Military Medals

This past month has seen some fantastic celebrations commemorating the 75th anniversary of VE Day, obviously the times we are currently in have dictated that those were somewhat muted however the overall event was a welcome respite from what has been a difficult few weeks for everyone, I for one enjoyed an afternoon tea in the garden whilst listening to a gramophone.

This again has brought to the fore the actions and courage of some of what could arguably be described as ‘Our greatest generation’ and that interest has brought a somewhat renewed attention on the medals and awards that they may have been awarded.

 

Medals of course have been collectible since they were introduced, with their interest intertwined with the ever-fascinating world of military history and relics. What a collector may be buying is not a round disc of metal with a ribbon, but actually a story – perhaps a pivotal moment in military history, or an honour bestowed upon a great person of ancestral interest.

The very nature of such a recondite subject means that each individual collector will have a certain punctilious approach to their field, be it a certain conflict, a certain regiment, or a search for long lost family pieces even. Conflict and war beclouds many generations and such interest can be widely spread over hundreds of years of history.

Military Medals can, and often do come with a wealth of ephemera, be it uniforms, weapons, log books, diaries and the like – the inclusion of such items really does add to the value of the collection because as mentioned before, people are buying not only the medal, but the history of a person, battle – or a combination of both.

Vice-Admiral Gordon Campbell

So when it comes to valuing medals, the task is made far more interesting by the research that needs to be done – military records are consulted and dates are researched, for example; the medals belonging to a soldier killed on the first day at The Battle of The Somme are worth substantially more then a soldier killed on any other day. These unique factors make valuing some medals more of a submersion into military narrative rather than a hands on experience.

Gordon Campbell’s Victoria Cross group made £700,000 at auction in 2017

The illustrated Victoria Cross group with triple DSO awarded to Vice-Admiral Gordon Campbell of the Royal Navy has a description that reads like something straight out of a ‘Commando’ boys comic book, with tales of “conspicuous gallantry”, and “consummate coolness”, this group made £700,000 under the hammer back in 2017 and with certain groups like this being as rare as they come its value has most likely increased substantially in the last three years as well.

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Cufflinks and Gentlemen’s Accessories

A pair of Lalique green glass cufflinks with three accompanying dress studs sold in 2017 for £2,900

When considering insurance valuations in general, and jewellery valuations specifically, cufflinks, dress sets, perhaps even hip flasks and pockets watches can easily be over-looked. This is not helped by the fact they so often dwell in a down-at-heel stud box or the dark recesses of the sock drawer! They are not usually at the forefront when considering jewellery valuation; but they should be. In the current more casual world of workplace attire, where ties are often discarded it may be counter-intuitive to learn that the popularity of cufflinks remains as solid as ever.

American Art Deco rock crystal enamel and seed pearl – circa 1930 – £1500 (Current retail value)

Gold prices are at a year high and up over 30% on this time last year. Whilst the increased price of gold may not directly affect much lady’s gem-set jewellery, this is not the case with gentlemen’s accessories where the gold content is significant. Clients are often surprised to learn that although the price of the pocket watch they have inherited may have remained relatively stable, the accompanying watch chain has increased in value significantly over the last year or two. In large part due to the increased gold price. The watch chain is often the more valuable item.

Carved rock crystal and diamond cufflinks

Early 20th century carved rock crystal and diamond – circa 1920 – £2000 (Current retail value)

This strong demand for cufflinks is especially fierce with vintage, high end brands such as Cartier, Boucheron, Van Clef and Arples and Tiffany. A search of auction results will show that branded cufflinks and dress sets often significantly exceed pre-sale estimates, even where the materials involved are not of intrinsically high value. A pair of Lalique green glass cufflinks with three accompanying dress studs sold in 2017 for £2,900 against a pre-sale estimate of £200-£300, even given that all three of the dress studs were cracked. These sort of auction results suggest that many people may be significantly under-insured if they own vintage or antique pieces or indeed gold cufflinks bought when the gold price was lower and the market less volatile than it is currently.
It is also important to consider the value of unbranded cufflinks where gold is not the principle material. Although gem-set cufflinks and dress sets more readily suggest that insurance is needed, rock crystal, enamels in both gold and silver, crystal intaglios, onyx, jade, even semi-precious stones such as agates and amethyst all need to be considered as appropriate for insurance. It is possible that one might not replace certain items of jewellery on a like for like basis, but most men would want to replace cufflinks in the event of loss, so an accurate and up to date insurance valuation is crucial.

