Strawberries and Bling: The Watches That Won Wimbledon in 2025

Posted on July 17, 2025July 16, 2025 by Alastair Meiklejon

If, like me you, didn’t get the opportunity to visit the hallowed grounds of Wimbledon this year, I hope you enjoyed the coverage provided on the television. What you may have noticed is that a lot of the images you will have seen at home not only presented a lot of great tennis, but also a lot of celebrities in the royal box – whether or not seeing Hugh Grant taking a quick cat nap is as entertaining as some of the games of this year is debatable. What can’t be denied is the sheer wealth of impressive watches that we saw – some of them completely expected and some nice surprises.

The Princess of Wales – Cartier Ballon Bleu

The Ballon Bleu is quickly becoming her fashion staple, and why not – it’s the perfect size at 33mm and has all the traits of style and understated elegance. Currently retailing for around £6,000, it’s a great watch for all seasons and is as comfortable on centre court at Wimbledon as it is in Annabel’s on a Friday night.

David Beckham – Tudor Black Bay Chronograph Custom

Well, he wasn’t going to wear a , was he?

Possibly the most talked about watch of this year was an item given as a present from Tudor to celebrate Sir (can we say that yet?) Dave’s 50^th birthday. It’s a dramatic piece with enough diamonds for a royal tiara, but still, in a David Beckham way has a little bit of subtlety to it. You can’t buy one, so any figure would by hypothetical but given its provenance it’s going to be insured for north of £200,000.

Roger Federer and Leonardo DiCaprio – Rolex Land Dweller

I am fairly sure that everyone around Wimbledon was expecting the eight time Wimbledon champion to be wearing a Rolex, and of course he didn’t disappoint. The arguably greatest man to ever play the game (of course this is very debatable) arrived with the new kid on the block, the Land Dweller. Whilst it may sound like the name that a Korean car manufacturer might give to their new SUV, it’s actually a pretty stylish piece of work, just don’t mention the Tissot PRX….

Leonardo DiCaprio also entered Centre Court with the same watch, whilst dressed fairly casually, it proved a point that the Land Dweller can be worn up or down, much in the same way that the ever popular Datejust can. Currently, you have a slightly lower chance of getting hold of a Land Dweller than you do getting said royal box tickets for the men’s final, meaning that the £13,000 (model no.127334) will currently set you back close to £45,000 on the secondary market, which is not surprising.

Russell Crowe – Rolex Daytona Tiffany Dial, AKA – Maximus Blingiest Rolexus

Who would have thought that a turquoise dial with gold case would work anywhere outside of a Swatch launch party, but it does…

On an Oysterflex strap it gives a strange sense of sportiness and refinement that continues the legacy of the Daytona into areas where it has never been before. In typical Rolex style, the chances of owning one of these are less than surviving in the Colosseum, so you will currently pay north of £75,000 to get your hands on one, despite having a retail price of less than half that.

Eddie Redmayne – Omega Seamaster Aqua Terra Shades

We couldn’t talk about the watches of this year without mentioning an Omega, a genuinely brilliant brand with all the performance, all the technology, and all the style of its main competitor, just without the Instagram tags and mugging statistics. The ‘Day of The Jackal’ star arrived in a suitably smart cream suit, which really should have been accompanied by a nice cravat – but alas. With a red dial, this Omega steps away from its conservative approach but still gives a nice subtle vibe. As with most Omega watches, you can actually buy this one – with a price of £7,000, it’s not cheap but a lovely thing that will match your strawberries at Wimbledon – if you would risk it in a suit that colour.

Of course, there were many other watches on display – notable mentions include Chris Hemsworth in the Audemars Piguet Royal Oak Double Balance Wheel, which not only sounds like a piece of gym equipment from school, it’s actually the same size too.

Tom Holland wore an Ice blue dial Daytona, which as one of the stars of the 2022 boom, peaked at well into the six figures, but thankfully now is slightly more accessible at just under £100,000 (I did say slightly).

What this year did show is that as well as a fashion show, it’s also a great opportunity for the great and the good to show what they have in the watch box, or what they may have been given at the hotel the night before from a brand representative.

No doubt next year will bring more interesting watches, and hopefully a slightly longer women’s final.

Birkin No.1: Jane’s Own Handbag Goes Under the Hammer

Posted on July 10, 2025August 13, 2025 by Helen Doyle

Jane Birkin’s original Birkin bag, a legendary prototype that sparked the creation of one of the world’s most iconic and coveted handbags, is currently being sold at Sotheby’s in Paris.

This historic piece, distinguishable by unique features like its attached shoulder strap and “J.B.” stamp, was designed for Birkin in 1984 after a chance encounter. Having been used by Birkin for nearly a decade and previously auctioned for charity in 1994, it has since been owned by a private collector and exhibited in prestigious museums. Now, as the highlight of Sotheby’s “Fashion Icons” sale running from 26th June to 10th July, this black leather artifact, still bearing traces of its storied past, including humanitarian stickers and even cat bite marks, is poised to fetch a significant sum, potentially setting a new record for a Birkin bag at auction.

This isn’t just any Birkin; it’s the very first one ever made, custom-designed for Jane herself and it boasts seven unique design elements that you won’t find in any other Birkin bag, making this prototype truly a unique buy.

So, let’s start with how it came about. In 1984, Jane Birkin found herself on a flight from Paris to London, seated next to Jean-Louis Dumas, the then chief executive of Hermès. Birkin was struggling with her existing handbag – a wicker basket – whose contents had spilled across the aisle. She expressed her frustration to Dumas, lamenting the difficulty of finding a stylish yet functional bag large enough to hold all her essentials, especially baby bottles (she had her daughter Lou Doillon at the time). Dumas, ever the visionary, was intrigued by her predicament. He listened intently as Birkin described her ideal bag: something softer than a rigid briefcase, but still substantial enough to be practical for everyday use. He then sketched a design on the spot, reportedly on the back of an airplane sickness bag – a rectangular, supple holdall with a distinctive flap and clochette. Thus, the concept for the Birkin bag was born.

It’s not the first time one of Jane Birkin’s Hermes Handbags has been sold at auction, in 2021 at Bonham’s her Birkin 35 in Togo sold for £119,000, five times its presale estimate!

