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Unearthing Literary Treasures by Richard Fattorini

Unearthing Literary Treasures

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The Fascination of Collecting Beatrix Potter First Editions

In the realm of literary works, few names conjure up the same sense of whimsy and charm as Beatrix Potter. The beloved author and illustrator has captured the hearts of readers young and old with her enchanting tales of mischievous rabbits, dapper mice, and adventurous squirrels. As a result, the quest to collect first editions of her works has become a passion for collectors worldwide, offering not only a glimpse into the history of children’s literature but also a chance to connect with the magic of Potter’s timeless stories and illustrations.

The Tale of Peter Rabbit

In September 1893 Noel Moore, the five year old son of Beatrix Potter’s friend and former governess was unwell. To cheer him up Potter wrote the now famous Peter Rabbit picture letter. “I don’t know what to write to you,” she began, “so I shall tell you a story about four little rabbits”. Noel was delighted with the letter and a few years later Beatrix decided to develop the story and turn it into a little book. Thus The Tale of Peter Rabbit was born, but it took a while for the story to make it into print.

Potter approached many publishers with her manuscript but to no avail, so she resolved to publish the story at her own expense and sent the manuscript to a London printer Strangeways & Sons. Thus is was that on the 16 December 1901 an edition of 250 privately printed copies of her book were ready to sell or distribute to friends. To keep printing costs to a minimum the book had a card cover and only one colour illustration with the other illustrations being in black and white. The size of the book was also important: Potter believed that it should be of a size that a child could hold easily in their hands and the paper should be durable, so the pages were easy to turn.

The Tale of Peter Rabbit was received with great enthusiasm by children and adults, so Potter ordered a second printing of 200 copies. The format remained the same as the first printing, but there were some minor changes to the text and the quality of the binding was improved. The colour of the boards changed from grey to olive green and the spine became rounded, rather than flat. Booksellers and collectors often describe these two privately printed editions as either ‘flat backed’ or ‘round backed’.

The first Trade Printing

In December 1901 Beatrix Potter received a letter from the publisher Frederick Warne which read: ‘Dear Miss Potter, I must apologise for not having written to you earlier with reference to the “Bunny Book”’. Warne offered to print the story in an edition of 5,000 copies, on the condition that Potter supplied all the drawings in colour. They suggested a royalty of 1d (one pence) per book, rising to 3d (three pence) per book should there be any subsequent editions. Warne cautioned that: “we cannot tell whether the work is likely to run to a second edition or not, and therefore we fear it might not provide a reasonable remuneration for you.”

Following some negotiations a contract was agreed and Potter set to work producing the illustrations in colour. So it was that in October 1902 the first published edition of The Tale of Peter Rabbit was offered for sale in book shops in Britain. Potter wanted the book to be affordable so there were different editions available: the book was available to buy in either brown or grey paper boards, retailing at 1/- (one shilling) or in pale green cloth, retailing at 1/6 (one shilling and sixpence). Warne suggested that brighter colours might sell better, but Potter was adamant that the colours of the boards needed to be in keeping with the natural colours of her animal world.

Warne’s publication of The Tale of Peter Rabbit, launched Potter’s career as a children’s author and has remained in print ever since. Subsequent titles, including The Tale of Squirrel Nutkin (1903) and The Tale of Benjamin Bunny, (1904) followed in quick succession, each adding to Potter’s growing legacy.

The Appeal of Beatrix Potter First Editions

What makes collecting Beatrix Potter first editions so appealing? At its core, it’s a journey into the past, a way to trace the evolution of Potter’s writing and illustration style, and to appreciate the craftsmanship of these hand-sized publications. Each first edition holds a unique story, from the initial print run to the hands that have cherished it over the decades. For many collectors, owning a piece of literary history is a way to pay tribute to an author whose work continues to captivate generations.

Navigating the World of Beatrix Potter First Editions

For those embarking on the quest to collect Beatrix Potter first editions, understanding the nuances of the market is essential. Identifying true first editions can be a challenge, as publishers often made subtle changes to subsequent printings. Key indicators of a first edition include the presence of the phrase ‘All rights reserved’ on the title page, as well as the absence of later printings listed on the verso.

Additionally, examining the colour and condition of the dust jacket, if present, can provide further clues to a book’s authenticity. Potter’s books are notoriously difficult to date as the publisher Warne used a dating process which is not easily decipherable for novice collectors. In most instances Beatrix Potter first editions state the publisher as ‘F. Warne & Co.’ before Warne became incorporated in 1919 and the imprint changes to ‘F. Warne & Co. Ltd’.

The Rarity and Value of Beatrix Potter First Editions

While some of Potter’s works were printed in large quantities, others had more limited runs, adding to their rarity and value. For example, The Tale of Peter Rabbit had an initial print run of just 250 copies, making first editions of this iconic book highly sought after. Similarly, titles such as The Tale of Mr. Jeremy Fisher (1906) and The Tale of Jemima Puddle -Duck (1908) are prized for their scarcity and charm.

In recent years, the market for Beatrix Potter first editions has experienced steady growth, with rare and pristine copies commanding high prices at auction. Collectors are willing to pay a premium for books in excellent condition, with original dust jackets or glassine wrappers, and minimal signs of wear. However, even well-loved copies with some wear and tear can hold significant value, particularly if they possess unique provenance or inscription by the author.

The value of a first edition can vary significantly, with pristine copies fetching five-figure sums, while worn copies without a dust jacket may be worth in the hundreds of pounds. While some early editions may hold value, the sheer number of subsequent printings means most are worth only a few pounds.

