Category Archives: Our Team News

The Princess of Wales jewellery trooping the colour

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Art Basel

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Caring for Silver

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Six simple rules to keep your silver in top condition

Rule one

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

Rule two

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

Rule three

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

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

Rule four

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

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

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

Rule five

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

Rule six

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

The Care of Books

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Rupert Neelands gives his best advice for caring for books:

Space

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

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

Size

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

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

Conservation history

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

William Blades - caring for books

Damp

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

In the event of spillage

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

Heat and sunlight

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

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

Franciscans burning book scrolls

Worm holes

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

Book work - caring for books

Bookbinders

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

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

Sir Thomas Phillips failed to protect his unrivalled collection of manuscripts

Dust

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

Pepys Library - Caring for Books

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

 

To find out about our Rare Books & Manuscripts valuation service, get in touch today!

Caring for Ceramics

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Mark Longley gives his best advice for caring for ceramics:

Tips on Handling and Examination

  • Ideally, ceramics should be handled as little as possible and with great care, never picking pieces up by handles or rims, and being aware of loose parts like lids. Wear thin nitrile gloves when handling unglazed wares or, especially if the glaze is flaking. If you are carrying items be sure to use both hands to cradle objects. Always handle pieces over a soft cloth or towel.
  • Ideally one should have a knowledge of those pieces that are restored or damaged. Examine pieces for losses to the rims, applied decoration, or projecting parts of a piece. Hairline cracks and firing faults are usually noticeable. If you are unsure, always contact a professional fine art surveyor.
  • Restoration may involve an element of over-painting and damage. This paint will be softer than the hard glaze and can be felt with a soft application of a coin or metal point. Some people might use their teeth on a clean area of repair as this method, while not professionally used or advisable due to increased sensitivity. Older repairs are often apparent because old paint yellows with age. Examine pieces under a strong light for repairs. Use a UV light or a UV torch in a dark room for a more thorough examination of potential restoration. Repairs and natural faults both shine with a strong white light.

Tips on Display and Storage

  • Never crowd shelves or display cabinets, and place smaller items at the front. Using a display cabinet will reduce the risk of dust and grime attaching itself to your collection and will be protective.
  • Resist the temptation to stack too many plates in a pile. The resulting weight can easily lead to accidents. Use plate stands or specially designed stands for display.
  • Take care when hanging plates, that you use the correct size devices otherwise you may put a considerable strain on the plate. Do not hang plates with hairline cracks.
  • Remove old style plate hangers that have springs to tension the attachment hooks. Replace those with wire hangers. Investigate adhesive hanging devices but be aware that this adhesive might affect certain surfaces.
  • Store ceramics by wrapping in acid-free tissue paper and bubble wrap and packing into a strong plastic crate.

Tips on Cleaning

  • Occasionally it may be desirable to wash objects, but usually a careful dust with a soft duster or hogs hair brush should be enough.
  • Washing may be best done by using swabs of cotton wool or cotton buds, rather than immersing the object in water. A soft toothbrush could be of assistance. Avoid extremely hot water. The addition of a little detergent may help. Never attempt to use bleach to remove stains.
  • Not all ceramics have a hard glaze. Great care needs to be taken with certain kinds of ceramics where these are porous or made of soft-paste, Parian, or biscuit ware, and never immerse anything which has gold decoration which may be unstable. Some decoration may be applied by a transfer technique, commonly found in antique dinner services, so be aware of rubbing surfaces whilst cleaning or handling.
  • Keep broken or damaged ceramics carefully until you can get the piece to a professional restorer.

 

To find out more about our ceramics valuation service, contact us here!

How to look after paintings

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Pictures, like small children, prefer consistency of treatment. In the case of paintings and watercolours this means no violent fluctuations in temperature or humidity.