The sale of Jane Birkin’s Original Birkin is slightly more significant in that it’s the very first one ever made, custom-designed for Jane herself, based on her ideas and it boasts seven unique design elements that you won’t find in any other Birkin bag, making this prototype truly a unique buy.

Shoulder strap

Perhaps the most striking detail of the bag is its integrated shoulder strap. This wasn’t just a design choice; it’s a feature that was never replicated in any commercially produced Birkin. Though Hermès later offered a limited edition with a detachable strap in the 1990s, Jane’s original stands alone as the only Birkin to boast a fixed, non-removable shoulder strap.

Size

Breaking from the standard 40 and 35 sizes of the Hermès Birkins, Jane’s Original Birkin offered a distinct hybrid design. It ingeniously combined the sleek width and height of a Birkin 35 with the more spacious depth of a Birkin 40, another truly unique specification.

Hardware

Initially, it featured gilded brass hardware. This early detail evolved when the Birkin officially launched, moving to gold-plated hardware distinguished by a check mark stamp. As the Birkin line matured, Hermès diversified its hardware choices, eventually offering palladium, rose gold, and other finishes.

Rings / Pontet

Another unique detail is its closed metal rings which the leather straps thread through to close the bag, this is reminiscent of the Hermès Sac Haut à Courroies (HAC). In contrast, early commercial Birkin’s, introduced until the early 1990s, featured rings open at the bottom. Today’s Birkin bags now display rings that are open at the top.

Studs and zippers

Hers features notably smaller bottom studs than those found on later production bags. Additionally, its zippers were sourced from Éclair, a detail unique to this prototype. In the 1990s, Hermès partnered with Riri, who remains the exclusive zipper manufacturer for all Birkin bags today.

Initials

More than just an accessory, it was a deeply personal extension of herself, proudly marked with her “J.B.” initials on the front flap. It quickly became her constant companion, often cradled close in her arms as she took it everywhere. The bag’s well-loved condition eloquently speaks to years of dedicated use by the iconic actress and singer, embodying her inimitable style and spirit.

And finally, a rather quirky element, Jane Birkin preferred natural, well-maintained nails over polished fake nails. Ever practical, she kept a nail clipper readily accessible, tethered to a chain inside her Birkin and hanging from the shoulder strap’s base, ensuring her nails were always perfectly trimmed.

This prototype was more than just a fashion statement; it became inseparable from Jane herself. She carried it daily for nearly a decade, and its well-worn condition reflects her life on the move. Her Birkin served not only as a functional accessory but also as a canvas for her activism. Jane famously adorned it with stickers supporting Médecins du Monde and UNICEF, transforming the luxury handbag into a powerful symbol of her humanitarian efforts.

The impending sale of Jane Birkin’s original Birkin prototype at Sotheby’s is poised to significantly impact the broader Hermès market. By potentially fetching a record-breaking sum, this historic auction will not only set a new benchmark for bags with unparalleled provenance but also likely elevate the perceived value and desirability of all Birkin bags, from new releases to vintage models, across the primary and secondary markets. This event powerfully reinforces Hermès’ narrative as the epitome of luxury, craftsmanship, and timeless investment, further solidifying the Birkin’s status as the most coveted handbag in the world and intensifying collector interest in rare and unique pieces.

Update! The Birkin sold at auction for an incredible £7.4m, becoming the most valuable handbag ever sold at auction.

From the Course to the Cabinet: Golf’s Most Iconic Trophies

Posted on July 10, 2025July 10, 2025 by Fiona Hamilton

As we look forward to the forthcoming 153rd Open Golf Championship at Royal Portrush Golf Club, we’ve taken the opportunity to look back on last Summer when our silver specialist Fiona Hamilton, along with colleague Alastair Meiklejon, travelled to the prestigious Royal Liverpool Golf Club. Warmly welcomed by the fabulous team there, Fiona and Alastair had the honour of assessing the impressive collection of art and antiques in this historic venue.

Discussions regarding the forming of a new golf club in the area began in 1869. The Royal Hotel in Hoylake was the setting for a meeting hosted by James Muir Downie, and attended by a further twenty one gentlemen. All present agreed to the idea and Dowie was duly awarded the title of the first captain.

George Morris who was the brother of Old Tom, and Robert Chambers the son-in-law of Dowie, were tasked to lay out the original nine hole course in 1869, two years later saw this extended to 18-holes.

In the same year, thanks to the patronage of HRH Prince Arthur, the Duke of Connaught, The Club was granted its Royal designation.

The links land doubled as a golf course and a horse racing track for the first seven years, the legacy of which lives on with the original saddling bell still hanging in the clubhouse, and the names of the first and eighteenth holes being ‘Course’ and ‘Stand.’

Hoylake hosted its first Women’s British Open in 2012, the same year as the London Olympics. Due to the impact that the Olympics had, plans were changed, and The Open was moved to September. Despite miserable weather on the day, South Korean golfer Jiyai Shin was victorious.

Fast forward to 2023 and the RLGC hosted the 151st Open where American Brian Harman ultimately triumphed at Hoylake to take the title in a thrilling win.

On entry to the impressive clubhouse at Hoylake, one’s eye is immediately drawn to the splendour of the silver cabinets within the lobby. One of the highlights of which must be the replica of the famous Open Championship trophy, which takes the form of a claret jug. Retailed by the renowned firm of Mackay, Cunningham & Co of Edinburgh, and made in London at a scale of 90% of the original, the claret jug depicts a golfer in mid swing within a surround of chased and engraved stylised scrolling foliage and sits on triple plinth with silver plaques engraved with winners.

Before the production of the original Claret jug in 1873, winners were awarded The Challenge Belt. Commissioned by the Earl Of Eglinton in 1860, the belt is made of Moroccan leather with applied emblems and centred by a silver buckle depicting golfers at play.

In 1927 the R&A made the decision to retain the original Claret Jug where it is on permanent display.

Further highlights of the collection of RLGC include;

The Bombay Challenge cup

Weighing in at over 2kg The Bombay Challenge Cup, by Martin Hall & Co Ltd, Sheffield 1874, is of flagon form on stepped foot, profusely chased and embossed with scrolls and foliage, and with engraved cartouches.