Rediscovering the Allure of the Cultured Pearl

Ancient cultures considered natural pearls to be ‘tears of the Gods’. They were believed to bestow mythical powers and wisdom to whoever possessed them. In today’s society the cultured pearl is considered the ‘stone of sincerity’ and represents purity. It symbolises the birthstone for June and the third and thirtieth wedding anniversary. Jackie Kennedy once said ‘Pearls are always appropriate’.

A set of cultured pearls gifted to Marilyn Monroe in 1954 by Joe Dimaggio

A set of cultured pearls gifted to Marilyn Monroe in 1954 by Joe Dimaggio

Yet for many years pearls have fallen out of fashion, with people associating them with their grandmothers and the older generation. However, as with the cyclical nature of all things, pearls are now enjoying a renaissance. Iconic women such as Michelle Obama can be seen wearing both a classic cultured pearl necklace as well as more contemporary cultured pearl set jewellery. The Duchess of Cambridge often sports a pair of cultured pearl earrings.

Cultured pearls are making a comeback but not just in the traditional sense of the simple necklace and stud earring set. The classic string of cultured pearls, such as the set gifted to Marilyn Monroe in 1954 by Joe Dimaggio (pictured), will always have a place in our hearts, however we appear to be moving away from the need for a string of perfectly round pearls and contemporary designers are embracing the irregular shapes of baroque pearls to make innovative and unique pieces. Freshwater cultured pearls such as the fireball are being combined with diamonds and gems to make beautiful, abstract creations.

The production of pearls is a fascinating business.  Whether the end product is perfectly round or completely irregular in shape the process is the same.
pearls_w_bugs
When it happens naturally a ‘foreign body’ invades the mollusc and as a way of protecting itself the mollusc secretes nacre. Gradually layer upon layer of this lustreous substance containing microscopic crystals of calcium carbonate, covers the ‘foreign body’ and a natural pearl is formed. When it happens artificially and a piece of mantel tissue or bead nucleus is inserted into the mollusc the pearl is cultured.

It’s of little wonder that before Mikimoto commercialised the cultured pearl industry in the late nineteenth century, pearls were only accessible to royalty and the very rich. This is because of the many mollusc varieties known to us only a small number can produce pearls. Of the pearls that they produce only a small number will be of a desirable shape, colour and quality, and only a fraction of these will actually be discovered by man. Consequently natural pearls are extremely rare and very expensive.

So how can you tell the difference between natural and cultured pearls? If you take a look at the drill hole you may be able to see the bead nucleus of a cultured pearl. A factor in the value of natural pearls is weight, so the drill hole tends to be a lot smaller compared to cultured pearls. Also a string of naturally formed pearls will tend to be slightly mismatched and irregular in shape, they will be smaller and almost always graduated. However to be absolutely sure the pearls need to be sent to a laboratory for certification, where they will be x-rayed.

In 1937 the Yaguruma, a sash clip with interchangeable settings in 12 different forms, attracts crowds at the Paris Expo. Its unique design is a breakthrough in multi-functional jewellery. Sold in Paris, it disappears from public view, then reappears at an auction in New York in 1989. It is purchased by Mikimoto Pearl Island where it remains today.

In 1937 the Yaguruma, a sash clip with interchangeable settings in 12 different forms, attracts crowds at the Paris Expo. Its unique design is a breakthrough in multi-functional jewellery. Sold in Paris, it disappears from public view, then reappears at an auction in New York in 1989. It is purchased by Mikimoto Pearl Island where it remains today.

There are many different types of cultured pearl but they fall into two categories and are either saltwater or freshwater.
Freshwater cultured pearls are cultivated in mussels, in lakes and rivers. Mantle tissue from another mussel is often used to start the process and this is why they are often irregular in shape. However bead nucleation is becoming more and more common in order to cultivate larger more rounded pearls. Up to forty freshwater cultured pearls can form within a single mussel, making them more readily available on the market.
To cultivate saltwater cultured pearls is a slightly more labour intensive process. They are grown in a variety of oysters. Often just one pearl per oyster, using both mantle tissue and a bead nucleus to produce a more round pearl.
There are three main types of saltwater cultured pearls: Akoya, South Sea and Tahitian. Akoya cultured pearls are farmed in Japan, China and Vietnam. They are usually white and cream in colour and measure from 2mm to 11mm.
South Sea cultured pearls are grown in Australia, Indonesia and the Philippines. They come in shades of white, silver and gold and typically measure from 8mm to 20mm.
The Tahitian cultured pearl are cultivated in French Polynesia and The Cook Islands. They are much darker in colour, blacks, greys and browns and measure from 8mm to 18mm.

This natural pearl and diamond necklace was recently valued for the purpose of insurance at £10,000.

This natural pearl and diamond necklace was recently valued for the purpose of insurance at £10,000.