If you have a damp room a de-humidifier can bring the relative humidity down to around 40%-60%, above this level and there is a possibility of mould growing on surfaces and this can stain the paper on which watercolours, drawings and prints have been worked, irrevocably. Some moisture in the air is good, especially for inlaid furniture and panel pictures. I was in the Pinacoteca in Bologna 40 years ago, where there was about zero relative humidity and the great wooden altarpieces were groaning like ships’ timbers, as they dried out and moved. It’s not like that now!

water damage - caring for paintings

Hanging paintings above radiators or chimney breasts is to be avoided as the paint layer dries out and becomes brittle and if the painting is on a panel it can warp. The same applies to furniture.

Direct sunlight is a no-no, especially for watercolours. I remember seeing a large pair of watercolours by Turner hanging in a lightwell. They had been there since 1800 when the owner’s forbear had bought them at Christie’s. I tracked the sale. Instead of being worth £200,000 (they were obviously very early ones) they were worth about £5,000 as curiosities. All the colour had been bleached out – no blues, no greens, just pale pink and brown smudges. What a tragedy!

light damage on a painting

Whether light travels in waves or pulses, it equals heat and this will damage anything subjected to it. Ultra violet inhibiting strips can be put on windows, but they are only about 60% effective and should not be exclusively relied upon. Old-fashioned velvet curtains, with brass rods stretched through the bottoms are an ideal way of protecting watercolours in daytime and can, be turned back at night.

Artificial lighting can be harmful too, although it lacks the sun’s power, so low energy bulbs should be used and try to avoid picture lights on brass arms attached to the frame of an oil painting. They are too close to the surface of the painting and can cause stress to an old carved and gilded frame.

The cleaning of all paintings must be left to well-trained professional conservators. It is a highly complex procedure requiring in-depth knowledge of chemistry. Never use a damp cloth to clean the gilding on a frame. If it is water-based gilding, as opposed to oil, it will dissolve. A feather duster is preferable to a cloth duster as it is less likely to snag the carving and pull it off. You can dust the surface of an oil painting, very gently, with a cloth duster.

caring for paintings - feather duster

Lastly, never dust the glass on a pastel, it can cause static electricity to build up and the pastel (powdery chalk), which was never treated with a fixative in the 17th, 18th and 19th Centuries, will jump off the paper and adhere to the inside of the glass!

Some things you just have to live with such as houseflies whose poo can stain an oil painting and can only be removed with a scalpel (don’t try this yourself!).

Thunderflies, in high summer, can find their way under the tightest-fitting glass and litter the surface of a watercolour or drawing. Wait until autumn and take the backing off the work on paper, dust them out and reseal. Silverfish are a menace. If they get into a Victorian watercolour they can munch their way through the pigments, which have been impregnated with gum Arabic (the substance that Osama Bin Laden’s family fortune was based on) leaving patches of bald paper. Try to keep on top of silverfish by regular hoovering.

It is a very good idea to have your paintings regularly valued, which will involve keeping a good photographic record. This could prove very useful to a conservator and loss adjuster should you have the misfortune to have water or fire damage.

Investment Handbags

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The handbag industry has grown by over 65% in the last few years and is showing no signs of slowing down. Demand for handbags on the resale market has never been higher, and this once small industry is booming. In fact, investing in a handbag is a smart way to spend your money.

The industry

Luxury is synonymous with quality and quality promises longevity. Many of the popular handbag brands such as Hermès, are hand stitched by specially trained artisans, and made from the world’s most luxurious and fine materials. They are built to last and that’s part of the reason they remain staples forever. The same can be said for many of the other luxury brands such as Chanel and Louis Vuitton.

Over the last few years there has been a substantial rise in demand for preowned designer handbags, with brands such as Hermès, Chanel and Louis Vuitton making excellent prices on the resale market. Consumers are willing to pay a premium for a second-hand handbag, and this is one of the reasons why they are becoming such a great investment. In fact, some brands can achieve more at auction than what they are currently retailing for, and those retail prices are increasing year-on-year.

See below Hermès Birkin selling at auction for £15,300.

Why the rise in popularity?

The main reason this industry has soared is because the consumer has gained trust and confidence in buying preloved designer handbags. There are simply more experts and places to buy than ever before. If we look back 10 years, a Hermès handbag going through auction, would have been a single lot at the end of a jewellery sale, it was unusual to see a handbag at auction and they certainly did not warrant their own specialist sale. Now, most auction houses hold their own designer sales with teams of experts in the field.