The Liverpool Banking and Insurance Cup

In the form of a freedom casket, The Liverpool Banking and Insurance Golf Tournament Challenge Trophy was made in Birmingham in 1900. The hinged cover has a finial in the form of a golfer in mid swing, the body is painted with various vignettes of the Clubhouses at RLGC, West Lancashire, Wallasey and Formby.

The Queen’s Silver Jubilee Bowl

Representing more modern design is the distinctive Queen’s Silver Jubilee Bowl, by celebrated silversmith Stuart Devlin. Made in London in 1977 the trophy is in the form of a rose water dish, with pierced gilt reticulated border, centred by a boss engraved with winners, and a 360-degree view of the London skyline.

The Atlantic Trophy

Enamelled in stunning shades of blue, the fabulous Atlantic Trophy was made by the acclaimed firm Boodle & Dunthorne in London in 2004. Modelled as a vertical scrolling wave, the curve supports a silver golf ball, showing RLGC and USA, to simple silver disc base, the plinth bearing silver plaques engraved with winners.

From the medals and trophies of the early 1800’s the enduring presence of silver in sports trophies continues to represent the history and prestige attached to major sporting achievements. In addition to their aesthetic appeal, these awards mark the determination and achievement of sportsmen and women at the pinnacle of their careers.

The presentation and winning of the iconic claret jug continues to inspire and motivate and we look forward to celebrating the success of the eventual winner of the 153rd Open Championship.

The 2025 British Open, officially the 153rd Open Championship, will be held from July 17 to 20 at Royal Portrush Golf Club in Northern Ireland.

Insuring the Infamous: Valuing Al Capone’s Custom Timepiece

Posted on July 10, 2025August 13, 2025 by Liz Bailey

We have seen watches boasting fantastic provenance hitting the auction block this year, including a limited edition Omega Speedmaster owned by Neil Armstrong selling at RR Auctions for $2.1 million, a Rolex Daytona ‘Big Red’ gifted to F1 Driver Jean-Pierre Jabouille selling at Phillips for $215,900, and a Rolex GMT-Master, owned by Sheila Scott OBE ‘Britain’s Queen of the Air’ selling at Spink for £30,000.

Perhaps one of the most notorious and nefarious watches to be offered in the June Watch Sales was a platinum Patek Philippe pocket watch, owned and customised by the legendary Chicago born gangster, Al Capone. Dating to 1919, this 42mm open face pocket watch was custom-cased in platinum, and personalised with ninety single-cut diamonds spelling out the initials ‘AC’ to the case back. Interestingly, the pocket watch is missing its minute hand, and undoubtedly would have some real tales to tell, of a criminal provenance that belies its sleek and stylish Art Deco aesthetic.

Reputedly, Capone was unhappy with the original ‘plain’ case of this timepiece, and took the watch to a jewellers to re-case in this striking platinum and diamond design. Making a ‘project’ out of this Patek pocket watch, Capone was an early adopter of the customised watch. As Sotheby’s catalogue notes point out, “such a watch was hardly subtle, and ultimately it was tax evasion that enabled the federal government to send Capone to jail, eventually landing him in the legendary Alcatraz Federal Penitentiary.”

Sold with a provenance letter from Capone’s granddaughter, Barbara Mae Capone, this watch was estimated at $80,000-160,000, and reached mid-estimate inclusive of fees. The watch was last sold in 2021 by Witherells Auctioneers for $229,900 against a $25,000-50,000 estimate. At the June sale in 2025 it made just $95,250.

So what could account for this drop in hammer price? Perhaps it was simply offered too soon after its initial sale. In 2021, the piece was completely ‘market fresh,’ and so the buzz and interest around this piece understandably would have been much greater, even compared to Sotheby’s world-class marketing and lot presentation.

The watch was sold in 2021 as part of an ‘estate sale’ together with 174 other lots relating to the Capone family. This sale included letters from Alcatraz, photographs, pistols, jewellery, watches and furniture. Browsing this sale does provide a real insight into Al Capone’s personal life, his belongings, style, and manner of collecting. Similarly personalised stickpins, cufflinks, and accessories really help to contextualise and allow us to picture the pocket watch as part of a larger collection. Pieces such as the 14k white gold and diamond notebook cover in particular, are decorated in such a similar manner that they may well have been commissioned by Al Capone at the same time – this piece sold for $36,300 against a $2,000-5,000 estimate.

As the value trajectory of this legendary pocket watch will show, the value of provenanced items and fine timepieces can fluctuate! Various factors including timing, the appetite of the market, condition, originality, working order, can impact collections in the short to medium term. I have no doubt that in the long term, this watch will continue to grow in value, but it serves to show the importance of regular valuations of your items to protect against over or under insurance.

Images with thanks to Sotheby’s and Witherills Auctioneers.

Grima Jewellery at the Tomasso Gallery

Posted on July 8, 2025July 8, 2025 by Liz Bailey

Last month, our Jewellery Specialist Liz Bailey visited the annual exhibition hosted by the Tomasso Gallery, displaying contemporary and vintage jewels by Grima.

In its third year, this much anticipated exhibition included pieces from Andrew Grima’s collections, including a selection of pieces from his ‘About Time’ collection for Omega, as well as contemporary works by the Grima Company. Beautifully curated and displayed in groups of theme and colour, this display of retro and contemporary pieces from the Grima family blended seamlessly, expressing a true and timeless signature style.

Andrew Grima is one of Britain’s most celebrated jewellers. Creating jewellery from the 1960s onwards, he came from an engineering background and was introduced to the trade when he joined his father-in-law’s jewellery manufacturing business, H.J. Company, in 1946. With a clear design vision, his jewellery is “daring, fantastic, even flamboyant but without being clumsy or brash”. Honing a signature style with large uncut gemstones, textured 18ct yellow gold, diamond accents and bold forms, he became a royal and high society favourite. The sentiment remains, his beautifully bold and increasingly rare jewels have continued to rise in value, year on year.

Since Andrew’s death in 2007, his wife and daughter Jo and Francesca continued the tradition of creating original and handmade fine jewellery. A collection of 20 to 30 pieces is created each year, often using the goldsmiths who had been employed by Grima for over 40 years, resulting in a beautiful continuation of the Grima design ethos.