Pearl jewellery is often passed down through generations and many people are unsure if it is natural, cultured or imitation.
When we consider that cultured pearls have gone up in value by approximately 10% over the last 5 years, and South Sea cultured pearls have gone up even more significantly, the question is, does your inherited pearl necklace have an accurate, up to date valuation and is it properly insured?

LS Lowry

I have been involved in Modern British painting and sculpture since 1987 when I took charge of Christie’s Modern British department. This brought me into direct contact with the artists themselves, their families, friends and collectors, which I found totally absorbing and fascinating. My fate was sealed, and I think I became a Modern British ‘Lifer’ in 1988 when we held the Camden Town Group exhibition. However, little did I know back then just how large a part Lowry would play in my working life over the next 32 years.

‘The Village Street’ appeared in the Christie’s Review of the Year for the 1964-65 season having been sold for a then record price of 1,600 Guineas

‘The Village Street’ appeared in the Christie’s Review of the Year for the 1964-65 season having been sold for a then record price of 1,600 Guineas

I think it’s fair to say that L S Lowry is probably one of the best known 20th century painters in the UK, with his work being more easily recognisable to British people than many other national or even international artists. This wide recognition and easy acceptance have led to a healthy and consistently strong level of interest from private collectors over the last 60 or more years.
For the first-time art collector, Lowry’s signature pieces are immediately engaging and have a broad appeal. Typically, a first and second Lowry purchase would both be signature pictures, after which would follow less obvious works, such as a minimalist sea piece or a dreamlike, haunting, empty landscape. This interest in collecting a single artist led to the formation of some great collections, many of which I have had the privilege of either helping put together and or selling over the years.
Critical and financial success for Lowry, like so much in his life, came late. Although born in 1887, his first London exhibition at the Lefevre gallery was not until Autumn 1939, then again in 1943 and the third in 1945, when Britain had other things on its mind.

‘Northern Race Meeting’ which achieved £5,296,000 in 2018

‘Northern Race Meeting’ which achieved £5,296,000 in 2018

Lowry served the War out as a Fire Warden in Manchester and when life and exhibitions began again at Lefevre in the 50’s, buying Lowry pictures suddenly became very fashionable and fun and his exhibitions were sell-outs. So strong was the interest that at one point in the early 60’s Lowry’s prices at auction exceeded his then current gallery prices. As if to illustrate this, an article featuring a 1935 picture called ‘The Village Street’ (pictured) appeared in the Christie’s Review of the Year for the 1964-65 season having been sold for a then record price of 1,600 Guineas.
If the sixties marked the beginning for Lowry acquisitions and collections, then March 1995 and the Rev. Geoffrey Bennett collection sale at Christie’s, marked the beginning of a series of collection sales at auction. Bennett was followed by the Frederick Forsyth collection, 2002, Laurence Ives, 2004, Lord Forte, 2011 and the Thompson collection in 2014. All of these single owner, single artist sales helped to expand the market and to increase the awareness of Lowry and also spawned new collectors many of whom I have got to know well.

‘The Football Match’ sold for £5,641,00 in 2011

‘The Football Match’ sold for £5,641,00 in 2011

Although there haven’t been any significant collection sales since the Thompson sale in 2014, Lowry prices and interest have remained strong with top prices still being achieved for signature pictures such as Northern Race Meeting (pictured) in 2018, which achieved £5,296,000.
Equally many records still stand from 2011-2014 such as The Football Match (pictured) in 2011at £5,641,00 and Piccadilly Circus (pictured) at £5,122,000 in 2014.
Lowry painted and drew continuously throughout his long and very productive life, so happily there are still many new works out there still to be discovered. I have been fortunate enough to have seen hundreds of works by Lowry over the years through my work with collectors and involvement with the Lowry collection in Salford and I look forward to seeing many more…

‘Piccadilly Circus’ achieved £5,122,000 in 2014

‘Piccadilly Circus’ achieved £5,122,000 in 2014

 

Millions of Years Old or 5 Week Petri Dish Diamonds – Can You Tell The Difference?

Laboratory-grown diamonds have been around for about 20 years but they have always been more expensive than the natural product and some have appeared in very unnatural colours. Techniques have improved and will continue to do so and prices have therefore dropped considerably.

diamond_compare copy

De Beers have just launched their own brand of laboratory diamonds called their ‘Lightbox’ range – and are building a new factory in Oregon with a production target of 500,000 carats a year. They have indicated a retail price of $200 for a ¼ carat and $800 for a 1 carat stone which, despite sounding low, will still provide them with a larger profit margin than for their natural products. A reasonable ¼ carat natural stone would retail for £500 + today in the UK and a reasonable 1 carat natural stone from about £3500.

