feeling the icy blast of change. The storm of interest in NFTs is going to have a detrimental effect on the way all collectors perceive art. The young are tech-savvy and non-materialistic, so is there a subtler way of collecting than virtually? Will the virtual supersede the real?

What jewellery does Santa wear?

Posted on December 21, 2021February 5, 2025 by Aurélia Turrall

We all know at this time of year Santa is extremely busy, up against a very tight deadline. I’ve not come across Santa myself, but in my imagination, he surely must be wearing a pocket watch so he can keep on top of his schedule and targets in good time. And let’s not forget he has a lot to do in just 24 hours so time is of the essence.

In my mind, the pocket watch is mounted in yellow gold, with delicate floral chasing. Chasing is a technique where the jeweller outlines a design by pushing back the gold around the edges to define the motif. I would imagine the watch to be old, dating from the late 19th century, and so it would also be decorated with some guilloché enamel, perhaps blue or pink; Santa is dapper and I am sure he appreciates a touch of colour outside of his red and white suit. Guilloché is one of my favourite techniques of applying enamel. It creates all sorts of highly elaborate patterns which adds elegance to any piece of jewellery. Perhaps the watch has both pink and blue enamel: a pink guilloché enamel bezel overlaid with blue enamelled Arabic numerals. The hands would be discreet, also made of gold. It is most likely suspended by a fine pinchbeck chain, terminating in a barrel clasp decorated with turquoise cabochons.

Pinchbeck chains are named after an 18th century London clockmaker, who used a combination of copper and zinc to make it resemble gold. Gold only came in 18ct at the time and was expensive. This new technique allowed people to purchase gold-like jewellery.

The pocket watch might look something like this:

To the reverse, the pocket watch would enclose a photograph of his wife Mary.

Santa probably has family heirlooms too such as a signet ring set with a stone. That stone could be lapis lazuli (blue with specks of “gold” pyrite), onyx (black) or carnelian (red) for example. The ring could be set with a carnelian intaglio mounted in gold. Intaglio is the technique of carving into the stone to depict a portrait for example. Santa’s intaglio would be carved with a cherub to represent all the children of the world.

He most likely also has another signet ring set with a bloodstone: green jasper with specks of red hematite, the stone of courage. It is engraved with his initials “SC”, the motto “No child to far to reach” and a family crest depicting his reindeers and helpers. Santa can then seal all his letters, replying to the children who have written to him throughout the year.

Santa also wears cufflinks under his red suit. One might be able to get a glance at them when he is in his workshop perhaps, when he is not wearing his red jacket. The cufflinks are by Cartier, from the Santos line. They are square plaques set with malachite, a green stone, set in palladium. They are chic and timeless, Cartier’s signature.

I believe Santa also wears a necklace, a gold box chain.

It suspends the very important keys to his sleigh but also several small pendants which represent all the faiths of the world, throughout time.

Lastly, I think Santa wears a bracelet symbolising his reindeers. It is of chevron design, mounted in rubber and silver. Here an example of what it might look like by David Yurman.

It echoes ancient jewellery that used strands of braided human hair set as bracelets.

The same technique was used with elephant hair.

These are the jewels I imagine Santa to be wearing, but I’m sure whatever he wears he looks dashing! Here’s hoping I might finally get a glimpse of him this Christmas. Wishing you all Happy Holidays.

David Morris Jewellers

Posted on December 14, 2021February 5, 2025 by Mary Waterfall

David Morris is affectionately known as ‘The London Jeweller’. The prestigious shop in Bond Street continues to attract royalty and high end clientele with the spectacular creations that are intricately created there. Each piece is handcrafted to the highest standard in the workshop above the store. Although it is one of the last remaining jewellery workshops in Bond Street, it’s reputation continues to shine, putting British jewellery design firmly on the map of world class jewellers.

David Morris started his career as an apprentice in Hatton Garden at the age of 15. His love and natural creative flare for jewellery design led to the opening of his first shop in Hatton Garden in 1962. After winning The De Beers Diamond Awards two years in a row he started attracting real international acclaim. As the reputation and success of the David Morris brand grew, the company relocated to Mayfair in 1969 and then to it’s current home in Bond Street in 1996.

In amongst the glamour and the grandeur, the David Morris brand prides itself on being very much a family jewellers. In 2003 Jeremy Morris took over the helm of the company from his father as managing director and principal designer.