The above cabinet features two tourmaline pieces by Andrew Grima in the early 1970s. Each pendant displays an unpolished tourmaline crystal, presented from both the X and Y axis – in other words, sliced through the crystal, and down the crystal. Both of these pieces are from Grima’s ‘Rock Revival’ Collection. Elsewhere in the cabinet are three rings, the furthest right set with a faceted oval tourmaline and brilliant cut diamonds, created by the Grima Company in 2019.

The central druzy agate pendant in this cabinet is highly reminiscent of a brooch by Andrew Grima, pictured in Hinks’ 1983 Twentieth Century British Jewellery (Plate XVII), however was created by the Grima Company in 2006. Measuring 6.5cm in diameter, this impressive piece can be worn as a pendant or a brooch. The opal pieces in this cabinet date from the 1970s until the present day – the drop earrings are set with Yowah nut opals and were particularly eye-catching!

About Time – Grima’s Omega Collection

At the exhibition were three timepices from Grima’s iconic ‘About Time’ collection for Omega, commissioned in 1969. Grima’s collection of 55 watches for Omega bore neither parties name to the dial, and had a prevailing theme; each watch face was either seen through a precious stone or concealed by one. A landmark collection for both Omega and watch design more broadly, Grima was famously quoted as saying “If you need to know the time, you ask your chauffeur.”

The Linenfold Watch, circa 1969 and pictured above, was nestled amongst a wonderfully rich array of sculptural citrine jewellery. This showstopping timepiece features a 76.13ct oval citrine ‘glass’ and is surrounded by an irregular diamond bezel, completed of course with a beautifully textured 18ct yellow gold bracelet.

Secondly, the aptly named Elegance Watch, dating to 1970 and featuring the classic elongated rectangular dial, which became somewhat of a design hallmark in Omega’s following collections. Accented with off-centre hands, a smoky quartz ‘glass’ and a textured cuff bracelet, this striking piece paved the way for subsequent stylish Omega creations, see refs. 8270 and 1907.

Finally, the Utopia Watch, dating to 1971. This sculptural piece once more features a rectangular smoky quartz glass, set atop a brushed 18ct gold torque bangle. With less than a handful of Grima’s About Time Collection offered for sale via public auction in the last few years, to see three of these special pieces all in one place was a real treat!

Demand for signed 1960s and 70s jewels such as Grima’s is ever increasing, and values continue to rise over the last couple of years, with pieces far exceeding their estimates at auction. To ensure that you are adequately insured in an extremely buoyant market, do get in touch with our specialist team.

With thanks to Grima Jewellery. For further information on any of the pieces photographed, please visit www.grimajewellery.com.

To arrange a jewellery valuation, call us on 01883 722736 or email us on [email protected].

Serving Style: How Jewellery and Watches Make a Statement at Wimbledon

Posted on July 3, 2025August 13, 2025 by Jenny Knott

The Summer Season is well and truly under way and with glorious weather so far this year we’re about to head into my favourite sporting fortnight – Wimbledon. Of course, it’s all about the tennis – but it’s also all about the elegance of The All England Club, the traditions, the strawberries and cream, the Pimm’s and yes, the people watching. Outfits both on and off court attract attention, and notwithstanding the all-white dress code tennis players can and do wear jewellery and watches on court and during play.

Rolex are the official timekeeper for all four Grand Slams including Wimbledon. The brand also sponsors a number of prominent players, including Roger Federer, Garbiñe Muguruza, Dominic Thiem, Coco Gauff, Jannik Sinner, and his current nemesis since his painful defeat in the French Open, Carlos Alcaraz.

Roger Federer became a brand ambassador for Rolex in 2006 with what was, at the time, the largest single endorsement for any professional athlete. He was contracted to Rolex for 10 years for which he received $15,000,000. Others now in the Rolex stable are Dominic Thiem for the Daytona and Garbiñe Muguruza with the DateJust. Jannik Sinner entered the Rolex testimonee stable, as Rolex likes to call its brand ambassadors, in 2020 and wears the Cosmograph Daytona. Coco Gauff is also part of the horophile elite. At her recent victory in the French Open she wore a discontinued Rolex Oyster Perpetual watch, the same timepiece she wore when she won the U.S. Open in 2023. This particular watch, with its distinctive purple dial, is known colloquially as the “Red Grape” (£7,000-£8,000 approx. second hand).

It’s not all about watches though and no article on this subject would be complete without acknowledging the significance of Chris Evert and her now infamous bracelet incident. What might have been a disaster turned into a coup for the jewellery industry. She wore a diamond line bracelet when she played; perfect because it did not have claws to catch and sat flush against her wrist. However, in 1978 during a match in the U.S. open the clasp broke and the bracelet fell off. Play was suspended so that it could be retrieved, which it was.

She later said ‘When I competed, I wanted to wear something that gave me confidence and empowered me, both as a woman and an athlete. My tennis bracelet added a personal element to my style on the court and served as a daily reminder that I can do and be anything.” Who wouldn’t want some of that?

This style of line bracelet has been popular since the Art Deco period, but it was Chris Evert that brought it to such wide prominence and as a result it became known as a ‘tennis bracelet’. The Boodles collection includes one with an integral diamond-set tennis ball charm.

Bracelets are not the sole preserve of the female tennis players. Grigor Dimitrov is known for his ‘stack’ of Van Cleef and Arpels Alhambras and it’s hard to deny that they suit each other.

Closer to home Emma Raducanu has been a brand ambassador for Tiffany since 2021 and has been seen at Wimbledon in pearl drop earrings, diamond and pearl necklaces and white gold Tiffany bangles. The Tiffany earrings seen here are from the Victoria range and retail at £11,300.

Jack Draper has chosen the sartorial route and since April this year has been sponsored by Burberry, though given the strict all white code we won’t be seeing any of the famous Burberry checks on court.

From Raducanu’s exquisite Tiffany pearls to the impressive timepieces, jewellery in tennis has evolved from subtle accents to powerful style statements. These collaborations reflect not just fashion, but identity and give players a chance for some self-expression within the confines of the tight dress code.