There are 2 very ‘high tec’ processes which can grow the diamond from a pure carbon ‘seed’ to over a carat in weight in about 5 weeks as opposed to the natural product which takes millions of years deep in the bowels of the earth. Man-made stones are not all totally flawless; internal flaws in natural stones are normally specks of uncrystallised carbon, whereas in man-made stones the flaws are caused by slight production glitches and variations in conditions can influence the colour and clarity qualities.

Laboratory grown diamonds

Laboratory grown diamonds

De Beers have said that they will laser mark every stone they produce, then ticket and retail it accordingly. The question is, will all producers and retailers be as honest and transparent? Another consideration is the practice of ‘diamond sights’, which take place during the early stages of the production of a piece of diamond jewellery. This is where a few very select bulk diamond buyers are offered large quantities of stones in huge ‘lots’, by the big diamond suppliers. Recently in India, a ‘sight’ was found to include only 10% natural against 90% man-made stones – with no indication from the supplier that this was the case.

Will these laboratory-grown stones drag the price of natural stones down or will it be an opportunity to promote their natural qualities and increase prices? Despite advertising to the contrary, diamonds are not that rare and although some new mines have opened in Middle Africa there have been no major new diamond field discoveries since the ones in Canada nearly 20 years ago. De Beers calculate that there are only about 50 established legitimate diamond mines operating throughout the world. They predict that the effect of relatively cheap man-made diamonds on stone prices in general could mean the number of producing mines could drop by half in the next twenty years.

Currently a first-time engagement ring buyer looking for a 2-carat diamond ring will see a sparkling man-made single stone at £1500 and a visually identical natural stone at £7500. Most will buy on price in my opinion, but I sincerely hope I’m wrong. The problem for retailers, manufacturers and of course valuers is that these man-made stones are real diamonds – ie pure carbon – and will test as such when examined by hand held diamond testing machines.

So, with this size of price gap, for both the insured and the insurer, it is going to be very important to be as sure as possible about the stone’s origins. The type of inclusions (flaws) in a natural stone do look different from those in a man-made specimen so that will help when making a judgement. However, the age of the piece and its ‘family’ history will also prove helpful guidance factors. When appraising client’s new jewellery, the need to see a certificate and receipt from the supplier stating the stones’ origins or even better an independent laboratory certificate for the principal stones, is becoming increasingly more important to both valuers and insurers.

Colorless gem cut from diamond grown by chemical vapor deposition

Colorless gem cut from diamond grown by chemical vapor deposition

Currently, the GIA (Gemmological Institute of America) which is the most recognised laboratory worldwide is saying that it will carry out stone inspections and will state if a stone is natural or man-made. In the case of a man-made piece they will state the carat weight, but they will not – at this stage – classify its colour or clarity. The other main laboratories like HRD and IGI have not yet made their positions clear but I would think they would follow GIA’s position. It is to be noted that there have been quite a few new ones emerging in the Middle and Far East, out of which have come some rather disturbing stories about the accuracy of their classifications.

Our recommendation is to stick to the well known and established laboratories. It is claimed that, say a 1 carat stone, E colour and VS1 clarity with a GIA certificate could be worth 10% more than an almost identical stone with a less high-profile laboratory certificate. However, unfortunately GIA do not have a UK laboratory currently.

The diamond trading market has changed enormously over the past 20 years with De Beers no longer in virtual ‘sole control’ and the Canadians and the Russians going their own way in marketing their diamonds. The monthly diamond Rapaport and Index reports, which list the average trade prices in US dollars of millions of loose diamonds of all sizes and qualities on offer throughout the world, are still used by the trade as their base point.

Making synthetic diamonds through high pressure

Making synthetic diamonds through high pressure

I think it’s too early to be certain which way the market will go. There are obviously wider and more general factors such as the economy and politics which may also have an impact, but for sure there’s uncertainty and nervousness in some areas of the market. The fact that De Beers have committed to their own production of stones, together with their prediction that the relative ‘cheapness’ of the man-made stones could halve mining and production of natural stones in the next 20 years, gives an indication of where they foresee the market heading. The other side of the coin is that in that situation natural mined stones will become rarer and rarer therefore the prices will rise.
In conclusion, the need for regular valuations of your diamonds is becoming increasingly more important.

The Art Market and Brexit

With the final phase of Brexit looming ever nearer and no defined solution yet emerging, all sectors of the UK economy are thinking ahead nervously to discern what effect this messy divorce with Europe will mean for them – this is no less the case than with the UK Art Market.

