You have £5,000 to spend – Early Seiko Watches

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£5,000 to spend. Early Seiko Watches by James Lowe Watch & Jewellery Specialist

In 1969 Seiko introduced the world’s first quartz watch – the Seiko Quartz Astron. It was accurate to about 5 seconds per month, which was a sensational improvement on even the likes of Rolex.

Image of Seiko Quartz Astron

Seiko Quartz Astron

Yes, Seiko produced millions of watches in hundreds of designs and styles, but I would always recommend going for their early sports chronograph watches – especially the divers’ watches in ceramic and titanium.
Avoid the LCD watches, clever though they may be. If they go wrong, you are sunk. Quartz watch movements are seldom repaired to cure a malfunction – it is far easier and cheaper to fit a compatible new movement. However, thousands were thrown away due to malfunction, so a few models are becoming rare. Original paperwork and boxes are a big plus, but again, rare.

Image of Seiko Quartz Astron 50th Anniversary edition watch

Seiko Quartz Astron 50th Anniversary edition

The price range is enormous; dependent on model and type but with auction purchases beginning at about £150 and going up to several thousand, you could start a sound collection for £5000. But patience and diligence in research into the thousands of Seikos out there will pay dividends.
 

Review of the Watch Market October 2020

The watch market seems to have survived amazingly well over the past six months, both on the retail and auction side. There was even an auction in Hong Kong recently selling only early Seiko watches, a brand that despite being the first to launch a quartz watch in 1969, has in the past fared pretty badly at auction with very low prices generally. However, the sale largely sold out, with several of the rarer watches fetching thousands.

An area of the market which is causing excitement currently is what is known as the Secondary Market. I do stress that it applies to an extremely limited few brands and models, and that for most watches the value still plummets as soon as they leave the shop. Patek Philippe, Rolex, and to a lesser degree Audemars Piguet, are the brands most impacted in this situation and it is only their steel sports or utility ranges rather than the precious metal and bejewelled dress watches that are affected.

Image of Patek Philippe Nautilus

Patek Philippe Nautilus

Patek produce only about 6,500 steel watches out of their total annual production of about 65,000. The waiting list for several of their steel ranges can be 18 months to 2 years, so this Secondary Market has emerged. If you were able to purchase a steel Patek Philppe Nautilus at the recommended retail price of about £31,000, keep it in its plastic factory wrap together with all original documents, you could put it on the Secondary Market and ask in excess of £70,000.

Image of a Rolex Daytona Watch

Rolex Daytona

A few Rolex and Audemars Piguet models might get you a 50% profit on RRP. Patek say that they are essentially a maker of luxury precious metal watches, not sports watches, and they will not increase production to meet the demand. But I must stress again how this market is relevant to so very few of the watches that come on to the retail market.

Image of Audemars Piguet Royal Oak Offshore watch

Audemars Piguet Royal Oak Offshore Chronograph (re-edition-25th-anniversary)

Another by-product of this market is the emergence of some very convincing well-made fakes – or replicas as they are sometimes called. All the major brands will mark their cases and movements with reference and serial numbers so that with some diligent sleuth work you should be able to safeguard yourself against buying an expensive fake.

Diamonds and Coloured Gems… words of advice from our Jewellery specialist

At Doerr Valuations our team of jewellery specialists monitor prices and trends in the international market to make sure that you can be properly informed and looked after.
The jewellery market over the past few years has been unusually volatile for several reasons – some directly due to the general ‘woes of the world’ and some caused by some quite dramatic fluctuations in commodity, material and  gem prices.

In 2007, the price per ounce of gold was around the $750 mark – it peaked late in 2012 at $1,890 – and fell back to just over $1,000 in 2014 although it’s edging up to the $1,910/oz mark today.
However, in pieces of gem set jewellery the gold value factor is not huge – the gem prices, manufacturing costs and retail profits are larger factors.
diamonds_hands
Diamonds, despite what De Beers say in their advertisements, are not rare. Huge deposits of good quality stones are regularly being found in mid-Africa and now Botswana has pretty well become the diamond centre of the world, with De Beers moving their headquarters there from London.