Preserving a Literary Legacy

Beyond the thrill of acquisition, collecting Beatrix Potter first editions is also a means of preserving her literary legacy for future generations. By safeguarding these rare and cherished books, collectors play a vital role in ensuring that Potter’s timeless tales continue to enchant readers for years to come. Whether displayed on a bookshelf or carefully tucked away in a protective sleeve, each first edition serves as a tangible reminder of the enduring magic of Beatrix Potter’s imagination.

In the end, collecting Beatrix Potter first editions is about more than just acquiring rare books – it’s a journey of discovery, connection, and appreciation for one of the most beloved authors in children’s literature. With each new addition to their collection, enthusiasts pay tribute to Potter’s legacy and celebrate the enduring power of storytelling to ignite the imagination and inspire wonder in readers of all ages.

Easter Eggs

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After extensive, but not wholly onerous research, I have found that the must have luxury chocolate Easter egg for 2024 is the Grande Easter Egg from Betty’s in Yorkshire. Your £375 will allow you to acquire over five kilos of Grand Cru Swiss chocolate made from Venezuelan criollo cocoa beans. Your egg will be applied with iced Spring flowers including narcissi, primroses, pansies and lily of the valley all with hand piped stems. Betty’s have been producing these hand crafted edible masterpieces for over a hundred years.

However, the history of eggs at Easter goes back many centuries. In the 1290 household accounts of Edward I ‘one shilling and sixpence for the decoration and distribution of pace eggs.’ ( Pace being a dialectical term for pashe or pascal.) These were hens’ eggs which had been dyed or coloured and were distributed to members of the Royal household. These eggs would have been wrapped in onion skins and then boiled, when the onion skin was removed the eggs looked as though they had a mottled gilding. The Scandinavians had a similar tradition also using flowers and leaves to produce a pattern.

Throughout Europe eggs were dyed and painted; and eggs were in plentiful supply. Although Shrove Tuesday saw the using up of eggs to make pancakes prior to Lent, no-one told the chickens that eggs were off the menu for the next forty days, so they continued to produce them, resulting in a glut of eggs by Easter. Throughout Europe and beyond the decorating and distributing of eggs has been part of Easter celebrations for hundreds of years.

The White House has a traditional Easter Egg Roll. In 1878 the President Rutherford B Hayes allowed the White House Grounds to be opened on Easter Monday and children were allowed to bring along Easter eggs and roll them on the lawn with a long handled spoon. Today it is a huge event and children can enter a public ballot to attend.

The ultimate Easter egg tradition is that of the Fabergé eggs. Jewelled eggs had been gifted at Easter before 1885. However, Grand Duke Vladimir Alexandrovich, brother to Tsar Alexander III suggested that Peter Carl Fabergé be commissioned to create a Royal egg. The egg, known as the ‘Hen Egg’ was given to the Tsarina, who was thrilled with it. It opened to reveal a golden hen sitting on golden straw and inside the hen was a replica of the Imperial Crown and a ruby pendant. Fabergé had triumphed and Alexander named him ‘goldsmith by special appointment to the Imperial Crown’, placing an order for another egg the following year. The eggs became more ornate and elaborate year after year. The designs did not have to have Royal approval, the only prerequisites were that each should be unique and contain a surprise. The eggs made for the Russian Royal family are known as the Imperial eggs.

A few notable figures, including the Rothschilds commissioned eggs of their own, but these were not numerous. The revolution in 1918, inevitably saw an end to this tradition, although Fabergé in its more recent incarnation still produces egg themed jewellery. Should you wish to purchase your own Fabergé egg pendant this Easter, the 18 carat gold, diamond and enamel Palais Tsarkoye Selo turquoise egg containing an enamel and diamond locket, can be yours for £12,000.

The popularity of gold and silver eggs with novelty surprises may have begun with Fabergé but has been taken up by others. In the 1960’s and 70’s the English silversmith Stuart Devlin acquired a large following for his eggs. They are still popular today and one sold at auction recently with Dreweatts at a hammer price of £1,100.

A longchain suspending numerous French, Austrian and Hungarian egg pendants sold in 2022, as seen in the adjacent images. The finesse of the manufacture, the frequent use of colourful guilloché enamel and the cute novelty surprises inside, helped Bonhams reach a hammer price of £28,000.

If this all seem a little overwhelming perhaps it’s time to consider the more modest Cadbury’s creme egg. Initially sold as the Frys’s creme egg, it became part of the Cadbury family in 1971. They are still only available from New Year’s Day until Easter Sunday and in recent YouGov poll they were ranked as the UK’s most famous confectionery.

We hope that the Easter bunny will bring you your egg of choice and Doerr Dallas wishes you a very happy Easter.

All that Glisters is not Gold

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Since ancient times silver and gold have been highly regarded for their natural beauty, as well as their intrinsic value but why is there such a discrepancy in their values?

Status

Gold has always been seen as a display of wealth, as far back as ancient Greece and Rome the homes of the nobility held impressive collections and women were adorned with exquisite jewellery. A fine example is the pendant below, discovered in Crete in 1930.

Rarity

For every eight ounces of silver that is mined only one ounce of gold is extracted.

The mining of gold is hugely challenging, as well as expensive. Expertise in many areas is needed, including geology and engineering. In fact, less than 0.1% of prospected sites will lead to success with often a wait of up to twenty years before a discovered mine will produce material for bullion.

Investment

The spike in the price of gold during the Coronavirus pandemic of 2020 wouldn’t have come as a surprise to many, in times of economic crisis and catastrophic world events the investment in bullion can be viewed as a ‘safe haven’.

This small 18ct gold case sold at auction for £5,437 in February 2020, working out at £787 per ounce.