The British art and antiques market is the third largest of its kind in the world with a global share of 22%, and a 65% share of the European Union’s art and antiques market. It represents total sales of over £10 billion annually and it is comprised of 7,850 businesses, providing direct employment for 41,420. The British art market is defined as being a ‘entrepot market’ in that it serves as a conduit for sales of artwork which are often imported into the UK solely to be sold here and then re-exported out of the country – one only has to look at the main Impressionist, Contemporary and Russian sales to demonstrate this, together with the top tier of international art fairs such as Frieze, Frieze Masters, Masterpiece and PAD. The Art Market is therefore particularly active and dependent upon cross-border trade.

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Mark Carney, Governor of the Bank of England, originally predicted that Britain would probably suffer a moderate Post Brexit downturn in the economy; this prediction now seems to be highly conservative with current estimates ranging from post-Apocalyptic melt down to a simple short-term realignment of the UK economy.

What is certain is that the strength of the Pound will continue to fall until clarity has finally emerged. This, in itself, is not universally bad for the UK Art Market as it makes purchasing UK goods cheaper for foreign investors – UK collectors, however, find it more expensive to buy internationally in the short term. The one category of high-value secondary art that will be affected negatively post-Brexit is art where the primary market is British buyers. Consignors may choose to wait for the Pound to stabilize and uncertainty to decline. The obvious category is Modern British Art of the 20th century. It is also possible that he Old Master market will be similarly hit in the short term as UK buyers make up a small but significant portion of the collector base.

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Having said this, it is not all doom and gloom for the UK market, typically UK collectors only represent between 10% of the total turnover at the main London Auctions – this figure includes purchases by foreigners living in the UK. Many Eastern European and Middle Eastern buyers will still prefer London over New York. Although it is true that some consignors may prefer to offer their works in New York rather than in London.

Post Brexit, London may indeed even emerge to be a stronger auction market compared to Paris and the rest of Europe as it should be free of EU regulations, particularly the Artist’s Resale Rights levy (ARR). This had final implementation in the U.K. in 2012, after six years of strong resistance by the government. ARR entitles creators of original works of art to a royalty each time a work is resold through an auction house or dealer for more than €1,000. It is levied at 4% on sales between €1,000 and €50,000, declining to 0.25% on sales at more than €500,000. ARR continues for 70 years after the artist’s death.

ARR has put the U.K. at a distinct disadvantage for art sales compared to dealers and auction houses in New York, Switzerland, or Hong Kong, which do not levy the charge. It has been suggested that the UK’s global art market share in post-war and contemporary (the sector most affected by ARR) fell from 35% to 15% from 2008 to 2013, due mainly to the implementation of ARR in 2006.

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Brexit or not, London will continue to be the preferred choice of residence for international Non-Dom Billionaires, many of whom are major art purchasers, and it is doubtful that a new government will do nothing to make the city or its tax advantages less attractive. London is a major centre for professional and financial services because of the rule of law, and attractive because of its cultural life and quality of infrastructure. The Brexit vote did not change any of this.

The uncertainty surrounding the whole Brexit negotiations has led to a great deal of money being transferred around the money markets to gold, US Treasuries and similar investments deemed a safe store of wealth. Historically, when financial markets are in turmoil, art is seen as a good store of long-term value, and a hedge against inflation and changes in the relative value of currencies. For iconic works, there’s a chance to to peg the purchase price against the future value of the US Dollar. The new financial fragility of the EU means that investors will be concerned about high-debt, high-risk member countries—notably Greece and Portugal, but also Spain and Italy. Borrowing for art purchases against assets in these countries may become more problematic and expensive so it is reasonable to expect that these national art markets will experience a downturn and will languish for a while.

In periods of uncertainly such as Brexit, art investors tend to moderate risk by investing in works by Blue Chip artists and more established genres rather than emerging artists since Blue-Chip artist are believed to be safer stores of value, even if the upside profit potential is less. Undoubtedly this will strengthen the high-end Impressionist and Modern markets, which are already the main players of the total market. This same trend will no doubt be experienced at the top end of the Jewellery and collectors watch markets. There is a consensus in the art market that this ‘flight to the better-known’ will be the case at least over the next year or two.

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In conclusion, as with everything surrounding Brexit, no certainly exists about how it will play out and the affect it will have on the UK Art and Antiques market – but in fairness, why would we expect there to be certainly following the messiest and most expensive divorce in world history? One thing is clear, in the medium to long term the Art Market will survive and adapt to any and all challenges thrown at it, but in the short term the domestic market will undoubtedly show signs of significant market contraction – but this, in itself, will potentially create new investing opportunities for collectors in the medium term.