See below increase in a Kelly handbag in 2007 selling for £400 and in 2023 selling for £7,650.

See below Louis Vuitton and Chanel classic from a sale in Christies 2006 as a group lot and selling for only £480. Now you could expect the LV to make that on its own.

As well as auction there has also been in an increase in online shops and boutiques. There are also handbag spas who specialise in the restoration of luxury handbags, so even one in used condition can be brought back to life.

The preloved industry has seen an increase in popularity over the last few years. One of the reasons for this increase is a desire for people to reduce their carbon footprint, as well as having a more active role in the circular economy. Buying second hand increases the life of a handbag and this keeps fashion out of landfills.

There is also so much more choice for the consumer on the resale market. This is because every season, fashion houses unveil new collections, and stop producing the older models. Anytime you shop directly from a brand, there are a finite number of pieces available for purchase. When buying resale, the consumer can choose from a wide selection of designs and vintage styles. This means access to limited-edition runs, discontinued colours and rare pieces that are no longer available from the labels themselves.

Hermès

As one of the most desired handbag brands in the world, the Hermès Kelly and Birkin make a great investment and are highly collectable. Due to the slow and precise crafting of the bags along with materials and leathers that are difficult to source, only a handful of bags are made by Hermès each year. This limits the ability to purchase new bags directly, hence the extremely lengthy waiting list, if you can even get on one to begin with. These are all factors that make the resale market such a popular place to purchase a Hermès bag; you get an amazing amount of choice and no waiting, and consumers are willing to pay a premium for this.

Look below at the examples of the same bag sold in 2005 £5,760 and 2022 for £11,000.

Kelly and Birkin handbag

Hermès, like many other brands, increase their retail prices at least once a year and when we look at this over their lifespan, we can start to see why they make such good investments. In the 1950’s a standard Kelly bag could have been purchased for $900, by the 60’s the same bag cost $1,300, the 70’s $2,400, the 80’s $4,000, the 90’s $5,100 and at the turn of the century it cost $7,400. Today, that exact bag has increased in value to $10,000 – $15,000. The same increase is seen with Birkin bags with a standard Birkin setting customers back $2,000 in 1980, $2,750 in 1990, $4,000 at the turn of the century, and today they sell for up to $20,000!

On the open market The Kelly and Birkin handbags will often sell for more than their recommended retail price (RRP) and as RRP’s increase, so will the resale price.

Below is a table showing the increases in the Kelly bag.

Below is the table showing the increase in a Birkin bag.

Special Order

Hermès produce a few custom designs each year, also known as Special Order or HSS and are identified by their Horseshoe Stamp. They are only offered to a select number of collectors, and the waiting time can be years before you are invited to purchase one, that is if you are lucky enough to get on the list. They are typically, in the Birkin, Kelly or Constance style and are one off mixes of fabrics, colours, and often bi-colour or tricolour with special hardware. These exclusive designs make a fantastic investment and are very popular on the second-hand market due to their uniqueness.

See below example of a special order.

Exotic skins

Hermès bags made from exotic skins are often in demand the most, with these typically increasing in value at a faster rate than standard skins. Exotic skins include lizard, ostrich, crocodile and alligator.

One of the most exclusive and expensive handbags in the world is the 30cm Himalaya Birkin, made from niloticus crocodile hide and has a subtle gradation in colour from white to grey, said to resemble the snow-capped Himalayas. Seen in the Birkin and Kelly style, the hardware is white gold and pave set with diamonds. These bags are the epitome of luxury and in 2021, one achieved over £400,000 at auction.

A very important thing to remember when purchasing a Hermès exotic skin handbag is to always buy one with its original CITES (Convention on International Trade in Endangered Species) certificate, this is the passport for the skin.