As the year progressed and the pandemic hit, gold prices peaked at £1,555 per ounce in August. Had this sold that summer it may have achieved over £10,000.

Also sold in early 2020 was this fantastic Victorian silver table bell achieving £5,062. At only 16cm long this shows how unusual items of vertu are sought after by collectors. Highly celebrated makers like Paul de Lamerie will always be popular but fashions have changed over the past twenty years. Mass produced items like tea services and salvers sell at scrap price, whereas areas such as mid-century and Danish silver continue to rise.

Gold will continue to be the favourite for investment due to the potential for high gain. Investment in silver can be prudent if only you can predict the fashions of the future!

At the time of writing this article the gold price was approximately £1,600 per ounce, silver £18 per ounce.

Mouseman furniture

The Timeless Appeal of Mouseman Furniture

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One knows that a true sign of an endearing artist is that of the moniker – we have seen it recently with Banksy, and throughout the past few decades with musicians such as Ringo and Prince, but perhaps one of the trendsetters in this field was actually a Victorian woodworker from Yorkshire, called Robert Thompson.

Born in 1876 in the small town of Kilburn in North Yorkshire, he inherited his father passion and skills for working with wood and specifically oak, starting with the family business creating doors, gates and kitchen cabinets amongst many other run of the mill items, then in 1895 the range of furniture that he is best known for began to take shape.

The gothic style mixed with the very current Arts & Crafts movement gave Robert Thompson the artistic freedom to develop some of the most popular designs for furniture of the 20th Century. Encompassing traditional techniques of manufacture such as mortise and tenon joints, dovetailing and pegging, the unique quality fighting against what was a tide of massed produced utility style furniture.

Working initially with churches and schools, Thompson designed many pews and benches, and one day whilst almost playing an ‘in-joke’ upon himself, he carved a small rodent into one of the ecclesiastical pieces supports – in his mind the colloquial phrase “Poor as a Church mouse”.

Following this moment of inspiration, the desire for his work and style moved on from just churches and schools to reach the homes of the fashion conscious furniture seekers of the 1920s and 1930s, and these without doubt are the pieces to look for when it comes to collecting. By this point ‘Mouseman’ or ‘Mousey’ had trademarked the cheeky chap whom now adorned all of his pieces, and not as a joke, but as a sign of quality.

mouseman furniture

The dresser detailed below is one of the many bigger pieces made by Mousey in the peak of his career, and whilst it made £35,000 at auction back in 2018, one would expect a retail price for it in 2024 to be over £50,000.

mouseman furniture

The Blanket box, with a fantastically 17th Century influence – even with a cheeky nod having the date of manufacture in a moulded plaque to the front, indicates that it was made in 1920, the start of the pinnacle of his career – commanded a price of £12,000 in 2022 at auction, which identifies it as being one of the most desirable medium sized pieces.

mouseman furniture

The last two items show the creative side of Mouseman, combining a mantel clock flanked by a pair of elephants, which without Thompsons influence would be virtually valueless, and perhaps one of my favourites, a sculpture of a mouse with apron and tools, even entitled ‘The Mouseman of Kilburn’. Funnily, this title indicates the humility of the artist that he could laugh at his own fortune. These items making £10,000 in 2023 and £13,000 in 2021 respectively indicates the rarity and demand for such individual pieces.

The Mouseman of Kilburn

The Mouseman legend has lived on for decades following Mousey’s death in the 1950s, with his family still at the helm of the business creating quality oak furniture in North Yorkshire to this day, with many of the original designs still available, and whilst it is not uncommon to see Mouseman pieces at auction, the rarer items are still a treat to see, and still make the kind of prices that befit a man of such character and celebrity. Call us today to enquire about an appointment on 01883 722736 or email enquiries@doerrvaluations.

Unveiling the Brilliance Lab-Grown Diamonds

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When is a diamond not a diamond?

What do you call diamonds that are not formed underground but grown in a controlled environment that mimics the conditions under which natural diamonds develop? So, are they synthetic, lab-grown or factory grown or simply ‘diamonds’?

First of all, lets look at how you ‘grow’ those divine diamonds.

There are two popular ways to grow a diamond. Both involve starting with the ‘seed’ of another diamond. The first lab diamond was made in the 1960’s and the industry has changed massively in size and complexity in the intervening 65 years.

The growing of LGD’s is a little like the VHS and Betamax fight in the 1980’s. The first option is using a High Pressure High Temperature (HPHT) system, where the seed is then placed amidst some pure graphite carbon and exposed to temperatures of about 1,500C and pressurised to approximately 1.5 million pounds per square inch in a chamber. The alternative model to make diamonds is called Chemical Vapor Deposition (CVD). This was slower out of the starting blocks but the quality and size of diamonds produced using this method is arguably superior to HPHT.

This system involves putting the seed in a sealed chamber filled with carbon-rich gas and heating to around 800C. Under these conditions the gases begin to “stick” to the seed, growing a diamond carbon atom by atom.

No one knows quite yet who will win the fight like VHS did back in the day. Vast research development and investment is being put into both practises with neither side prepared to admit defeat yet.

LGD’s represent nature at its most perfect, at a fraction of the price of a natural diamond.

Retail

  • 3ct G VS1 round brilliant cut LGD in 2021 – £16,500
  • 3ct G VS1 round brilliant cut LGD in 2023 – £7,500
  • 3ct G VS1 round brilliant cut certificated natural in 2021 – £55,000
  • 3ct G VS1 round brilliant cut certificated natural in 2023 – £70,000

Some of the questions we are asked are ‘Are they real diamonds?’ and ‘Can you tell them apart from a natural diamond?’