As ever, it is the top end of the market which will weather the storm best with top examples by established artists attracting attention and achieving strong prices as investors diversify into these Blue-Chip works. Paradoxically, the strong prices that this alternative investing produce will no doubt inadvertently do much to help bolster global confidence in the art market in the medium to long-term.

Call us today to enquire about an appointment on 01883 722736 or email [email protected] or visit our website www.doerrvaluations.co.uk

Are antique owners ready for the new laws on ivory sales?

George III satinwood and inlaid tea caddy

George III satinwood and inlaid tea caddy

In 2019 the Government will introduce its new law for banning the sale of ivory in the United Kingdom.

This has already and will without doubt in the future affect the values of antique ivory items in the United Kingdom.  The new law intends to totally ban the sale of ivory regardless of age.  There are however some exemptions to the new law which are:

  • ‘Items with only a small amount of ivory in them. Such items must be comprised of less than 10% ivory by volume and have been made prior to 1947.’
    Items such as this George III satinwood and inlaid tea caddy with an ivory escutcheon would be exempt under the new law, if containing less than 10% of ivory by volume.
  • ‘Musical instruments. These must have an ivory content of less than 20% and have been made prior to 1975 (when Asian elephants were added to CITES).’
18th century miniature on ivory

18th century miniature on ivory

Pianos, violin bows, guitars and other musical instruments would be exempt under the new law, if made before 1975 and less than 20% ivory.

  • ‘Rarest and most important items of their type. Such items must be at least 100 years old and their rarity and importance will be assessed by specialist institutions such as the UK’s most prestigious museums before exemption permits are issued. In addition, there will be a specific exemption for portrait miniatures painted on thin slivers of ivory and which are at least 100 years old.’
18th century German carved ivory figures of a lady and gentleman

18th century German carved ivory figures of a lady and gentleman

This 18th century miniature on ivory would be exempt under the new law as would this fine 18th century Anglo-Indian Padauk and ivory inlaid desk, on the grounds that they are the most important of their type, subject to exemption permits.

  • ‘Museums. Commercial activities to, and between, museums which are accredited by Arts Council England, the Welsh Government, Museums and Galleries Scotland or the Northern Ireland Museums Council in the UK, or the International Council of Museums for museums outside the UK.’

This fine pair of early 18th century German carved ivory figures of a lady and gentleman would be exempt if accredited by the above institutions.

Will this make ivory items worthless?

19th century carved ivory figure of a fisherman

19th century carved ivory figure of a fisherman

Under the new laws, this 19th Century carved ivory figure of a fisherman and the 19th Century Chinese puzzle ball could not be sold by a retailer, or by private treaty, or at auction, or for any financial gain in the United Kingdom.
Having sppuzzle_balloken to many antique dealers and auctioneers around the country, it is apparent that hammer prices being achieved for ivory pieces at auction have fallen dramatically. For instance, a 19th century ivory chess set that would have fetched between £600 – 800 at auction in the past, would now only fetch £120 hammer price.  After the new law is passed this same chess set would be deemed worthless as it cannot be sold.
In view of the change in the laws for selling ivory, collectors and owners of antique ivory items may wish to review their current values and re-adjust their insurance cover.  It will still be possible to gift items made from ivory without committing an offence.
The new laws are due to come in to effect in mid-2019. For more information please visit: www.gov.uk/government/news/government-confirms-uk-ban-on-ivory-sales

19th century ivory chess set

19th century ivory chess set

Sources: www.gov.uk/government/news/government-confirms-uk-ban-on-ivory-sales
Published 3 April 2018. Department for Environment, Food & Rural Affairs, Foreign & Commonwealth Office, Ministry of Defence, and The Rt Hon Michael Gove MP

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The Lesquesne Silver Coffee Pot
Emperor Nicholas II’s Fabergé gift to an English nobleman
Are antique owners ready for the new laws on ivory sales?
The History of Collecting Oriental Works of Art

MORE ARTICLES

Modern Art and Sculpture
Contemporary Art and Sculpture
Old Master Paintings
Jewellery
Watches
Books, Manuscripts and Written Material
Objects of Virtue
Clothing and Accessories
Insurance Articles
Furniture
Arms and Militaria
Wine and Whisky
Miscellaneous Articles

Call us today to enquire about an appointment on 01883 722736 or email
[email protected] or visit our website www.doerrvaluations.co.uk

The Importance of Having your Watches Valued

You can buy a perfectly reliable and accurate watch for £100 or you can buy one for £1million plus.   Of the top 10 brands, most have about 10 ranges each with about 10 models – plus the myriad of other lesser brands, so getting watch valuation prices accurate is very important.