Leiden Collection – Rembrandt’s Lion

Posted on June 26, 2025June 25, 2025 by David Dallas

The current exhibition at H’Art Museum in Amsterdam (formerly known as the Hermitage Amsterdam, before links with the St Petersburg Institution were severed following Russia’s invasion of Ukraine) is “From Rembrandt to Vermeer: Masterpieces from the Leiden Collection”. As the name would suggest, the paintings are mostly by artists from Leiden such as, Jan Steen and Gabriel Metsu and Leiden is where Rembrandt and Jan Lievens shared a studio before moving to Amsterdam.

This illustrious collection has been assembled and is owned by my friend Tom Kaplan. Tom is the Chairman of Electrum Group, which specialises in precious metals. Despite being a New Yorker, he went to Oxford University and got a first in Modern History. He also gained a PhD for work on counter-insurgency in Malaya. He is a polymath. He has a passion for Rembrandt and his associates, which is only superseded by his love for big cats. In 2006 Tom co-founded Panthera, a charity devoted to “securing the future of the 40 species of wild cats and their critical role in the world’s ecosystems – securing their future and ours”, to quote their home page.

Among the treasures of the Leiden Collection on view in Amsterdam, is a superb drawing in chalks by Rembrandt of a young lion resting. It has been reported in the Art Newspaper and elsewhere, that Tom Kaplan will sell this great drawing sometime in 2026, with the proceeds going to benefit Panthera. It is expected to make an 8-figure sum and could even eclipse the world record for a work on paper, which was set in 2012, when the Head of a young Apostle by Raphael made £29.7M ($48M at the time).

Serena, my wife, and I, had the good fortune to spend 10 days as the guests of Tom in the Pantanal, a wetland in Brazil, the size of England, in the early autumn (their spring) of 2008 and see the work of Panthera in action. Tom had bought a large tract of farmland to provide a safe corridor for Jaguars to travel between two wildlife sanctuaries.

It’s worth remembering that in the 1950s and 60s, 25,000 Jaguar pelts made their way into the New York fur trade every year. The farm has 7000 head of cattle protected from predation by Jaguars, by being accompanied by Water Buffalo, which are extremely dangerous and in Brazil, produce the most disgusting Mozzarella known to man! There has been predation, nevertheless, over the four centuries that Europeans have had cattle in Brazil and this rich diet has caused the local population of Jaguars to increase vastly in size. A healthy male can weigh between 300 and 350 lbs, roughly the same as a Lioness, but with a much more powerful bite. Jaguars do not asphyxiate their prey, they crush their skulls. Jaguars in Guyana, by comparison, weigh a mere 80 to 120 lbs.

We had the further good fortune to be on the Cuiaba River, in the Pantanal, with fellow guest Steve Winter, who had just won World Wildlife Photographer of the year for his work on Snow Leopards, another of Tom’s protected species. One morning, after a relatively fruitless trip down the river, except for seeing a family of Giant Otters sharing fish with their youngsters, (adult Giant Otters are the same size as me) we bumped into Steve and he said he’d just seen a beautiful young Jaguar coming out of the shade of some trees onto open ground, because one of the boat drivers was throwing fish for him to eat. This practice has now been banned, as anything that distorts a wild animal’s natural behaviour, is not to be encouraged. Anyway, we hurried down river in our boat with Steve Winter directing us where to go. After 20 minutes at full throttle, we arrived at the steep bank where the Jaguar had been spotted, and he was still there! I got some memorable shots with my little Leica and Steve, whose camera took 10 frames a second took some rather better ones.

The show in Amsterdam, at the H’Art Museum, which exhibits 17 Rembrandt oil paintings, nearly half the total of those in private hands, and also has our cuddly lion on a leash, is on until August 24th 2025, when it heads for West Palm Beach, Florida. Try to get to see it if you can, as you may be seeing, not only a collection of Dutch 17th Century masterpieces, but also the most valuable drawing ever sold. We will be reporting what happens to the drawing at auction next year.

When Old Tech Turns Valuable: What’s Worth Insuring in Vintage Technology

Posted on June 26, 2025June 25, 2025 by Stephanie Connell

Historic technology collecting is a constantly evolving field, where exciting developments can quickly lead to new assets.

Many of us have old phones and computers, it can be tricky to decipher which pieces of tech are worth looking at for insurance.

Demand is influenced by several factors. For valuable vintage technology more broadly, the most valuable are those historically important pieces which resulted in a change in global society.

So let us look at a few areas of the vintage technology market and what to look out for and what’s worth insuring in valuable vintage technology.

In July 2023 Apple grabbed the headlines when a first-generation iPhone sold at auction for over $190k (suggested insurance figure £250k) – tripling the record price set just 4 months earlier. Surprising for a phone whose purchase price was around £500 when released in 2007.

But this iPhone was not an ordinary example. The lot was ‘factory sealed’, meaning this rare survivor was unopened, unused, and still in its plastic casing. The phone was also a 4GB storage model, this version was less popular when issued in 2007, therefore scarcer. As a comparison Heritage auctioneers sold a factory sealed first generation of the more popular 8GB version in February 2024 for $21,600 (Heritage, Video Games, Lot 28129, February 24, 2024 – suggested insurance figure £65k).

In the current market, replacement values for first generation iPhones typically only exceed £500 in instances where the device is in excellent condition with packaging. It is the extremely rare factory sealed pieces which are the ones to look out for.

The most collectable pieces in the world of Apple products are those manufactured in the early days of the company.

In September 2024 auctioneers Christies sold an Apple computer for $945,000 (suggested insurance £1.8 million).

However, this example, was arguably the most important commercially produced computer in the history of the company.

An Apple-1 personal computer, manufactured in 1976, it was sold as part of the collection of the late Microsoft co-founder Paul Allen (2024, Lot 10, Paul G. Allen Collection, Christies NY). The first commercial Apple computer, this piece had previously stood in the office of Steve Jobs. The value here is dictated not only by the technology itself, but as an extremely important item in the history of computing. Early Apple products are scarce and of great interest to collectors – Apple-1, Apple II, Apple Lisa and prototypes should all be considered.