The answer is yes to the first question. They test as a diamond (2.412 on a refractometer) visually and chemically identical to a natural diamond.

However, they can be told apart by those in the know.

Using LWUV and SWUV (long wave ultraviolet and short wave UV) the florescence of a factory made stone is an absolute giveaway. They often have a strong turquoise or purple colour that you never find in the natural world. The growth structure can also give away a man-made diamond because they were grown so quickly, the atomic structure does not have the same chance to settle into a classic framework.

The pricing of diamonds, whether natural or labgrown, depends on various factors such as carat weight, cut, colour, and clarity. While lab-grown diamonds are generally more affordable than their natural counterparts, the price difference is becoming more pronounced as technology advances and demand grows.

Natural diamonds are esteemed for their rarity, formed over millions of years deep within the Earth. Lab-grown diamonds, despite sharing the same physical and chemical properties, are sometimes perceived as less valuable due to their manufactured origin. Costs over the last two years has dropped in value of these stones while natural diamonds are keeping their value.

The latest findings propose that there is very little resale value for a LGD. Many auction houses will not take them and many of the large fine jewellery houses will not sell them including De Beers who set up their own LGD factory and company for their ‘Lightbox’ ranges. They stopped making engagement rings in 2022.

The marked retail price difference gives rise to the challenge in ensuring transparency and proper disclosure to the consumer. Some critics argue that buyers may not always be adequately informed about whether the diamond they are purchasing is natural or lab-grown.

Due to the price differential this could be a devastating find?

Did you know; if a diamond is marketed or sold or valued as a ‘diamond’, without a pre-fix such as lab-grown, synthetic etc, then it is assumed to be an earth grown natural diamond? All lab-grown diamonds of any shape or size must have a pre-fix to aid a consumer’s educated decision process.

During a recent valuation, a diamond ring was presented from a charming young man, who had purchased it to propose to his girlfriend. However, during our appraisal, Annabell had to give him the devastating news that it was not a natural diamond. He had purchased the stone for £38,000 when infact,the price should have been around £9,000– did the jewellers know it was lab grown?

This type of miss-selling has caused the potential for market confusion. Consumers might face challenges distinguishing between natural and lab-grown diamonds, impacting the perceived value of their purchases. So, it is important to buy your jewellery from a recognised jewellery company.

Having reviewed some of the challenges for LGDs verses natural diamonds, they are still hugely popular. In August 2023, LGD amounted to 50% of all diamonds purchased in America. Pandora, who are one of the world’s largest jewellery companies, uses LGD for many of their designs. Gems TV and ‘fashion jewellery’ brands are developing price sensitive ranges for LGDs and because of the size of the market and the lower margins being made, the producers are concentrating on melee size cut goods for watches and ‘halo’ rings and larger (2ct plus) ultra high quality diamonds, such as E & F colour VVS clarity.

So, are Lab-Grown Diamonds here to stay… the rise of lab-grown diamonds is indicative of a broader trend toward sustainable and ethical practices in the jewellery industry. While traditional diamonds maintain their allure and value, lab-grown diamonds are carving a niche for themselves, driven by consumer demand for more price sensitive choices. As technology continues to advance and consumers prioritise ethical considerations, lab-grown diamonds are likely to remain a significant player in the market. However, the coexistence of natural and lab-grown diamonds is expected, with each catering to different preferences and values. The issues associated with lab-grown diamonds against natural stones are multifaceted, touching upon perceived value, ethical considerations, disclosure, and market dynamics.

Will natural diamond values increase due to scarcity? Will women prefer to have a natural diamond on their finger rather than a lab-grown diamond or will price decide?

We wait and watch!

Antique Jewellery

Antique Jewellery

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Antique, heirloom second-hand jewellery is a finite commodity, sometimes incorporating unrepeatable craftsmanship and irreplaceable gemstones.

Some of my favourite jewels are antique pieces. The reason is simple: exceptional quality and craftsmanship. One could argue that with today’s tools and technology, jewels are just as well made, if not better. But there is a difference, the exquisite craftsmanship from a hundred, or two hundred years ago was so exceptional that these “artists” accomplished unique pieces, without our modern tools and are still admired to this day.

Cartier is often the go to example when discussing unique skills, then and now. The above Art Déco sautoir by Cartier, was sold at Christie’s in May 2012. With an estimate of CHF74,000-110,000 (approx. £60,000-85,000), it sold for CHF 507,000 (approx. £400,000), excluding premium. The hammer price reflects a combination of excellent work but also unique gems. The quality of the emeralds would have been chosen to be the most vivid green, eye-clean or with very few inclusions. And the pearls, would have had to be selected minutely to match in size, colour, overtone and quality. Any blemish to the nacre, and the pearl would have been discarded.

This necklace would have required hundreds of hours from skilled jewellers and tradesmen.

Another example of the skilled work is this below Belle Epoque pendant watch by Cartier. The pink is enamel and the technique is called guilloché enamel. It resembles waves and the know-how to achieve this is unparalleled. It was sold for CHF7,500 (approx. £6,700) excluding premium at Sotheby’s.

Though the technique requires exceptional skill, the piece’s relatively “low” value for an antique Cartier jewel, can be explained by the lack of gems. Unlike the sautoir, only a few rose-cut diamonds were used in this piece. As complex and unique as this piece is, the demand for such an item is less than, for example, the below rock crystal and diamond Art Deco bracelet by Cartier, and therefore commands a lower price.