It’s in the makers’ interest to ring the changes and bring out new models on a regular basis – no self-respecting Manchester United footballer’s wife could be seen today wearing a 2010 model Cartier watch and it’s not often a new model will sell for less than its predecessor, so a watch can quickly become underinsured.

With very, very few exceptions the second-hand value of a watch can be as little as a half or quarter of its new retail price of the current comparable model.  So from both the insured’s and the insurers’ points of view (and the watch valuer’s too!) it is very important to establish if the policy offers ‘new for old’ or ‘like for like’ cover.

There are only two UK based watch manufacturers so 99% of watches sold here are imported so are subject to currency fluctuation. Precious metal and gem stone prices are also prone to price changes – and as most of the top brand models are hand made the cost of skilled watch makers is an important factor in a watch’s retail price.

Condition can be an important factor and should be checked and commented on in a watch valuation.  Particularly in a precious metal watch with a bracelet rather than a leather strap where clasps, buckles and links can wear over time, there’s a risk of the watch falling off with consequent damage or loss.  Also, gem set watches should be checked for claw and setting wear – to source a suitable replacement stone and get it mounted by a skilled setter can be a very expensive exercise.

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Watch fakes (or replicas!)

I must mention fakes – or replicas as the makers prefer to call them! 30 years ago the first Rolex fakes came on the scene and even to the untrained eye they were unconvincing, they weighed half what an original did, they often had quartz movements rather than automatic and  some even had spelling mistakes on the dial.  The 18 carat gold parts of the original watches were made of thin gold plate which could wear through in a couple of months. The new ones are very much better and can be embarrassingly convincing, however most of the better watch brands will have a numbering system, stamping an individual serial number on a watch and in some cases the model range number, so with a bit of research we can be pretty sure. Just a quick ‘trick of the trade’ note on fakes – since about 1980 all Cartier watches with roman numerals will have a secret ‘signature’ on the dial. You may need a quizzing glass or similar but look carefully at all the straight lines of the roman numerals and one of them will not be a line but is the name Cartier spelt out in tiny letters – it’s a detail very hard and expensive to replicate. Cartier change where this ‘signature’ is each year, so you can get an approximate date for the watch, also.
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If the insured is in the position of having to buy a replacement for a lost or stolen watch we do recommend that for the major brands they go to an official agent.  There are many ‘on line’ sites offering very tempting discounts, but problems can occur with warranty and repair claims. Also, in the event of wishing to sell the watch, having original receipts, paperwork and boxes will add value.

We normally recommend an annual review and a revaluation every 3 years and a condition inspection every three.

Our watch valuation document will give full details of the watch, noting individual serial numbers and model references where possible, and a close-up photograph, so in the event of a claim or a ‘post loss’ identification situation.

Call us today to enquire about an appointment on 01883 722736 or email [email protected] or visit our website www.doerrvaluations.co.uk

Asian Art Valuations

The History of Collecting Oriental Works of Art

Vase, made during the reign of the Emperor Qianlong. £53.1 million

Vase, made during the reign of the Emperor Qianlong. £53.1 million

In Europe the collecting of Oriental works of art goes back to the end of the 15th Century when Portuguese traders began to import Chinese porcelain and this fashion for exotic items from the Far East soon swept the whole of Europe with many countries vying to control the market.

Such was the popularity and value of Chinese porcelain that in 1717 Augustus the Strong of Saxony swapped 151 pieces of Chinese porcelain for 600 of the King of Prussia’s finest soldiers.

Other materials were also highly sought after by the Europeans including silk, lacquer and Jade.

In the middle of the 17th century the civil war in China led to a shortage of Chinese goods and so the Western traders approached the Japanese to produce similar items, whilst back in Europe many people were trying to produce wares in the style of the Chinese.

Until fairly recently the market in the West has been dominated by Europeans and North Americans, though the Japanese, who had also collected Chinese porcelain for over 1,000 years, were also buyers.

Recent Trends
In the 21st century the increasing wealth of a great many Chinese nationals has led them to try and buy back their heritage.

The best prices are paid for items made the for the domestic market, particularly those made for the Imperial Court, whilst pieces made for export to the West are largely looked down upon as being inferior.

Imperial porcelain from the 18th century is especially sought after for its high quality, which was often dismissed by Western collectors as lacking the soul and character of Ming and earlier wares.

The finest of these 18th century pieces make many millions of pounds, most famously the vase, made during the reign of the Emperor Qianlong, who ruled China from 1736 to 1795, which sold at a small auction in the Home Counties for £53.1 million.

In recent years the Chinese market has become much more selective as knowledge has increased amongst the dealers and collectors in mainland China, where a few years ago Chinese pieces were bought in an almost indiscriminate manner there is now a greater appreciation of the range of Chinese artefacts and their relative quality.