The company proudly states on their website: “A marriage of beauty and technology, in its approach to design and craftsmanship David Morris is as wonderfully unique as its collection of rare gemstones. Whether it is a piece from our beautiful fine jewellery collections or a bespoke creation, David Morris jewellery transcends generations, each design expressing ingenuity, creativity and unparalleled quality.”

Some of the unique creations include The Miss World Crown. It was originally commissioned by Eric Morely, the founder of the Miss World Competition in 1969. He was inspired by the breath-taking sapphire and diamond tiara Morris had created in 1967 for the Countess Marie Kinsky of Austria on her wedding day, in her marriage to Crown Prince Hans Adam of Lichenstein. The stunning turquoise and diamond crown is still used in the competition today.

In 2012 the silver dragon on the bonnet of the vintage Aston Martin the Duke of Cambridge drove down the Mall on his wedding day was made by David Morris. Originally commissioned by the Queen for Prince Charles’s 21st birthday.

I recently had the privilege of valuing some David Morris pieces. Including these beautiful hoops from the Rose Collection. These exquisite rose cut diamond hoops are composed of four graduated rose cut diamonds, each within a brilliant cut diamond surround, with further scintillating micro set diamond detail to the inside of the hoop and clip. The total carat weight is approximately 3.40cts. These were originally purchased in 2008 for £12,500. The current retail price for these earrings is now £38,700. This example not only illustrates the strength and popularity of David Morris designs, it also highlights the importance of getting an updated jewellery valuation because prices and values can change dramatically over time. Doerr Valuations are delighted to be hosting a Wednesday Club event at David Morris on the 15th December. It will be a unique opportunity to see some of the stunning pieces in the current range and to find out more about the diamonds, gems and fascinating creative process from their experienced sales team. I for one cannot wait.

How are traditional auction houses changing?

Posted on December 10, 2021February 5, 2025 by Jonathan Horwich

It’s fantastic to see so many new artists’ work coming to the fore all over the globe, and how the role of buying and selling fine art is evolving to attract new audiences.

Attracting new buyers

How many online bidders at Christie’s?

As an auctions career ‘lifer’ myself, I have always believed it’s a numbers game. The more active bidders you have in any auction the better it will perform.

Thanks to technology – Christie’s managed to attract more than 80,000 people via their online bidding channel during their global ‘One’ sale in 2020. There were so many bidders that when I tried logging on, it bounced me out!

Is online bidding here to stay?

Although the online affect could diminish as the post-pandemic era progresses, thousands of new collectors and buyers are now hooked as auction houses have demystified the process of an auction.

I can see that it’s happened by accident and not design. We’re entering into a new era with contemporary art auctions still growing, Old Masters are doing well especially Prints. Jewellery, Watches and Design are still strong but the focus is heavily on masterworks or special pieces.

How are auction houses evolving?

I think we can all be encouraged by the fact that more people than ever before are taking an active interest in auctions both as buyers and sellers.
Here are some fine art pieces sold highlighting what an extraordinary year 2021 has been.

My Favourite Item…The Cunha Braga Cup

Posted on December 7, 2021February 5, 2025 by Jonathan Horwich

Knowing that I am a picture specialist, it may come as a surprise that I have chosen this 14 cm long, ceremonial drinking vessel. It is a rock crystal masterpiece of renaissance craftmanship, carving and decoration and is my favourite piece of all time. I am not sure if I know myself why I love it so much – maybe it is because it is so tactile, almost warm to the touch, and just oozes history. It fits neatly in the palm of your hand and is beautifully made – and nearly 400 years before Carl Faberge turns up and makes anything nearly as good.

I first saw the cup in October 2006 on its preview in New York. I was previewing pictures alongside my colleague from the works of art team who was accompanying the cup. My colleague gave me some of the background to its discovery. Amazingly, he spotted it among a bunch of Polaroid shots sent over from Portugal by a client just in case there was anything of interest. Even more remarkable is that the photographs were general room shots of a room full of display cabinets all rammed with various pieces and the cup was spotted tucked in a cabinet full of undistinguished objects. He was on a plane to Lisbon the next day to see it and the rest is history. I remember he told me that at first it was thought to be a copy or later version of a similar cup in a Munich museum. However, once the two were put together side by side in the museum the curators were delighted to discover that our one was made by the same craftsman as theirs – making these two the definitive pieces and ours the only other example in the world available to buy.