The rock crystal and diamond bracelet sold at Sotheby’s for USD237,500. The seven larger old European-cut diamonds, weighing approximately 11.60 carats, are approximately H-I colour and SI-I clarity. The smaller old European, old mine and rose-cut diamonds, weighing approximately 6.80 carats, are approximately G-J colour and VS-I clarity. This piece, just as with the sautoir, is a perfect combination of choosing good quality gems, and working with a semiprecious gem, rock crystal, in such a manner, that probably only a handful of people could ever deal with. The bracelet was sold with a note from the jewellery department stating that it is “exceptionally flexible and supple”. An incredible achievement.

Side stepping away from the worldrenowned jeweller, is Bvlgari. In the 60s, Bvlgari created an entire collection based on antique and irreplaceable coins, the Monete collection. Launched in the 60s, it is one of their most celebrated and successful collections, worn by private individuals and also Hollywood glam, such as Anne Hathaway, below, wearing Monete High Jewellery by Bvlgari.

Their collection includes coins from centuries BC, and never-used replicas. This meant there was limited supply and sourcing took a long time when they initially launched the collection. As popularity grew stronger, sourcing became easier and quicker. Though readily available, these jewels still retail for several thousands, and tens of thousands of pounds.

Irreplaceable gems and antique jewels make up some of the most precious collections, whether on display in a museum or on sale at auction. Exceptional prices and auction sale results will always take the world by surprise but can we actually put a price on a unique antique items of jewellery? Sentimentality will always play a role when inheriting jewellery, and who could put a price on those feelings.

Strumming The Strings Of History

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Christie’s auction of Mark Knopfler’s guitar collection on 31st January 2024.

Mark Knopfler, the virtuoso guitarist and frontman of the iconic rock band Dire Straits, is not only a musical legend but also a passionate collector of guitars that have played a significant role in
shaping his distinctive sound.

On the 31st January, Christie’s Auction House had the privilege of hosting the sale of a portion of Knopfler’s remarkable guitar collection, offering enthusiasts a chance to own a piece of musical history.

The preview of the sale included an immersive sound experience delivered by Dolby and Neumann, which attracted fans from across the world, and generated excitement for almost two weeks before the sale.

The collection saw unprecedented interest, with over 2,300 registrants from 61 countries taking part — 84% of whom were new buyers to Christie’s, the sale lasted over six hours and sold 100% of the lots being offered.

Mark Knopfler: A Musical Journey

Mark Knopfler’s musical journey began in the late 1970s when he formed Dire Straits. His fingerstyle technique and soulful compositions quickly set him apart, earning the band global acclaim. Over the decades, Knopfler has become a respected solo artist, known for his storytelling lyrics and masterful guitar work.

Beyond his success in the music industry, Knopfler’s passion for guitars has been a constant companion throughout his career. The auction at Christie’s provided a rare opportunity for fans to delve into his personal collection and connect with the instruments that contributed to the creation of some of the most iconic songs in rock history.

Some of the highlights included:-

A 1959 Gibson Les Paul Standard, achieving an impressive £693,000, this vintage Les Paul Standard was a centrepiece of the auction. With its rich tone and exquisite craftsmanship, it’s a guitar that undoubtedly played a crucial role in shaping the Dire Straits sound.

A 1988 Pensa-Suhr MK-1, co-designed by Mark Knopfler and used at the Nelson Mandela 70th Birthday Tribute concert in 1988 at Wembley Stadium, sold for £504,000.

A red Schecter Telecaster used to record the hit Dire Straits song ‘Walk Of Life’, fetched £415,800.

The iconic 1983 Gibson Les Paul Standard ’59 Historic Reissue, used by Mark Knopfler to record and perform ‘Money For Nothing’ and ‘Brothers In Arms’ and played on stage at Live Aid, achieved £592,200.

The auction also featured handwritten lyrics, stage-used amplifiers, and other memorabilia, giving fans a comprehensive look into Knopfler’s musical journey.

The Christie’s auction not only provided a platform for guitar enthusiasts to acquire instruments from a music legend but also allowed them to own a piece of the stories behind the music. Each lot sold at the auction carried a unique history, resonating with the spirit of Mark Knopfler’s illustrious career.

As the gavel fell on each lot, it marked the beginning of a new chapter for these guitars, now in the hands of collectors who will cherish and appreciate the musical legacy they represent.

The total sale achieved £8,840,160 – a fantastic result and a true testament to the phenomenal global appeal of Mark Knopfler and Dire Straits.

25% of the proceeds will be divided equally and donated to charities Mark Knopfler has supported for many years: the British Red Cross, Tusk and Brave Hearts of the North East.

100% of the funds raised from the final lot, the 2021 Gibson Les Paul ‘Gold Top’ guitar signed by world-famous musicians including Mark Knopfler, which sold for £403,200, will be donated to Teenage Cancer Trust.

The Crown auction at Bonhams

Bonhams: The Crown Auction

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We are in the era of prestige television.

Historically, T.V. programmes have been looked upon as the lesser relation to cinematic releases – movies traditionally viewed as pinnacle of film making. Today, television shows are often highly respected productions. As series run over weeks or even years, they can capture the public imagination with scores of fans and followers alike. These shows are essential to the success of streaming
platforms – with large budgets and famous casts the quality of productions has improved enormously.

As such the field of Entertainment Memorabilia collecting has expanded with those objects featured in major television series, being broader and highly sort. Production companies have apparently become more aware of the value of these assets. Once filming ceases and series end, auctions of costumes and props are becoming more of a common occurrence.

It is with this backdrop, and several months of planning that Bonhams, London announced they would be holding an auction of costumes, props and designs used during production of the Netflix series ‘The Crown’.