Colours

Hermès are known for their vibrant and unique colour combinations, however they also have an expert eye for neutral colours and offer a wide spectrum of neutral shades. These are very popular when it comes to the secondary market because they are so versatile when worn and remain timeless, however they also offer some fabulous brightly coloured versions, which are also very popular.

See below price example of Hermès handbag at auction.

Chanel

The demand for Chanel handbags and the lack of supply in most boutiques has led to the resale market rising at the same rate as retail prices.

Chanel increased their prices again in March this year (2023) with the ever-popular Chanel Classic Flap Bag increasing by 16%, making its new retail price more than £8,500, up from £7,250 earlier this year. Some other models increased by 14% and increases are expected to continue throughout the year.

The price of a Chanel handbag has steadily gained momentum since 2008 with prices accelerating faster over the last 5 years. Global demand for Chanel is high and despite their steady increase in prices, demand hasn’t fallen as evidenced by the strong resale market.

Let’s look back, in 1955 the Chanel 2.55 first sold for around £150 and currently retails for £8,530.

See below example of the 2.55.

The Chanel Classic Flap was first released in 1983 and sold for about £600 and now retails for £8,500.

A medium Chanel Boy Bag has increased from £3,600 in 2018 to £5,580 today and similarly the Wallet on Chain from £1,600 in 2018 to £3,210 today (2023).

See below example of the Chanel Boy Bag.

Chanel retail locations are still supply constrained and the classic bags are regularly sold out, this only fuels the demand on the resale market.

Resale prices for Chanel are also at record levels and pristine bags are in high demand. Collectors are looking for rare bags from previous seasons and sold-out new styles like the 2022 CC “In Love” Chanel Heart Bag.

Below is an example of a Chanel Classic exceeding its sale estimate.

Here is an example of a Chanel handbag selling at auction in 2003 for only $200.

Louis Vuitton

Louis Vuitton also can make a great investment!

Their classic designs are timeless, for example the Louis Vuitton Speedy, first released in the 1930’s, is a great handbag that can be purchased for under £1,000 on the resale market.

Other classic models that are very popular include the Alma, Keepall and Pochette.

See below examples of an LV going through auction.

See below Limited-Edition Louis Vuitton Speedy selling for $2,500 at auction.

See below Limited-Edition selling at auction.

The very best investment pieces by LV are the Limited-Edition versions.

While Marc Jacobs was creative director for LV he partnered with Stephen Sprouse, Takashi Murakami and Yoyoi Kusama to create Limited-Edition bags that remain highly sought-after in the secondary market (see three examples below).

Conclusion

With styles of Hermès making six figure sums, and auctions selling handbags totalling over £1.34 million in a single sale, now is a great time to review your handbag’s value, you’ll be pleasantly surprised.

How to care for your Jewellery

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When discussing cleaning and caring for one’s jewellery, we often forget that metals need TLC and can also be damaged by everyday products and may result in discolouration. Gold, silver and platinum can all be affected by chemicals such as perfumes, hair spray and cosmetics. The discolouration results in the alloy (other metals mixed with gold, silver or platinum) being affected by the chemicals, the gold itself remains intact.

Why has my bracelet turned green?

This is due to the copper used as an alloy with the gold, it does not mean your jewellery is fake gold simply that it has been exposed to chemicals and perhaps even sweat.

Other very sensitive components of jewellery affected by chemicals are pearls. Pearls are porous and will absorb whatever they are in contact with.

Cosmetics will damage your pearls permanently. Over time they can also lose their moisture and result in cracking and discolouration. One can place a wet cotton next to pearls to help with moisture and should always avoid swimming in a chlorinated pool with pearls. Other porous gems include turquoise and opal which also need to be treated with extra attention.

Discolouration does not always happen as a result from exposure to chemicals. Just as old paintings are shunned from sunlight and kept at a cool temperature, certain gemstones should also be kept in the dark and in a controlled temperature environment to avoid fading. These gems include amethyst, topaz, shell cameos and kunzite.

So how should I clean my jewellery?

The use of ultrasonic cleaners can be an answer. However, this should only be used when advised to do so by an industry professional.