Mining techniques are better and more efficient, so there are more than enough stones to go around. Slackening demand from the Middle and Far East for many of the slightly lower grade stones and sizes have seen noticeable drops in market prices. De Beers and their fellow core suppliers have had to do a lot of juggling and adjustment to try and keep things on an even keel.
However, if the stone is exceptional in all of the three main quality criteria i.e. size, colour and clarity, it will still be very expensive. The trade price of a one carat flawless  D colour (the best) stone, is well over twice the price of a one carat H colour and VVS2 clarity (both acceptable commercial qualities) stone.

There have been some exceptional auction prices in 2017 for coloured diamonds, specifically for pink and blue stones…  Sotheby’s set a new world record in 4 April 2017 in Hong Kong, when the Pink Star, a 59.60-carat oval mixed-cut Fancy Vivid Pink internally flawless diamond, sold for HK$553 million / US$71.2 million (£57.3 million) including buyer’s premium.

Other spikes in the market include the pearl market, specifically the natural saltwater pearl market. Cultured pearls are natural beads ‘farmed’ in seawater by introducing man made beads in to the soft tissue of an oyster. The oyster’s reaction to these ‘irritations’ is to cover them in ‘nacre’, which is the lustrous shell like covering that we see on the pearl necklaces in most shops. The beads can be 4 or 5 mm in diameter so the thickness of the nacre coating can be pretty thin and lacking in lustre depth. In a natural seawater pearl the oyster takes in the occasional tiny grain of sand around which it builds up the layers of nacre, so in an 8 mm diameter natural pearl you may have 7 mm depth of nacre rather than 3 or 4 mm in a cultured pearl. If you put one of each of these pearls together the wonderful depth of lustre of the natural pearl is very apparent.
pearls
Again a laboratory certificate and an up to date valuation is a must. But the main problem for the pearl market is the arrival of freshwater pearls from China. These are farmed in rivers and lakes and not in oysters but in mussels. A mussel can produce more pearls, more often, but they can be of poor lustre and are prone to being misshapen. They are however very cheap and can be seen up to 15 mm in diameter.

Whilst auction prices for fairly modern ‘ordinary’ jewellery can very modest indeed – and a small fraction of its retail replacement price – the market for ‘big name’ pieces with good style and quality is as strong as ever. Cartier, early Tiffany, Boucheron, Bulgari, Buccellati, and Lalique all sell strongly. From the previous century there is a strong collectors’ market for work by Castellani and Giuliano and anything with an interesting historical or royal background will generally fare well.

You may find that the values may have stayed the same, but it is always worth confirming this and as part of Doerr Valuations service we can easily check this for you.

So, with the price of gold, diamonds and jewellery continually changing, seeking professional advice and having your jewellery reviewed annually is extremely important.

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

A Favourite Piece of Silver – The Christoph Jamnitzer Marriage Cup

Sadly, the first photo does not show my country retreat – it is the Schloss Moritzburg, about 10 miles from Dresden and was the country seat of the Dukes of Saxony. It was built around 1750, primarily to house their fabulous collection of art and works of art and it’s where my chosen piece of silver spent a couple of hundred years. I have chosen this piece because it is a true tour de force of the silversmith’s skills and has had an extraordinarily romantic and eventful history.

Christoph Jamnitzer marriage cup front

It is a Marriage Cup, about 50 cms high, made in silver gilt by Christoph Jamnitzer (image supplied) in Nuremburg around 1615. Topically controversial, the subject is a Blackamoor – one of thousands of North Africans brought into the region to work as servants on the estates of the wealthy European families of the period. The name of the subject is not known, but the bust represents the central feature of the coat of arms of the fabulously wealthy Pucci family of Florence, and was made to commemorate a Pucci family member marrying one of the equally wealthy Strozzi family.