The Crown has done a tremendous job of creating fictionalised accounts of historic events – capturing World Affairs and global politics from the 1930s to early 2000s. The series managed to recreate the costumes and settings enjoyed by the Royal family.

The Bonhams auction was arranged as two separate sales – a one day Live Auction including 161 lots and many of the most valuable pieces, held at their New Bond Street headquarters. The second being an Online Auction of the more affordable and decorative objects, closing the following day. Proceeds from the Live Auction are to be donated to the National Film and Television School for a scholarship programme.

The pre-sale viewing for the auction was very popular with over 30,000 people attending – it is not very often that one can be photographed standing in the doorway to Number 10 Downing Street (be it a prop or otherwise – which eventually sold for £10,800 plus BP) or next to so many recognisable costumes.

The skill of the prop makers and set designers for the series was clear throughout the sale. One of the most impressive lots of the live auction was lot 80 – a reproduction of the Golden State Coach.

This is a highly accurate facsimile of the famous original, which has been used at every Coronation ceremony since 1831. The coach is a magnificent achievement in prop making. The replica was
designed and manufactured by specialist team including film horsemasters The Devil’s Horsemen and prop design company Anarchy. To achieve an accurate copy the coach was constructed in part from fibreglass, clay and 3-D printed elements. This stunning lot was sold for £56,280 (inc. BP).

A similarly important prop relating to the Coronation was lot 20 – a reproduction of Saint Edward’s Chair, otherwise known as the Coronation Chair. The chair – central to British history and the Coronation ceremony was predominantly manufactured out of fibreglass and had featured in the 5th episode of series one of the show. This precise replica of the 14th century original, such an important symbol of Royal authority, sold for £25,660 (inc. BP).

Another feat of prop making was lot 158 – a replica model of the funeral procession of Her late Majesty Queen Elizabeth II. According to the catalogue the model had taken between six and eight weeks to produce, being over 12 meters wides, including over 500 Britains soldiers, two hundred 3-D printed models (all having been designed and produced by The Crown team and hand-painted with accurate costume) devised by a group of experts. The selling price here was £53,740 (inc. BP).

As with the props, costume was an important element of the sale with detailed reproductions of famous regalia, evening wear and everyday outfits being included. The highest price achieved for costume in the Live Auction was for lot 21 – a replica of Queen Elizabeth II’s ceremonial Coronation garments. The original was in part designed by Norman Hartnell – the multi element costume worn by Claire Foy sold for £19,200. Also from the Coronation ceremony was lot 22 – a replica of Princess Margaret’s Coronation gown and robe. This time the lot sold for £6,144 (inc. BP).

Lot 238 was a cornelian jewellery suite designed for Vanessa Kirby as Princess Margaret and featuring in season 2. The set was specially commissioned by costume designer Jane Petrie and made by jewellery designer Katy Hackney. The catalogue detailed the inspiration behind the suite, conceived to act as a direct contrast to Her Majesty’s pearls. The lot included ear clips, triple strand
choker, together with original design. This fashionable suite sold for £5,376 (inc. BP).

For the fashion savvy lot 125 – a Christian Dior ‘Lady Dior’ handbag. This example, in black lambskin had been worn by Elizabeth Debicki during Season 5. The bag is closely associated with the late Princess Diana and was named ‘Lady Dior’ after Lady Diana. It is believed she owned the bag in every colour and was regularly seen carrying it, after she first received one as a gift from the First Lady of France in 1995. This bag sold for £10,880 (inc. BP).

Arguably one of the most iconic costumes in the auction was lot 134 – a replica of the black silk and chiffon cocktail dress worn by Princess Diana in November 1994. Dubbed the ‘Revenge’ dress, it had featured in Season 5, Episode 5 ‘The Way Ahead’. Unsurprisingly, one of the most sought after outfits in the sale (the lot additionally included bag and shoes) it sold for £12,800 (inc. BP).

In direct contrast one of the more affordable lots of the sale was 314 – A blouse and dungarees worn by Emma Corrin portraying the young Lady Diana Spencer. This lot costume achieved £435.20 (inc. BP).

Costume designs themselves were also popular with a number being offered for sale. Lot 170 was a collection of three watercolour and pencil designs executed by Michele Clapton for the character
of the Queen. The illustrations, which included fabric swatches and detailed annotations gave an insight into the Emmy Award winning costume designers work. They sold for £5,376 (inc. BP).

Interestingly, many of the pieces featured in the sale were not modern replicas but fine antique furniture and decorative objects. To reproduce the interiors afforded to a Royal household, pieces
had been carefully selected by the set designers. Chimney pieces, toys, ceramics and glass were all available.

Within the Online Auction lot 168 was a William IV rosewood breakfast table used as part of the Buckingham Palace set. This traditional antique sold for £8,320 (inc. BP).

Lot 200 was a typical lot one might expect to see in a sale of Fine Furniture – a George II chest on chest. This 18th century and later piece of crossbanded walnut had been used as part of the set
for the Queen’s bedroom. With strong bidding it eventually sold for £21,760.

Lot 322 was a French 19th century kingwood, parquetry and cross banded brass mounted liqueur set. The set which is visible in the Audience Room scenes included glasses and decanters. It fetched £5,632 (inc. BP).

The most expensive piece of furniture included in the two auctions was lot 237 – A parquetry and gilt metal mounted cylinder bureau in the Louis XVI style. The bureau, having only been estimated at £2,000 – 3,000 was used by all three of the actresses playing the Queen (Claire Foy, Olivia Colman and Imelda Staunton). The lot was offered with set dressing, including framed
photographs and desk accessories. The piece was important to the history of the show, having served as a prop during the London stage production of ‘The Audience’ in 2013 – the inspiration
for The Crown series. The eventual online selling price was £46,080 (inc. BP).