To retro gaming: with contemporary video game collecting, those pieces with the highest values are akin to the markets for vinyl, trading cards, collectable figures, and comic books. Rarity and condition are pivotal factors in value. Original packaging and unopened are desirable to collectors.
Areas with a strong international market and instantly recognisable brand name such as Sony Playstation, XBOX and Nintendo command the highest prices. Those produced with a more British focus such as the educational BBC Computers or ZX Spectrum in general are of limited value.

Looking at the market for Nintendo video games, in July 2021 auctioneers Heritage sold a copy of Super Mario 64 for an astonishing $1.5 million. This piece was not a typical game of its type. This version was unopened and sealed, it had been professionally graded at 9.8 – being a near mint copy – only four versions are known at this grade (Heritage Video Games auction, July 2021, lot 28137). It is worth noting that in the same auction, the same game with a slightly lower grading of 9.6 fetched just over $13k (suggested insurance for 9.6 version £15k).

In general Nintendo video games would have been played and sold in large numbers – these are of modest value and not usually requiring separate insurance. Sealed version of iconic titles such as Zelda and Super Mario are amongst the most desirable.

Here are some factors worth looking at for more valuable pieces. Was the piece rare at time of issue? For example, games that were not commercially available when manufactured. ‘Not For Resale’, ‘Test’, and ‘Competition’ editions are all something to be aware of. These pieces are extremely rare – they would have been exceptional or unusual at the time of acquisition (see Heritage Auctions, June 12, 2025 – Video Games – Lot 79029 – Super Mario Club Communication Cartridge CIB sold for $475 – suggested insurance value is £600).

Furthermore, games which were unsuccessful at the time of release, therefore sold in small numbers, if in excellent condition can be valuable.

For those consoles which were more widely commercially available condition is key to value. Nintendo manufactured the ‘Game & Watch’ series – a precursor to the Game Boy – where each handheld console played just one game. Game & Watch are popular amongst collectors and can be a good entry point.

In September 2023 auctioneers Ewbanks sold a Super Mario Bros Crystal Screen (YM-801) in very good condition with box for a hammer price of £750 (Lot 5036 – Ewbanks – Retro Video Games & Consoles – September 28, 2023 – suggested insurance value £875).

When a lesser condition version appeared at auction last year, again with box, it achieved a hammer price of £320 (Hawleys Fine Art – 18th May 2024, lot 1182).

In the field of retro video gaming, there is combination of nostalgia, for vintage titles played during childhood or adolescence, alongside iconic names and characters with broad appeal.

If you haven’t considered it before, your valuable vintage technology of treasured vintage home computing, technology and retro video games, may be worth insuring.

The Scottish Colourists

Posted on June 19, 2025June 19, 2025 by Jonathan Horwich

I have a long list of personal artistic heroes from all eras, each is talented in their own ways however rare among my list of heroes are groups of artists. One notable and exceptional group of my ‘hero’ artists are the Scottish Colourists, all hugely talented individuals in their own right whose love of colour, light, form and the open air sing out from all of their pictures.

The Scottish Colourists were a group of four artists—Samuel John Peploe, Francis Cadell, George Leslie Hunter, and John Duncan Fergusson—who all worked primarily in the early 20th century and are celebrated for bringing bold, modern European artistic influences into Scottish art. Though they were not a formal movement during their lifetimes, their work is now collectively recognised as a group of four and their work is admired by private collectors across the world for its vibrant palette, modernist approach, and synthesis of Scottish subject matter with the avant-garde styles of France.

The four drew heavily on French Impressionism, Fauvism, and Post-Impressionism art, particularly from the work of Manet, Cézanne and Matisse, the Colourists emphasised light, colour, and compositional clarity. Each artist had strong personal ties to France, where they absorbed the stylistic innovations of the Parisian art world, returning to Scotland with a fresh and radical aesthetic.

Francis Cadell – Artist Profile

Full Name: Francis Campbell Boileau Cadell
Birth: April 12, 1883, Edinburgh, Scotland
Death: December 6, 1937, Edinburgh, Scotland

Early Life & Family

Francis Cadell was born into a well-to-do, cultured Edinburgh family. His father, Dr. Francis Cadell, was a distinguished surgeon and Fellow of the Royal College of Surgeons of Edinburgh. His mother, Mary Hamilton Boileau, came from a family with military and aristocratic ties. Cadell was raised in a supportive environment that encouraged his artistic pursuits from an early age.

At just 16 years old, he moved to Paris to study at the prestigious Académie Julian, an experience that would shape his early style and expose him to the modernist developments then unfolding in France.

Education & Career

After Paris, Cadell continued his studies in Munich before settling back in Scotland. His career truly flourished in the years following World War I, during which he served in the army. His style matured into a distinctive blend of elegant modernism, defined by clean lines, vibrant but controlled colour, and a refined sense of composition.

Cadell was particularly associated with the New Town of Edinburgh and the Hebridean island of Iona, both of which featured prominently in his work. His paintings ranged from chic interiors and society portraits to luminous seascapes and landscapes.

Style & Legacy

Cadell’s work is known for its:

Bold yet harmonious colour palette
Strong decorative sense
Elegantly stylized compositions

He was deeply influenced by the French avant-garde, particularly Manet and Matisse, however he maintained a distinctly Scottish sensibility in his choice of subject matter.

Although he faced financial difficulties later in life and died in relative obscurity, Cadell’s reputation has since grown. Today, he is celebrated as one of the key figures in Scottish modern art and an integral member of the Scottish Colourists.

Samuel Peploe - Artist Profile

Full Name: Samuel John Peploe
Birth: January 27, 1871, Edinburgh, Scotland
Death: October 11, 1935, Edinburgh, Scotland

Early Life & Education

Samuel Peploe was born into a wealthy Edinburgh family. His father, Robert L. Peploe, was a successful banker, and the young Samuel was initially expected to carve out a professional career in law or banking. However, his artistic talent and passion for painting quickly became evident. After briefly studying law, Peploe chose instead to pursue art, enrolling first at the Trustees’ Academy in Edinburgh, and then continuing his training in Paris at the Académie Julian and later at the Académie Colarossi , also in Paris and run by the artist’s model and sculptor Filippo Colarossi.

While in Paris, Peploe was exposed to the then revolutionary work of the Impressionists and Post-Impressionists, particularly Édouard Manet, whose influence would echo throughout Peploe’s mature work.