Christoph Jamnitzer marriage cup side

The head up to his crown would have been hand raised from a single disc of silver – hammered into shape with thousands of very skilfully struck blows to form the likeness we can see here. It would have been mercury gilded and was originally partially painted black – some of which has worn away over the years. The top of his head was another hammered-up disc and very realistically chased with curled hair and topped with an extravagantly plumed head dress set with coloured crystals.

Christoph Jamnitzer marriage cup back

He has a single pierced ear and wears a pearl drop earring. The ‘chopped – off’ back of his neck is beautifully chased and engraved with the coat of arms of the Strozzi family. The base would have been spun up on a lathe from another disc of silver and laboriously and fabulously skilfully chased, engraved, and embossed with scroll work. The bust is supported and strengthened with cast silver gilt scroll brackets embellished with flowerheads.

Back to Schloss Moritzburg. In 1945, the Royal family had for many years been harried by the Nazis, and with the imminent arrival of the Russians, two of the elder Princes decided to hide much of their fabulous collection. To that end they commissioned over 40 large wooden crates. Under cover of darkness the Princes, unaided, went to the forest area of the estate and dug two huge pits which took them five nights to complete. They then drew a rudimentary map and entrusted it to their elderly father. The great majority of the works of art were packed and interred in this secret location, leaving the pictures, furniture and largest pieces plus a few favourite pieces and silver and gilt, in daily use in the Schloss.

Unfortunately, the Duke passed on the location of the treasure to his Estate Forester, a chap called Mandel. Two years later in 1947, Mandel was ‘persuaded’ by the occupying Russian troops to reveal the location of the cache and the whole lot was unearthed and taken away. The collection had been well catalogued and listed over the years and many of the items were unique but very, very few have come to light over the ensuing years.

Shortly after the first ‘burial’ the family were becoming increasingly concerned about their future and decided to repeat the process with some of their remaining favourite items in case they had to make a quick getaway. Amongst these selected pieces were a solid gold tea set and tray made in Augsburg in the early 1720’s, a fantastic gold table centre piece enamelled with exotic flowers and fruit made in 1701, precious coins and family medals and thankfully, my Blackamoor’s head too.

The three pits they dug were apparently not wide enough, so the crates had to be buried upright. Everything was undertaken in such haste that there was little packaging done. The enamelled centrepiece suffered bad damage; the gold tea set was badly bruised, but the Blackamoor’s head fortunately remained undamaged. No map was made of their location and they lay undisturbed until sometime between October 1996 and November 1998.

The Schloss remained empty after the family’s departure and things had lain undisturbed until 2 metal detectorists chanced upon the first of the 3 crates in 1996. Thankfully, proper procedure was followed, and the two Princes who by now were living in Canada, were able to prove family ownership and the contents of the 3 crates, less a few personal trinkets were sold at auction in 1999. The Blackamoor’s head was keenly contested at the sale and was bought by a Swiss museum – and yes, I have made a pilgrimage to see him again!!

Apparently it was usual in the 1600’s when two very wealthy families inter-married that extravagant and expensive gifts like this marriage cup were exchanged, so there just might be a similar Strozzi family marriage cup somewhere out there for me – the only problem being that this one fetched £1,450,000 and that was 20 years ago!!!

The Lesquesne Silver Coffee Pot

At auction in 1971 estimate £20,000 – £25,000
At auction in 1983 estimate £150,000 – £175,000
At auction in 2013 estimate £3.5 – £4 million!!

Paul de Lamerie Lequesne Coffee Pot

I have had the pleasure of handling this wonderful piece of silver three times over the years but sadly never as the owner or vendor!
Paul de Lamerie is always lauded as being England’s finest silversmith, but as his name suggests he is from the continent. He was in fact Dutch, – Holland actual arriving in England as a 1 year old with his Hugenot family, escaping the religious persecution of the time.