On a different note, was lot 58 – two Beswick porcelain models of corgis. A common sight in Antique Centres across the UK, they had been chosen by the Set Decorating Department due to their similarity to pieces found in Windsor Castle. Offered together with an Edwardian silver photo frame containing a picture of a corgi – against a pre-sale estimate of £200 – 300 the charming lot sold for £3,328 (inc. BP).

The highest price paid during the Live Auction was for lot 102 – a 1987 Jaguar XJ-SC car – the vehicle had been used as a double for the late Princess Diana’s Jaguar, driven from 1987 – 1991.
The original, now part of the collection of Jaguar Heritage Trust, was adapted from a two-seater to allow Princes William and Harry to be passengers. Elizabeth Debicki as the Princess can be
seen driving it in the show. The car eventually achieved £70,250 (inc. BP).

The Crown auction highlighted the research and detail required when staging a production such as The Crown. This was evident during the online auction, where seven lots from The Crown’s reference library were on offer. Lot 498 included 90 volumes on the Royal Family – the books were no doubt invaluable to the team involved. The footnote detailed how the production used five full time researchers and other full-time staff to achieve historical accuracy – this lot sold for £2,816 (inc. premium).

This white glove sale of over 470 lots eventually realised over £1.6 million.

Ladies Valentine’s Gift Guide

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Valentine’s Day is named after Saint Valentine, a Catholic priest who lived in Rome in the 3rd Century. There are many stories about St Valentine and over time these stories grew into the legend we know today. It is an annual festival to celebrate romantic love, friendship, and admiration. Every year on the 14th of February people celebrate this day by sending messages of love and affection to partners, family, and friends.

Some people love it, some hate it, and some just ignore it altogether. We believe that rather than seeing it as an exclusively romantic occasion, why not look at it as an opportunity to show your favourite person how much you love them?

Although giving a gift is not essential, when it comes to showing a little appreciation, springing for one of the best Valentine’s gifts certainly won’t go unnoticed. For a few ideas on ways to celebrate, share, and spread the love this year this is our guide to what women want for Valentine’s day.

Tiffany & Co

Tiffany & Co was founded in 1837 and has been in the hearts and collections of jewellery lovers for 187 years. They have a fabulous range of jewellery including diamond engagement rings and designs by Schlumberger and Paloma Piccasso. One especially romantically themed design is the Open Heart Collection by Elsa Peretti.

Elsa Peretti’s history with the brand started in 1974, when she began her longstanding collaboration that resulted in the creation of many of Tiffany and Co.’s most iconic designs.

Known for her unique silhouettes, Peretti designed Tiffany pieces that have now become synonymous with love, minimalism, and luxury. The Open Heart Collection, which features sleek heart designs strung from delicate chains or ropes, has been a bestseller since its release. Pieces are available in gold and silver and some are diamond set. The design has featured in many films, including Bridget Jones’s Diary.

Due to their popularity these pieces increase in value every year. They remain extremely popular, often going out of stock, they also sell very well on the open market.

Here is an Elsa Peretti Open heart pendant in 18ct yellow gold retailing for £2,225.

This diamond and platinum open heart retails for just under £8,000.

This Elsa Peretti mesh link heart retails for £7,725.

Boodles Ashoka Diamonds

Diamonds have been a declaration of true love for centuries and the Boodles Ashoka diamond is a great way to express some individuality.

Boodles is the only jeweller to offer Ashoka-cut diamonds and their range includes diamond rings, earrings, bracelets, and necklaces. The Ashoka cut is named after an ancient Indian emperor and has an impressive 62 facets. They are prized for both rarity and incomparable sparkle.

Here are some Ashoka diamonds with an estimate of $70,000 to $90,000 at a 2015 sale at Bonhams in New York.

The Ashoka diamond range retails at prices from the low thousands up to hundreds of thousands of pounds. Here is a beautiful Ashoka diamond ring weighing 7.00cts.

These Ashoka diamond earrings retail for £27,500.

Cartier

Nothing says I love you, like a Cartier Love bracelet.

The Love bracelet was designed by Aldo Cipullo in 1969 in New York. He wanted to design a bracelet that fit as closely as possible to a loved one’s wrist. Not only that, it was also intended to be worn by both men and women. They were referred to as a “modern love handcuff” for the way in which they are secured using a screwdriver.

It is rumoured that Cartier once banned customers from buying the Love bracelet for themselves, with a policy stating that they could only be purchased by a couple. It was even designed to require the assistance of someone else to put it on.

The diamond-studded Love bracelet was first introduced in 1979, ten years after the original.

When the Love bracelet was first launched, it is said that Cartier gave pairs of them to some of the most famous couples of the 20th century, including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, Ali MacGraw and Steve McQueen, and Sophia Loren and Carlo Ponti.

There are now many variations of the Love bracelet including some set with diamonds.

For example, this diamond set Love bracelet with 1.99ct of diamonds retails for £45,400.

A 18ct gold Love bracelet is available for just over £7,000.

Synthetic diamonds

Synthetic diamonds are becoming a very popular choice in the jewellery market. Lab grown diamonds are visually, chemically, and physically the same as a diamond mined from the earth. The only difference is that it is created in a laboratory and it’s here where they emulate the natural process of a diamond’s growth. They are also considered a more sustainable option than mined diamonds.

Here is a diamond line bracelet set with 6cts of diamonds retailing for $6,999.

Here is a Lab grown diamond pendant set with a 1ct diamond retailing for $1,200.