Career Development

Peploe initially painted landscapes, portraits, and interiors, but found his distinctive voice in still-life painting. His early palette was quite restrained, characterised by tonal subtlety and a sense of quiet harmony.

By the 1910s and 1920s, Peploe had begun experimenting with bolder colour and tighter compositions, reflecting his deepening interest in Cézanne and Fauvism. His move toward high-keyed colour, simplified forms, and carefully balanced arrangements made his work instantly recognisable and marked a radical departure from the much more conservative narrative traditions of Scottish painting.

Peploe painted in France, particularly in Paris and on the coast of Brittany, he also worked extensively in Scotland, especially in the Hebrides, where he often painted alongside Francis Cadell.

Style and Technique

Peploe’s work is known for:

Vibrant colour and a bold, deliberate brushstroke
Carefully structured compositions, often with objects placed on crisp white tablecloths or against dramatic black backdrops
A modernist sensibility rooted in observation, yet transformed by formal abstraction

He is particularly celebrated for his still lifes—featuring flowers, fruit, ceramics, and drapery—which demonstrate his acute sensitivity to form, space, and light. He was not fully appreciated during his lifetime, however Peploe’s work gained greater recognition after his death. Today, he is widely regarded as one of the most significant Scottish artists of the 20th century. His paintings are held in major collections, including the Scottish National Gallery of Modern Art, and continue to be highly sought after by collectors.

Personal Life

Peploe married Margaret MacKay in 1910. The couple had one son, Denis Peploe, who also became a painter. Despite periods of financial hardship, particularly during World War I, Peploe remained dedicated to his artistic vision until his death in 1935.

George Leslie Hunter – Artist Profile

Full Name: George Leslie Hunter
Birth: August 7, 1877, Rothesay, Isle of Bute, Scotland
Death: December 7, 1931, Glasgow, Scotland

Early Life & Background

George Leslie Hunter was born into a large family in Rothesay on the Isle of Bute, but at the age of 15, he emigrated with his family to California, settling near San Francisco. Unlike the other Scottish Colourists, Hunter was largely self-taught, and his route to painting was highly unconventional.

In his early years, Hunter worked as a graphic illustrator and cartoonist, producing drawings for magazines and newspapers. He also studied briefly at the California School of Design, but his development was largely informal. After the 1906 San Francisco earthquake, which destroyed much of his early work, he returned to Scotland, determined to devote himself fully to painting.

Career Development

Hunter’s career was a story of struggle, persistence, and transformation. He began exhibiting in Glasgow and quickly became known for his expressive landscapes and still lifes. In 1908, a trip to Paris introduced him to French modernism, especially the work of the Impressionists and Post-Impressionists, and began a shift in his style toward more vivid colour and looser brushwork.

A pivotal moment came in 1922 when Alexander Reid, a prominent Glasgow art dealer, organized a joint exhibition of Hunter’s work alongside that of Peploe, Fergusson, and Cadell. This show helped solidify the public’s perception of the four artists as the Scottish Colourists, though they never formally operated as a group.

Style & Technique

Hunter’s style is marked by:

Luminous, radiant colour, often layered in broken brushstrokes or loose, spontaneous patches
A sensitive, emotionally charged handling of paint, conveying a direct response to nature and atmosphere
A focus on landscapes, still lifes, and harbour scenes, especially views in around Fife, Loch Lomond, Provence, and the south of France

His still lifes—particularly those with fruit, jugs, and flowers—show his remarkable ability to create harmony and vitality with colour and form. His landscapes, meanwhile, often capture a shimmering, almost dreamlike sense of place.

Despite his technical sophistication, Hunter remained plagued by self-doubt, frequently reworking or even destroying his own paintings, believing them inadequate. This insecurity, combined with physical and mental health struggles, affected both his output and recognition during his lifetime.

Personality & Later Years

Hunter was known for his eccentric and unpredictable temperament, often struggling with bouts of depression and illness. He lived a somewhat bohemian lifestyle, moving between France and Scotland, and was known for his intense periods of creativity followed by periods of complete withdrawal.

By the late 1920s, Hunter’s work had matured into a distinct and powerful style. However, his health deteriorated sharply. He died in 1931 at the age of 54, just as he was beginning to receive the recognition he had long sought.

J.D. Fergusson – Artist Profile

Full Name: John Duncan Fergusson
Birth: March 9, 1874, Leith, Edinburgh, Scotland
Death: January 30, 1961, Glasgow, Scotland

Early Life & Education

J.D. Fergusson was born in Leith, the port district of Edinburgh, into a middle-class family. Originally intended for a career in medicine, he soon abandoned formal education to pursue his passion for art. He studied briefly at the Trustees’ Academy in Edinburgh but quickly rejected its academic approach. Like Hunter, Fergusson was largely self-taught, relying on travel, observation, and personal exploration to shape his style.

In the late 1890s, he began spending time in Paris, a city that would deeply influence his artistic direction. There, he immersed himself in café culture, intellectual life, and the art scene, encountering the work of Impressionists, Fauves, and Post-Impressionists firsthand.

Paris and the Avant-Garde

From 1907 to 1914, Fergusson lived in Paris, and this period proved to be a catalyst for his future development as an artist.During this time he connected with artists and writers in the heart of the European avant-garde, including Matisse, Derain, and members of the École de Paris. He exhibited at the Salon d’Automne, becoming part of the broader modernist movement.

Fergusson embraced the Fauvist love of vibrant, unmixed colour, as well as Cubist ideas about structure and form, although he remained committed to a personal and sensual response to the world, particularly the human figure.

Artistic Style and Themes

Fergusson’s work is distinguished by:

Vivid, expressive colourful and confident brushwork
A strong focus on the female form, often idealized and stylized, exploring themes of vitality, movement, and beauty
Engagement with dance and performance, especially during his time in Paris
A tendency toward rhythmic composition and sculptural solidity, blending Fauvism with classical influences

His later work shows a shift toward a more structured, monumental style, especially in his depictions of nudes and dancers, which reflect both modernist abstraction and an enduring interest in classical balance.