It had belonged to Alfredo Baptista Cunha Braga (1869-1932) from Lisbon. He acquired it circa 1920 and then by direct descent to the owners in the auction. The piece was offered in London on 30/11/2006, the pre-sale estimate was £200,000-300,000 but it sold for an astounding £1,968,000.

Silver – Provenance, Provenance, Provenance and Royal Rifts

Posted on December 1, 2021February 5, 2025 by Doerr Dallas Valuations

Colin T. Fraser, Consultant Specialist

So much of what we see and value day to day sadly can’t tell us much of its personal story from creation, survival and provenance. When we do come across an item which can it is plain to see, (usually with some digging and research) the rewards and interest that can result are marvellous.

We often say that provenance changes an item completely; it lifts it from being a standard piece to a ‘treasure’. In this case the understanding of an object not only elevates the story to one of exceptional Royal provenance, (by no fewer than eight reigning monarchs) but one of international legal cases and Royal rifts – the likes of which would not have been seen
until…Megxit!

These standard spoons are just that – fine examples of standard mid-18th century tablespoons which could have graced any middle or upper class British home.

However, their Royal lineage becomes clear when looking at the reverse of the handle which is engraved with an intertwined mirrored monogram GR, within a strap and buckle bearing the Motto HONI SOIT QUI MAL Y PENSE,
(meaning ‘shame on anyone who thinks evil of it’ , being the motto of the Most Excellent Order of the Garter), and surmounted by a Royal crown. They are fully London hallmarked to the lower section of stem for William Soame in 1733. This would be exciting enough to find. However, it is the addition of the tiny, later script initials above the hallmark which adds another layer of interest. Engraved ‘EA / Fs’ for Ernest Augustus Fidekommiss (entailed [to the estate of ] Ernest Augustus).

These spoons were originally part of the wide ranging British Royal silver collection and were part of the considerable amount housed in Hanover in the Palace of Herrenhausen, then part of the British territory of Hanover.
On the death of King William IV and the accession of Queen Victoria in 1837, the territory had to be split from the British crown, as under Salic law Queen Victoria was barred accession to the Hanoverian throne.

This set in motion very difficult relationships between Queen Victoria and her uncle, the now King of Hanover. His seizure of not only the palace but contents, and the considerable collection of British Royal silver and works of art within. Unthinkable at the time, these tense Royal relationships
almost ended in public lawsuit.

As part of this seizure of the Palace and contents H.R.H Ernest Augustus I Duke of Cumberland and King of Hanover added the small, discreet but very telling monogram to the silver. This really was his way of stating his right to the silver and that it now formed part of his collection.

The collection was wide and varied and included European as well as English silver. Perhaps most famously the impressive series of 72 candlesticks. They were delivered over an extended period with the first two dozen delivered on 16th September in 1744. From their original order it was intended to recycle old silver from the Royal Jewel House. To this end, for this commission and others, including the remarkable commission of five eight-light chandeliers after a design by William Kent, it is recorded that ‘a salver, a wine fountain and cistern, pastry dishes, a night lamp and stand, one hundred and twenty plates and dishes, a spittoon, further plates and dishes, tea kettles, a chamber pot, a standish (inkstand), five keys and a warming stand’ were supplied to Behrens with close control taken over the weight and purity of the silver.

Various sets of these candlesticks and other items by Behrens for the Hanoverian Court still survive. An impressive group of table wares and one of the chandeliers can be seen in The Museum of Fine Arts in Boston. Two others of the chandeliers are within the collection of the National Trust and are displayed in situ at Anglesey Abbey, Cambridgeshire. The silver stayed at the Palace of Herrenhausen until shortly after the Seven Weeks war in 1866 and the Prussian annexation of Hanover. The plate survived intact as it has been hidden in a vault within the Royal palace, despite the palace being looted by Prussian troops. With the family’s deposition from the throne, although allowed to keep the titular title of King of Hanover, they
were also given the title of Dukes of Brunswick. They fled to Penzig, Austria and to the villa of Gmuden, where the plate would latterly be kept.

The collection descended through the family until the death of Ernest Augustus II and was sold by his son Ernest Augustus III in 1924 to the Viennese dealers Gluckselig and to Crichton Brothers of Bond Street London, arguably the most important dealers in antique silver in Europe at the time. It was then split by them with items variously being sold to collectors and institutions alike. To this day, both major institutional and private collections consider items with this provenance amongst the most
important within their collections; not only the fine quality and provenance of the items but the remarkable story they tell. This surely proves that an item as simple as a spoon – or in this case a set of six – can have a remarkable story to tell and not only be witness but be part of history as it happens.