Ultrasonic cleaners generate tiny vibrations which loosens dirt on and around gems. In some cases these vibrations can damage gemstones, for example those with surface reaching fractures and which have been filled with oils, resin or substance filler. Pearls and other organic gems such as amber, coral and ivory should not be placed in the ultrasonic.

The ultrasonic is a great way to clean diamonds, which attracts the most dirt and grease out of all the gems (please seek professional advice before using this equipment), and after a few minutes in the machine, it is like getting a brand new piece of jewellery.

If I can’t use the ultrasonic, what are the safest ways to clean jewellery?

The oldest tricks can sometimes really be the best ones. Two simple ingredients are needed to clean most gems: washing up liquid (no detergent) and warm water. Dipping your jewellery in this mixture and letting it sit for a while will soften the accumulated dirt and allow it to fall off. One can also use a soft bristle toothbrush to remove the remaining dirt. Make sure you then rinse the soap off the jewellery.

The toothbrush should not be used on pearls as this can scratch the delicate surface (the nacre) of the pearl. Instead one can use a make up brush and use the same ingredients of soapy warm water to clean any dirt. Simply air dry your strand of pearl on a clean soft piece of fabric, whilst avoiding touching the string and dirtying it. If you notice your string is dirty and brittle, make sure to have it restrung regularly to avoid any disaster.

How should one store their jewellery?

As we mentioned, pearls, opals, coral, turquoise and shell should not be kept in a dry or hot environment. Silver should be placed in anti-tarnish pouches and should never be in contact with rubber bands.

I always recommend separating gem-set jewellery from each other as they can scratch each other’s surfaces. This also applies when travelling. Throwing all of one’s jewellery in the same pouch is asking for trouble! Small individual plastic zip pouches are ideal and jewellery boxes are perfect to make sure your jewellery is kept out of harm’s way.

It can get overwhelming when trying to remember how to care for everything in one’s possession. In simple words I would advise to wear and enjoy your jewellery as much as possible and it should bring you more joy than fear of damaging it! So, if worry takes over enjoyment, it might be time to get your jewellery appraised and perhaps even sell for someone else to cherish.

The Crown Jewels for the Coronation

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On May 6th King Charles III will be crowned in Westminster Abbey. A tradition dating back nearly 1000 years since William the Conqueror who was crowned in 1066. Charles’s will be the 38th coronation in the Abbey, most, like Charles’s, having been conducted by the incumbent Archbishop of Canterbury.

We are expecting a simpler and more paired back coronation for King Charles, but this does not mean that it is going to be light on tradition and ceremony. This historic event will still be an occasion for spectacle and celebration.

It is a ceremony that has remained essentially the same for a thousand years and the Coronation Regalia are at the heart of proceedings, imbued as they are with cultural and spiritual significance. They represent the powers and responsibilities of the new King and the solemnity of the occasion.

The last time we saw some of the regalia of the coronation was on the late Queen’s coffin, which was adorned with the crown, orb and sceptre.

These three items will play an integral role at the heart of the coronation service, but they are not the only pieces that we will see on the day.

St Edward’s Crown is the crown historically used at the moment of coronation and worn by Her Majesty Queen Elizabeth at her coronation in 1953.

It was made for Charles II in 1661, as a replacement for the medieval crown which had been melted down in 1649 by Parliamentarians. Charles will wear this crown. The crown is 22 carat gold, so almost pure gold. It stands 30 cm tall and weighs an impressive 5lb. It contains tourmalines, white and yellow topaz, rubies, amethysts, sapphires, garnets, peridot, zircons, spinel and aquamarines. The three superstar gems in the crown are the Black Prince’s ruby, the Stuart sapphire and the Cullinan II diamond. No wonder Queen Elizabeth used to practise wearing it before the coronation, so its weight was not overwhelming on the day.