In 1703 he was apprenticed to a fellow Hugenot smith, Pierre Plattel, and by 1713 had set up his own workshop. He very quickly became well known for quality workmanship combined with a sense of style, showing some continental influences which were easily incorporated in the emerging Rococo taste and style of decoration.

The pot was commissioned in 1738 by Sir John Lequesne to commemorate his wedding to Miss Mary Knight of Hampshire and both of their Coats of Arms are engraved to the side of the pot. Sir John was a fellow Hugenot of about the same age as Lamerie and had become a highly successful and wealthy trader in London in the 1720s and a prominent political figure. Contemporary records imply that Lesquesne was somewhat of a smooth operator, gaining his knighthood by being very solicitous and supportive of the newly arrived George II from Germany. Sadly though, the marriage was short lived as Sir John died shortly after in 1741.

English silver of the Queen Anne and George I periods is generally quite restrained: with plain conical, octagonal, or pear-shaped bodies and little in the way of applied or engraved decoration. This pot, although still having a pear-shaped body raised up from a single disc of silver, has bold spiral flutes chased into it and the three scroll legs are cast and join the body on panels which are cast and applied and depict putti clasping the branches of a coffee bush. The short stubby spout emerges from a finely cast mask of a youth emerging from a coffee branch cluster and the handle sockets are cast as snarling lions’ masks.
Paul de Lamerie Lequesne Coffee Pot Spout
There is a short spout at the top of the body, rather than being a long slender spout from the bottom of the body. It was designed thus for a practical reason. Tea, coffee and hot chocolate all came to England from the mid 17th century and by the early 1700s coffee was being drunk rather like Turkish coffee these days; that is a very thick and heavy brew which had sugar added before being transferred to the pot, making it quite ‘gloopy’ to pour. This would have been a problem with a long slender curved spout.
Paul de Lamerie Lequesne Coffee Pot - coffee branches detail
The use of coffee bush branches as a decorative feature is, as far as we are aware, unique. Presumably, they were used to denote it being a coffee pot, but it has also been suggested that one of Lesquesne’s business ventures might well have been in the importing of coffee to England, so the design may have been a nod to this trade. The finial is cast with shells (very much a Rococo feature) and there are small panels of finely engraved trellis-like decoration in the Chinoiserie taste. There are also some very boldly chased floral clusters and swags. It may be somewhat of a riot of decorative styles incorporated in a pot that measures under 30 cms, but in my opinion it works marvellously well.

So why is this George II silver coffee pot worth hundreds of times more than any other pot of the same era? Firstly, it is the de Lamerie factor. He gained the Royal warrant from George II only three years after setting up on his own, and he was also a silversmith favoured by members of the Houses of Parliament. Most of his production was on a commissioned basis from wealthy patrons, most had coats of arms, and a lot of contemporary records survive.

But despite his popularity and great success over his 30 or so year career, his production was surprisingly limited. Even the smallest of his products was superior in quality and style than most of his contemporaries and he never bought in stock from other smiths – a practice quite common where a smith would buy bits from a fellow smith before hallmarking and marking it with his own maker’s mark. The legally enforceable Hallmarking Act, which has been in operation for 750 years or so, has worked well and as far as I’m aware there are no de Lamerie fakes around, and unlike the picture world you don’t find silver with the ‘school of Lamerie’ or ‘in the manner of Lamerie’ labels.

You would have thought that a silver coffee pot made for use over 250 years ago would show some signs of wear, but this pot is as crisp and sharp as when it left the factory. I am therefore sure that from day one it was a piece of silver that commanded respect and reverence and may have spent much of its life as a showpiece. Even the fruitwood handle looks to be original.
Secondly, is the design factor of the pot. It is the first recorded piece of English silver that carries features from the French Regency style that was prevalent in the early 1720s in Europe. This trend developed into the full-blooded Rococo period of the mid-century which influenced the decorative features of furniture and paintings for several decades.

Thirdly, it is a seminal work of art in my opinion and a wonderful example of the silversmiths’ skills. Works of art do not have to be painted on canvas!!