Here is a pair of fancy blue and pink synthetic diamonds retailing for $250.

Chanel Classic

A Chanel handbag always makes a fantastic gift. Their designs are timeless.

Gabrielle “Coco” Chanel introduced her first version of the classic bag with flap in February of 1955. Now known as the 2.55, it was revolutionary because of its functionality; the shoulder bag freed women’s hands to do other things than hold a cumbersome handbag.

This Chanel pink flap bag retails for £5,200 and has the Classic style in a summer fabric.

This small Chanel Bucket bag retails for £4,260.

Conclusion

There’s nothing greater than seeing a loved one, friend or member of the family enjoying luxury gifts. It is always important to make sure that your insurance valuation is up to date, should the very worst happen. Having an out-of-date valuation can result in an underpayment if you were to make a claim. Retailers such as Cartier, Tiffany & Co and Chanel often increase their retail values by up to 40% twice a year. If you need an up-todate valuation, then contact the experts at Doerr Dallas Valuations on 01883 722 736.

Gents Valentine’s Gift Guide

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Valentine’s Day is fast approaching, and this is undoubtedly a busy time for jewellers all over the world. An irrevocably sentimental art form, jewellery has been a tangible token of love for centuries. From the breathtaking Posy rings of the Medieval times to mysterious ‘Lover’s Eye’ brooches fashionable in the Georgian era, symbolic and acrostic Victorian jewellery, all the way to modern day engagement rings, eternity rings and promise rings, jewellery has expressed love in many, many forms!

During this busy time in the retail sphere, much attention is given to jewellery for her. However, there are a stunning selection of pieces also suitable for showing your love to the gentleman in your life. The demand is there, Tiffany & Co. made brand history in October last year for launching their first ‘Tiffany Men’s’ collection, to cater to a wider audience and a keen consumer base. With that in mind, here is a ‘gents gift guide’ for that special man in your life, with examples ranging from the 19th century all the way to the present day.

Rings

Understandably, rings on Valentine’s Day are certainly sending a very strong message but as a gift for a spouse, a special dress ring could be the perfect piece! According to GHQ Magazine, rings are the top male jewellery trend of 2024. Citing inspiration from the likes of Harry Styles, bold, stacked rings are the accessory of the year.

Whilst most will steer away from Harry’s maximalist styling, the ring is the classic token of enduring love and affection, symbolised in its circular form. Ideas for gifts could include a classic signet ring in a heavy gauge and engraving for everyday wear, perhaps a fascinating gemstone intaglio for a history lover or decorated with enamelled detailing that is highly personal to the wearer.

Intaglio jewellery, particularly early and crystalline gem-set pieces sold exceptionally well at auction in 2023, and continue to exponentially rise in value, so it is extremely important to ensure your items possess an up-to-date insurance valuation.

Unique band rings are also an easy style to incorporate into a jewellery rotation and update a look. Adding silver, gold, or platinum bands are an easy way to enhance an ensemble. Part of Tiffany’s 2023 ‘Forge’ collection, this unique linked band is available in silver and blackened silver finishes and form a great entry piece for collectors. Another iconic gold band is the classic ‘B.Zero1’ ring by Bulgari, retailing at £3,200. This design was debuted in 1999 and has become a classic, for its unique spiral design, generous proportions, and striking double logo.

Cufflinks

For a more classic look, a beautiful pair of cufflinks will always be in style. Pairs of cufflinks set in gold or platinum and paired with gemstones rating higher on the Moh’s scale of hardness such as diamond, sapphire and topaz will ensure a gift that can be worn again and again.

As a rule, cufflinks that retain and increase in value are those by well-known and revered makers. Early 20th century antique cufflinks from the likes of August Frederik Hollming for Fabergé, set with precious gemstones, ornamented with the maker’s famed enamel, and bearing maker’s marks would be the perfect gift for any discerning collector.

Without a doubt, Cartier produced an exceptional array of fine cufflinks and dress sets from the early 20th century onwards. With an exceptional and varied output spanning decades, styles, gemstones, and featuring designs from the ostentatious to the refined, and the timeless to the novelty, these cufflinks are amongst the most sought-after at auction, with diamond-set examples selling for in excess of £52,000 (Christies, Auction 15493, 2018).

Particularly stylish and useful are the ‘interchangeable’ or ‘baton’ cufflinks that were introduced by Cartier in the 1960s and also produced by celebrated jewellers such as André Vassort, Boucheron, and Van Cleef & Arpels. Cleverly designed with a fixed gold bar mount and a series of gemstone batons or terminals that could be swapped and changed to match the wearer’s mood, these wonderful cufflinks have become increasingly sought-after in the last couple of years.

Necklaces

A necklace is also a great idea for a Valentine’s gift for him. Ever increasing in popularity, the Google search for ‘Men’s pendant necklaces’ increased over 900% from 2021-22. For a unique and personalised gift, consider purchasing an antique or mid-century piece, and consider which metal, link design, style of clasp, and length would be your partner’s preference. As one would expect, unique links, designer attributions and heft all play a part in the intrinsic value of the piece, so choose carefully especially when buying through retail.

Whether it is a ring, pair of cufflinks, a necklace, or another piece of jewellery entirely that you treat your significant other with this Valentine’s Day, do make sure that you buy a piece that has that personal feel and sentimental value. Buying second hand and at auction are fantastic ways to procure items that are beautifully one-of-a-kind.

The jewellery market is ever-changing, and values are increasing all the time, so make sure you consider a comprehensive valuation of your items to ensure adequate cover and peace of mind. For further information on our nationwide valuation services, contact us via [email protected].