When considered, the royal lineage of these spoons is amazing, irrefutably owned as follows:

King George II, 1727 – 1760
King George III, 1760 – 1820
King George IV, 1820 – 1830
King William IV, 1830 – 1837
H.R.H Ernest Augustus I Duke of Cumberland and King of
Hanover, 1837 – 1851
King George V of Hanover, 1851 – 1878
King Ernest Augustus II of Hanover, 1878 – 1923
King Ernest Augustus III of Hanover, 1923 – 1953

If only such items could talk!

Harry Winston

Posted on November 25, 2021February 6, 2025 by Mary Waterfall

He was known as ‘The King Of Diamonds’ and ‘The Jeweller to the Stars’. He inspired a legendary brand based on the philosophy that jewellery design should be dictated by the gemstones themselves and not their settings. He used to carry around in his pocket some of the rarest diamonds in the world, worth millions of dollars, just for the pleasure of having them close by.

He is famed for saying “I love the diamond business. It’s a Cinderella world. It has everything! People! Drama! Romance! Precious stones! Speculation! Excitement! What more could you want?”. Perhaps his most well know statement: “People will stare, make it worth their while”

Harry Winston worked at his fathers jewellery shop and developed a keen eye for jewellery and gems from an early age. There’s a story that when he was 12, he spotted a green stone at the local pawn brokers which was supposedly glass and cost him 25 cents. It turned out to be a 2ct emerald which Winston sold a couple of days later for $800!

In 1920 he launched his first business in New York, The Premier Diamond Company, and in 1932 he opened Harry Winston Inc. His insistence on excellence, attention to detail, passion, discretion and knowledge attracted a high profile clientele including royalty, movie stars and business moguls.

Winston was one of the first big brand jewellers to truly understand the power of celebrity marketing. In 1943 the actress Jennifer Jones was adorned with Harry Winston diamonds at the Academy Awards. Ann Bancroft seduced Dustin Hoffman in the movie The Graduate wearing Winston diamonds, and not much else. In the movie Gentlemen prefer Blonds Marilyn Monroe sings those famous lyrics “ Talk to me Harry Winston…” in the song Diamonds are a Girls Best Friend.

In 1968 he used publicity to his advantage once again when the 601ct Lesotho diamond was cleaved on live TV! It went on to be cut into eighteen magnificent diamonds including the 40.42ct marquise cut Lesotho III which Aristotle Onassis gave to Jacqueline Kennedy as an engagement ring.

Throughout his career it is estimated that Harry Winston owned more than a third of the worlds most famous diamonds. Perhaps the most well known being The Hope Diamond. This beautiful blue diamond weighing 45.52cts is seeped in history and believed to be cursed. It is said to have attributed to many misfortunes in the lives of its owners such as King Louis XIV, Marie Antoinette. Winston purchased it in 1949 as part of the Mclean Jewellery Estate. He held on to it for ten years and exhibited it around the US as part of his ‘Court of Jewels’. He went on to donate it to the Smithsonian museum where it resides today.

Many recognised his jewels but few recognised the man himself. He was very rarely photographed and many did not know his face until it was published next to his obituary in 1978. Discretion was paramount to this man and it is said he had a concealed private elevator in his office so he and his VIP clients could come and go without being noticed.

Harry’s legacy lives on in The House Of Winston as they continue to deal with legendary stones. In March 2021 to celebrate what would have been Harry’s 125th birthday,they unveiled the Winston Pink Legacy Diamond ring, a vivid pink diamond weighing 18.96cts. Nayla Hayek bought the diamond from Christies in 2018 for a record breaking $50 million. It now forms part of the Incredibles Collection.

Harry Winston continues to thrive as a leading brand in the world of luxury jewellers, with stores all over the world including New York, London, Tokyo and Paris.

The breath-taking gems and designs continue to attract the rich and famous.

These stunning Winston Cluster earrings, composed of high quality diamonds with the largest pear-shape weighing 0.75ct, currently retail for £53,000.

When was the last time you had your jewellery valued? Please ensure your documentation is up to date to avoid a shortfall in compensation in the event of loss.