And finally, it is totally unique. Thankfully, because if there were another one around I couldn’t even afford the knob on the top!

Is it Time to Update Your Jewellery Insurance Valuation?

A pair of platinum and diamond ‘Victoria’ ear studs

We have chosen four items of jewellery from four of the top manufacturing brands – items that have been in production virtually unchanged for nearly 20 years – unchanged that is except for the price to demonstrate how important a regular jewellery insurance valuation is!

The price of gold in 2003 was about $450 per ounce and it’s about $1510 per ounce today having peaked around 2012 at $1750 per ounce – so the roughly 350% rise in bullion price over the period in question is a price increase factor but a surprisingly small one in gem set pieces like these. The Cartier ring is quite a chunky piece, but its basic bullion value today is probably about £400 as opposed to approximately £125 in 2003. OK, the VAT rate has risen from 17.5% to 20% in the same period but again that’s had a pretty small effect on the retail price, so that leaves gem stone prices, manufacturing costs and retail profit mark ups as the main ‘culprits’ for the 2.5/3 times price increases.


Van Cleef and Arpels.

An 18 carat yellow gold and mother o’pearl 20 motif Vintage Alhambra necklace.
2004 £6,210
2012 £10,800
2021 £13,700

Diamond prices for good commercial grade stones which these top manufacturing brands would use have largely stalled over the past few years; it’s only the highest quality and rare coloured stones which hit the headlines with their huge prices. And we’re all waiting to see what the effect on retail prices will be when the full impact of the introduction of synthetic diamonds is felt. Also to be taken into account is the effect that internet has had on diamond prices. There are numerous well-established and reliable web sites making available to all millions of unmounted stones at basically ‘trade prices’ (plus VAT) and most with recognised laboratory certificates. The ‘closed shop’ trade only which has prevailed in the jewellery business for centuries is breaking down. The coloured stone market is swamped with cheap, very heavily treated and colour enhanced rubies, sapphires and emeralds that come mainly from the Far East. Another factor is the huge increase in the use of coloured stones that 20 years ago would have been classified as ‘semi-precious’ but are now appearing at serious stone prices. The stones that have shown a huge increase in price over the past 10 or so years have been natural untreated sapphires, rubies and emeralds – but the stones have to have an independent laboratory certificate stating they are natural colour and untreated to come in to this category. A few exceptional stones of this type – mainly in pretty 1920/1940’s period pieces – have fetched more per carat than decent comparable size commercial grade diamonds.


Cartier.

An 18 carat white gold, diamond and emerald Panthere ring
2003 £26,000
2010 £42,100
2021 £73,500

Manufacturing and jewellery workshop costs in Europe have certainly risen sharply over the past 20 years – as anyone who has had to have jewellery items repaired will know. Nearly all items are still hand made or finished so the cost of making up of jewellery is a big factor in the resulting retail price. The exception to this being the type of items available from online sites and lower grade retailers that are mass produced in the Far and Middle East – usually pretty poor-quality workmanship and poor-coloured stones. The second-hand and auction market for jewellery of this type is very weak – so don’t expect to cover the cost of your Far Eastern travels if you try to sell your purchases back in the UK.

Chopard.

A pair of 18 carat white gold and diamond ‘Happy Diamond’ drop earrings.
2003 £1,875
2011 £3,120
2021 £4,290

Profit marks up are a big variable – about 30 years ago when I was first involved with jewellery the tacitly accepted mark-up was to double the cost price and add VAT. Now, for a retail shop mark-up can be a whopping 300% to 350% plus VAT. But don’t be too harsh on the retailer – he has frightening fixed overheads and outgoings, and jewellery can be slow moving stock. Also, some jewellery and watch manufacturers do dictate a fixed retail price to the shop for their products. But it’s always worth a little haggle!!

Tiffany.