Camilla, the Queen Consort, will wear the Queen Mary’s Crown. This was removed from display at the Tower of London for modification work ahead of the coronation. It is the first time in recent history that an existing crown will be used for the coronation of a Consort. For previous coronations a new crown was commissioned. However, as a concession to the prevailing economic climate; sustainability and efficacy this crown, originally made by Garrards for the 1911 coronation, is being repurposed. Some minor changes and additions will be undertaken by the Crown Jeweller. These changes will pay particular tribute to the late Queen Elizabeth, as the Crown will be reset with the Cullinan III, IV and V diamonds. These diamonds were part of Queen Elizabeth II’s personal jewellery collection for many years and were often worn mounted in brooches.

At the heart of the ceremony itself are the sceptre, orb and the coronation anointing spoon. The Sovereign’s Sceptre and Cross symbolises the crown’s power and governance. It has been used at the coronation of every monarch since 1661. It was first used by King Henry VIII in 1509 for his own coronation. It is a golden rod, enamelled and set with multiple gemstones, the best known of which is the Cullinan I, or Star of Africa, a heart-shaped diamond weighing a colossal 530.2 carats.

In the photograph of Queen Elizabeth’s coronation you will see a second sceptre. This is the Sovereign’s sceptre with Dove. It is also known as the rod of Equity and Mercy and depicts an enamel dove wings outstretched alighting on the golden orb and cross. It represents the monarch’s spiritual role as head of the Church of England.

The most ancient piece of the coronation regalia is the coronation anointing spoon. The monarch is anointed with holy oil. The Chrism oil which will be used on May 6th has already been consecrated in Jerusalem. The oil itself comes from olives grown on the Mount of Olives and has been infused with sesame, rose, jasmine and other essential oils.

The spoon is silver gilt. Its existence was first recorded in 1349, but it may be even older. It is ornate with a central division and has been used to anoint monarchs for nearly seven hundred years. The central division may have been so that the archbishop might dip two fingers into the holy oil as he anoints the head, breast and hand of the new monarch.

It is traditional that the choir sings ‘Zadok the Priest’ during this sacred part of the ceremony; music originally composed by Handel for the coronation of King George II in 1727 and which has become an integral part of the proceedings.

The anointing is followed by dressing of the monarch in the spectacular robe of cloth of gold called the Supertunica and the long Imperial Mantle. The monarch is then presented with other items from the Coronation Regalia.

These include the gold spurs, the jewelled Sword of Offering and the Armills. The Armills are gold bracelets representing sincerity and wisdom. It is at this point that the monarch also receives the Sovereign’s Orb, as well as a ring and two sceptres.

The Orb is placed in the right hand of the monarch, during the investiture as the symbol of sovereignty. As a cross mounted on a globe, it represents the Christian world and the power of God. It is a reminder to the monarch that their authority is given by God. It is bisected with applied bands incorporating clusters of emeralds, rubies, sapphires and rose diamonds between bands of pearls. Having been handed to the King, it will be removed and placed on the altar before the moment of crowning.

The King will also be presented with the pair of golden spurs. These were first included amongst the regalia of the coronation in 1189 at the coronation of Richard the Lionheart. These represent his ‘knightly values and virtues’, such as protecting the poor, and defending the church. The current spurs are gold, made in 1661 for Charles1 and adapted in 1820 for George IV. In the past, the spurs were attached to the sovereign’s feet, but on May 6th they will be held at the ankle of the king.

The Sovereign’s ring will be placed on his fourth finger. The ring has the cross of St George at the centre formed from five rubies, overlaying an octagonal cut sapphire and bordered with fourteen old cushion cut diamonds. The ring was originally made by Royal Goldsmiths and Silversmiths Rundell, Bridge and Rundell for the coronation of William IV. It is said to be a symbol of ‘kingly dignity’.

The coronation sword, also known as The Jewelled Sword of Offering, will be presented by the archbishop, who first blesses the sword and then presents it with the direction that it should be used for the protection of the good and the punishment of evil. First used in 1821 by George IV, it has been used at all coronations since 1902. Like the Sovereign’s ring, the sword, made from blued steel, with a gold, jewel encrusted hilt and jewelled leather scabbard, was a commission from Rundell Bridge and Rundell.

The ceremony culminates with the placing of the St Edward’s Crown on the monarch’s head, the actual ‘coronation’.