War and Return to Britain

With the outbreak of World War I, Fergusson returned to the UK and was devastated by the loss of many Parisian friends and the fragmentation of the vibrant prewar cultural scene. He spent time in London and Edinburgh, eventually settling in Glasgow.

During the interwar years, he became a driving force in the Scottish art world, founding the New Art Club in Glasgow and later the New Scottish Group, advocating for modernist principles in Scottish art.

Personal Life

A deeply cosmopolitan and passionate figure, Fergusson was also a writer, thinker, and art theorist. He had a lifelong partnership with Margaret Morris, a pioneering dancer and choreographer whose work strongly influenced his art. Through Morris, Fergusson developed a keen interest in movement, rhythm, and human anatomy, which became central motifs in his paintings and sculptures.

Later Years and Legacy

Fergusson lived a long and productive life, remaining active into his 80s. He died in 1961 in Glasgow, by which time his reputation had undergone a significant revival. His legacy is that of a true modernist—one who brought the spirit of European avant-garde into Scottish art and insisted on the emotional and intellectual richness of modern painting.

The Fergusson Gallery in Perth, Scotland, holds an extensive collection of his work and remains a major centre for studying his contributions to British and European art.

Legacy of the Colourists

While J.D. Fergusson was perhaps the most forward-looking and intellectually ambitious of the Scottish Colourists, Peploe and Cadell refined the still life and landscape, and Hunter brought lyrical spontaneity, Fergusson aimed for something larger: a synthesis of body, rhythm, and spirit in a modern idiom.

The legacy of the Scottish Colourists perhaps most significantly lies in their transformation of Scottish painting, bridging the gap between traditional academic approaches and the modernist spirit of the early 20th century. Today, they are recognised not only for their technical skill and aesthetic innovation, but also for their pivotal role in placing Scottish art on an international stage.

What Went Wrong (And What Went Right) at Sotheby’s Old Masters Sale?

Posted on June 12, 2025June 12, 2025 by David Dallas

The much-vaunted sale at Sotheby’s in New York of the collection of Old Masters from the Jordan and Thomas A. Saunders III collection did not hit the high notes, which Sotheby’s had predicted, when offered on May 21st.

The title of the sale was “Elegance and Wonder: Masterpieces from the collection of Jordan and Thomas A. Saunders III”. A more accurate description might have been “Unchallenging Old Masters, in lovely state, from….”, but perhaps that is a little uncharitable. There were, however, no religious pictures, only one from classical mythology, no history paintings and no portraits of characterful old codgers, just pretty young people and children. In fact, one of the most expensive casualties was the charming portrait of Miss Julia Peel by Sir Thomas Lawrence P.R.A., (1769-1830) which was unsold against an estimate of $6-8M, the low estimate being more than double the current world record for the artist at auction!

16 of the 43 paintings (37%) failed to find buyers on the day and the sale total of $65 million was well below the pre-sale estimate of $80-120 million.

So what went wrong? Apart from the state of geo-politics, surprising economic upheavals triggered by the Trump administration and the volatility of crypto currencies, which all contribute to a feeling of uncertainty, what else might have made the sale feel a bit of a damp squib?

I think the first thing to focus on is the estimates. These were probably set a year ago, when the world was a rather different place and proved to be ambitious and seldom exceeded. Furthermore, if one delves into the specifics of the sale, certain facts reveal themselves, which may, in part, explain what happened. The last couple of years, for instance, has shown a softening of the market for Dutch and Flemish pictures and this may explain why two van Kessels, a Brueghel, a Bosschaert, and a Hulsdonck still life all failed to sell. The Osias Beert (1580-1623), however, did sell at $1.39M, so it’s not simply that the genre feels outdated.

The beautiful little still life by the Utrecht artist, Adriaen Coorte (1665-1707), of a porcelain bowl of wild strawberries made $2.978m, a strong price, when one considers that the three small paintings by Coorte in the Ashmolean Museum, Oxford, bought for Daisy Linda Ward by her husband and gifted to the Ashmolean by her, cost £24 for the three in the 1920s. Different times, I know, but all the same, to have risen 372,250 times in 100 years is a significant uplift!

Among other Dutch pictures to catch the eye was the Brazilian landscape by Frans Post (1612-1680).

Apparently, this came from the attic of a barn on a farm in Connecticut, covered in soot. It cleaned up very nicely and made a world record price for the artist of $7.4M, over 50% more than his previous best. It shows the town of Olinda in Brazil, with the ruins of the Jesuit church and various exotic plants. It must have been painted by Post from drawings done on the spot, when he was back home in Haarlem, as it has a bright blue sky. The oil paintings done in Brazil have white skies, as he had no blue pigment with him!

Another super-glamorous painting was the flamboyant upright canvas of flowers in a vase by Jan Davidsz. De Heem (1606-1684), the Netherlandish painter, living in both Utrecht and Antwerp, who was arguably the most brilliant still life painter of his generation in Europe. The painting, which was delivered to the Saunderses in a plastic rubbish bag, to hide its departure from the previous owner’s wife, also made a world record for the artist of $8.8M.

So what is one to make of these results? The sale made 15% less than the bottom estimate and had a large unsold rate. The estimates were very bullish, which will always make the results look less successful, but it achieved 7 world records! I think it just says that we don’t really have a clue what is going to happen, but if the right people are in the mood, there will be fireworks.

PS. I can’t review this sale without making mention of one other world record price – that of the Luis Melendez (1716-1780) still life of a cauliflower, a basket of eggs and fish and assorted kitchen utensils, which made $6.2M. The Saunderses had bought it from the collection of Michale Hornstein in Canada, but not without a struggle. Hornstein had amassed a great collection of Old Master paintings and via George Wachter, at Sotheby’s New York, the Saunderses had access to it. When they arrived to inspect the pictures for sale, Hornstein said he had changed his mind about the Melendez, at which point Thomas Saunders said if I can’t have the Melendez, I’m not buying anything. It was duly dragged out from under a bed and sold.

Melendez took to still life painting because he failed to become court painter in Madrid and, therefore, had no commissions, but there was always a market for a beautifully painted still life. He lived in abject poverty and in a letter of 1772 to the King, stated that he owned only his brushes. I wonder what he would have made of the $6M Cauliflower? It’s a pity that Artist’s Resale Rights don’t apply to Old Masters.