A pair of platinum and diamond ‘Victoria’ ear studs
2003 £3,100
2010 £4,925
2021 £8,775

If you had bought any of the four illustrated items back in the very early 2000’s at these prices and had applied an across the board annual percentage increase to cover insurance you might well have ended up in trouble in the event of a claim due to the variable cost factor increases. We recommend a review of a jewellery insurance valuation every 3 years. A desktop revaluation is fully acceptable within this timeframe, but a complete revaluation at 5 years especially as the valuation would include a close examination of the condition of claws, clasps and links, is something more and more insurers and brokers now insist on.

I’m afraid I must end on a cautionary few lines. Most of the big brand names like the ones above suffer from faking and copying. Allegedly more Van Cleef and Arpels Alhambra jewellery has been made in the Middle and Far East than in France!!. All the brands we have illustrated are meticulous in their marking and all their products will have a brand name and in most cases also reference and individual serial numbers, so if you’re shopping for some big name goodies on your Eastern travels be sure to take a good magnifying glass with you!

Emeralds

These luscious green stones are first mentioned around 3500 BC – and were treasured for their beauty and have over the years been attributed with bringing good health, love and romance and were considered the gem most close to the Deities. An early believer and emerald hoarder was Cleopatra who started two emerald mines in her native Egypt on the slopes of Mount Smaragous (from which we eventually get the word ‘emerald’). The Romans preferred them to diamonds and in the 17th century the Indian Moguls carved prayers and blessings on large flat cut emeralds.

A fine emerald exhibiting all the required qualities, and is in addition, over 12 carat

After the Egyptian mines were exhausted smaller deposits were exploited in India and Austria, but it was in the mid 1500’s when Spain started colonising South America and Columbia in particular, that they became far more readily available and they were and still are considered to be the best real gem quality stones. Columbia alone supplies about 60% of the world’s supply but since the 1950’s small quantity of good quality stones has been coming from Brazil, Zambia and the very sought after Sandawana emeralds from Zimbabwe. Pakistan, Afghanistan, and Madagascar also have reasonable reserves but supply from all these countries is spasmodic due to political grief and wars.

Emerald of a poor colour and heavily flawed stone

Their comparative rarity has maintained their popularity over the years and in 2011 Elizabeth Taylor’s emerald collection was sold for about $25 million and more recently an 18 carat emerald and diamond ring belonging to Angelina Jolie sold for over $5.5 million – setting a record of over $300,000 per carat.

So what are emeralds? They are members of the Beryl family which includes the pale blue Aquamarine and the pale pink Morganite amongst others. They are a relatively ‘soft’ stone measuring 7.5 on the gem hardness scale as opposed to a diamond at 10, so they fracture, chip and scratch quite readily. With a diamond it is both good colour and clarity that enhance value – with emerald it is mostly about colour as it is virtually unheard of to find a totally ‘flawless’ stone. The most prized emeralds are those with a rich dark to medium green tone and preferably with good even ‘saturation’ of colour and translucence throughout the stone.

The palest green that would still be classified as emerald

The first photograph shows a fine emerald exhibiting all the required qualities and is in addition a whopper at over 12 carat. The second photograph shows a poor colour and heavily flawed stone, and the third photograph shows the palest green that would still be classified as emerald.

In the fourth photograph the stone on the left is about 3 carats and good colour and decent clarity, the one on the right is over 4 carats and pretty pale and noticeably flawed. The ring on the left fetched twice as much as the other one at auction recently. That’s the difference, both visually and value wise between a ‘good un’ and a ‘bad un’.

Left: about 3 carats and good colour and decent clarity
Right: over 4 carats and pretty pale and noticeably flawed.

Pale green stones do not achieve the title of emerald and are called green beryls and are of relatively small value. For centuries, surface scratches and fissures which nearly all emeralds suffer have been ‘oiled’ which fills the cracks and because the oil is colourless it ‘evens up’ the colour. More recently polymers and resin have been used instead of oils and because they are often coloured green they are considered to represent unfair and unethical enhancement. This is described as ‘modern’ treatment and should be avoided. The long established methods are described as ‘traditional’ and as long as it is not excessive, is nowadays acceptable. Because of this, any proposed purchase of a serious emerald should only be considered if the stone has a laboratory certificate grading the extent and type of enhancement. There are generally four grades of enhancement – none (very rare), insignificant (desirable), minor (acceptable) and moderate )just about ok)) and significant (to be avoided).