The new King will change his crown for The Imperial State Crown as he leaves the Abbey. This is the crown that he will wear for future state occasions like the annual opening of Parliament. Although set in gold with 2,868 diamonds, 269 pearls, 17 sapphires, 11 emeralds and four rubies, it weighs a mere 2.3lb and is a more practical choice. It was worn by the Queen when she left Westminster Abbey in 1953. It was originally made for the coronation of her father, King George VI, in 1937.

Many of us grew up listening to older relatives tell tales of the Queen’s coronation. Televisions were purchased for the first time for the occasion, families huddled round radios to hear the ceremony live, and there is the enduring account of Queen Salote Tupou III who refused to be cowed by the rain and rode through London in an open topped carriage. No doubt King Charles’s coronation will be a different meld of old, new and unexpected acts of generosity and kindness. We can but wish for a day of joy and hope, amidst the tradition and ceremony.

King Charles III, Passionate Painter

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King Charles III first began painting in 1970, inspired by Robert Waddell, his art master at Gordonstoun School in Scotland. The school has a 200-acre woodland campus, and is within walking distance of the beaches of the Moray Firth and so provided the young prince with a wealth of subject matter. His Majesty began painting with watercolour at Gordonstoun and has stuck with it until now, despite it’s occasionally unforgiving nature.

The King says it gives him a greater sense of immediacy and ease of working ‘en Plein Air’. He also likes the speed of working in watercolour, it means he is quicker to finish a picture, and so doesn’t have to keep his security detail waiting for too long while he finishes a sketch.

The King is following a tradition first begun by Queen Victoria, who also only used watercolours and as a young girl was taught by well known artists such as William Leighton Leitch (1804-1883) . After leaving school King Charles initially received instruction from the then President of the Royal Academy and Architect Sir Hugh Casson, and his early work clearly shows Casson’s influence. Subsequently he was taught by some of Britain’s most famous Royal Academicians artists, including John Napper, John Ward, the Royal Family’s favourite painter, Edward Seago, and the Anglo Irish artist Derek Hill, who also facilitated painting trips in Ireland for the King.

The King’s style has evolved over the years into something that is clearly his own and for me as a specialist is immediately recognizable, often simply signed with a capital C. Favourite subjects to paint are outdoor scenes, particularly mountains, streams, and the surrounding areas of the Royal estates in Scotland and Norfolk. However other subjects include overseas landscapes including Saudi Arabia and the South of France.

He is a generous supporter of many causes and all profit and sales benefit the Prince’s Trust for Children and the Arts. As a regular Charity auctioneer myself I have brought the gavel down on many of his signed, limited edition colour lithographs all generously donated and selling for prices between £3-£8,000 depending on the event and subject. These also regularly appear for sale on the auction and retail market and so are available for anyone to buy either from traditional galleries or online vendors for between £6-10,000 again depending on subject and rarity. As for the original watercolours, it is my belief that these are only given as personal gifts from the King to his artist and other friends and therefore are kept as treasured gifts and so never sold.

Very very occasionally an original watercolour will find its way onto the auction market, and these are well worth looking out for. King Charles has continuously shown his work in non selling events over the years beginning with his first exhibition in 1977 held at Windsor Castle, where his work was displayed alongside works by Queen Victoria and the Duke of Edinburgh, himself an enthusiastic painter and sometime designer, whose sketches helped create the stained-glass windows in the Private Chapel of Windsor Castle.

The King rather modestly refers to himself as an “enthusiastic amateur,” however sales of his work have raised an estimated £2 million from the sales of signed limited edition prints of his watercolors from 1997 to 2016, making him one of the country’s best-selling living artists. Additionally in conjunction with Hugh Maxwell Casson ,King Charles illustrated a children’s book, “The Old Man of Lochnagar,” about an old, cave-dwelling man who meets a bubble-blowing god of the sea!

I imagine a King’s duties may leave less time for painting, hopefully not as the result is very pleasing to all concerned and is clearly a source of relaxation and pleasure in achievement for our New King.