The high prices and subsequent publicity achieved by Chinese piece brought a considerable number of items onto the market and so the prices for more common pieces fell.

Another result of the high prices being paid for Chinese pieces has been that extremely good copies are now being made which has undermined certain sections of the market and means that provenance has now become of even greater importance than previously, with collectors looking for evidence that a piece has a confirmed history.

Because of strict limitations on the export of cultural items from China, once a piece has been bought and taken to China it can no longer leave the country creating a diminishing supply of good quality pieces in the West, one effect of this has been to broaden the range of pieces collected, pushing up the prices for Ming and earlier pieces, the increase in knowledge of Chinese collectors has also enabled this to happen.

1100 AD porcelain brush washer. £30 million

1100 AD porcelain brush washer. £30 million

 

Chinese porcelain plate, Qianlong period (1736-1795) £40 million

Chinese porcelain plate, Qianlong period (1736-1795) £40 million

Recently a porcelain brush washer from the Imperial Ru kiln, made around 1100 AD, 13cm diameter with a pale blue/green glaze and typical finely controlled cracking to the glaze, sold in Hong Kong for 294,287,500 HKD, around £30 million.

The entry of the Chinese collectors into the market has pushed many of the finest pieces out of the reach of Western Collectors, though there are still areas that are affordable and have not yet been greatly affected by recent events, Chinese export porcelain from the 18th century is still remarkably inexpensive with many attractive piece passing through UK auctions and fairs on a daily basis.

Values for attractive pieces often being measured in the tens and hundreds of pounds rather than the many thousands and even millions, it is possible to buy individual plates from the 18th century in good condition for less than £50, fine export examples with the most attractive and rarest decoration rarely cost more than a couple of thousand leaving a broad and interesting collecting area that is still surprisingly affordable.

Chinese porcelain plate, Qianlong period (1736-1795) £40 million

Chinese porcelain plate, Qianlong period (1736-1795) £40 million

 

 

 

 

 

 

 

 

Call us today to enquire about an appointment on 01883 722736 or email
[email protected] or visit our website www.doerrvaluations.co.uk

Are you correctly insured? The importance of having your contents correctly valued

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Sean McIlroy, Senior Valuer

How much do you insure my contents for?   This is a question asked to all clients by their broker or insurance company.  It’s also the hardest question for clients to answer.
Under-insurance is a huge problem in the industry.  A recent analysis of a sample of Walk Through Validation reports completed by Doerr Valuations, revealed high levels of underinsurance, particularly in the categories of fine art, jewellery and watches. 73% of the clients were under-insured by at least 36% and many, by as much as 50%. The answer to solving this problem is to undertake a Walk Through Validation (WTV) or a Full Valuation.
A WTV is an independent contents survey provided to appropriate clients which includes the general contents, fine art and jewellery assessment. Its aim is to ensure the correct levels of cover are in place and advise if a full valuation is needed.
The process for a WTV takes around two hours beginning with a discussion with the client about their current sums insured and how these figures were arrived at.  There is also a conversation about where and how items would be replaced in the case of a claim, whether it be at an Interior Designer, Harrods, John Lewis or Ikea.  No one assessment is the same, every client is different.   It’s very important to understand the clients buying habits to enable us to provide a value.  Every area of the contents is covered, including the replacement of your wardrobe contents, shoes and handbags, outdoor items and outbuildings.
The survey is a room by room, category by category break down of the contents where a senior valuer attends.  At the end of the WTV the figures are added together in their correct categories and totalled.  The senior valuer then discusses the findings and agrees them with the client.
In many cases high net worth clients may have specialist collections.  This may be in Contemporary Art, Jewellery, Watches, Silver, Porcelain or even Handbags.  If this is the case the survey would recommend a full valuation for a particular category by one of our relevant specialists.  This ensures that the sums covered are accurate.
The survey will include values and photographs of high value items and a photograph of the property and general room shots.  A section on security including confirmation of alarm systems, locks, safes etc, is also included.

The benefits of a WTV are many.

For the client, the contents sums insured are accurate and independently verified so they give piece of mind for the client and the broker can feel confident that they have done all that they can to make sure their clients are correctly insured.

For the underwriters, they will know the sums insured are correct and independently verified thus easing any claims process that may arise should the client suffer a loss.

For the cost of approximately £500 which may well be less than your Policy excess, it’s a win, win situation for clients, brokers and insurance companies alike.

When properly insured, should you suffer a loss you can be confident that the settlement you will receive from your insurer will replace the contents of your home for you and your family.