Internal inclusions, called ‘jardins’ in the trade, are expected and accepted as normal. They range from feathery/mossy looking gas or liquid filled ones to internal fractures and fissures. The range and type of inclusion can be interpreted by a laboratory test and they can ascertain from which area and country the stone originates. The techniques now available to remove or reduce inclusions in a diamond involving laser beams and high temperature treatments cannot be used on an emerald due to its comparative softness and different crystal structure, so whatever defects get moulded in to the emerald at the time of formation remain with it.

A fine quality and colour emerald of decent size – say 3 carats and over – is far rarer than a quality diamond of the same size, so, in my opinion, should be of higher value. That’s not the case, however, and although Angelina Jolie’s stone fetch over $300,000 per carat, there are plenty of diamonds around priced at over $500,000 per carat. £5000 per carat would buy you on the retail front a very presentable emerald but the same carat price would get you a diamond pretty far down the scale in colour and clarity.

So with that in mind, could an emerald be a good investment? As with most categories of speculative investment always go for the best you can afford – go for colour firstly, clarity secondly and size thirdly, and bearing in mind its comparative fragility, treat it gently and have the stone and its mount checked by a jeweller regularly.

Patek and Cartier Ladies’ Watches

 

In general, and in contrast to gentlemen’s watches, the price of a ladies’ watch tends to reflect the value in the precious metal, the decorative elements such as diamonds plus the manufacturing costs rather than the complexity of the movement. Today’s price per ounce for gold bullion is $1500, in 2002 (when Gordon Brown was selling off some of the UK gold reserves) the price was around $350, so there’s a four-fold increase in material cost to consider. Another huge factor, especially in ladies’ luxury watches, is of course the big brand name premium.

Patek Philippe

Patek Philippe produce only around 62,000 watches per year and according to Patek company policy, only 10% are made in steel. This is because the company considers itself a luxury product maker rather than a sports’ product maker like Rolex. Of the 6,500 or so steel watches produced, the majority are from the ladies’ Twenty4 range. This results in the gents’ steel watches like the Nautilus models being in very short supply, hence the huge price premiums for this model on the secondary market. The Twenty4 range was introduced around 2000 and has proved very popular but always with a standard quartz movement. However, last year a circular cased automatic model was introduced. The two Patek examples here are the cheapest and most expensive in the range.


Ladies’ Twenty4 steel bracelet watch with diamonds reference 4910/10A.
2002 £3,950
2008 £5,920
2019 £9,550


Ladies’ Twenty4 18 carat gold bracelet watch with diamonds reference 4910/11R
2002 £9,450
2008 £20,850
2019 £32,560

Cartier

Cartier introduced the Panthere range of watches in 1983 to compliment the Panthere jewellery range, and it proved to be a very successful model which was discontinued about 10 years ago but relaunched in 2017. It has remained virtually unchanged (apart from its retail price!!) – and although some of the larger models have automatic movements the smaller model which we illustrate here has retained its standard quartz movement.


Ladies’ Panthere 18 carat yellow gold bracelet watch, mini size, reference W25034B9
2002 £5,900
2008 £9,750
2019 £17,800


Ladies’ Tank Francaise steel bracelet watch, mini size, reference W51008Q3
2002 £1,550
2008 £1,920
2019 £2,890
All the major brands have an understandable policy of refreshing or slightly altering the models in their watch ranges on a regular basis, which does at least give them a chance to nudge the retail prices up regularly. This result in a wide gap between a current retail price and the secondhand/auction value of a five or so year old example. It is therefore very important for both the insured and the insurer to establish whether the insurance cover is on a ‘new for old’ or a ‘second hand replacement value’.