Sir John Lavery and the image of tennis

2022 is not a year that anyone except the most reclusive could possibly claim not to have heard of the Australian Tennis Open – the high profile legal wranglings between the Australian Government and Novak Djokovic over his entry visa, covid vaccinations and his deportation, have made the already famous sports tournament front page news worldwide. Founded in 1905, the Australian Open, or the ‘happy slam’ as it is affectionately known, is the first of the 4 grand slam tournaments worldwide, which takes place in Melbourne every year. Although it is not the highest paid tournament (the prize money is only A$75m!), the Australian Open is by far the most popular in terms of attendance numbers, with 812,000 spectators attending the 2020 tournament.

Notwithstanding our current fascination with the dramas playing out in Oz, we, the public, have always had a fondness and affection for the game of tennis, one which is totally different to that of other sports, and one which goes back centuries to its origins. The racket sport we now call tennis, is the direct descendant of ‘real’ tennis or ‘royal‘ tennis, which continues to be played today as a separate sport with more complex rules. Most historians believe that tennis originated in the monastic cloisters in northern France in the 12th century, but the ball was then struck with the palm of the hand; hence, the name jeu de paume (game of the palm). It was not until the 16th century when rackets came into use, and the game as we know it emerged. The roots of the game are firmly linked to the royal courts of France and England, with Henry VIII of England being one of the most avid players of his day – his luxurious tennis courts still remain to this day at Hampton Court Palace. In France the sport was so firmly associated with the Court and Nobility that during the Revolution many of the tennis courts we deliberately destroyed as a sign of a new era emerging.

Subliminally these Aristocratic links and associations have remained with us into modern times. Tennis still has the perception of being a genteel sport, one which is played out on immaculate lawns on sunny summer afternoons, with players dressed in immaculate tennis whites. One only has to look at Wimbledon to confirm this – the tournament is so much more than simply a sporting occasion, it has become a firm part of London’s social season, with its Royal Box, champagne, strawberries and cream! Without doubt this image belies the seriousness of the sport, and the huge financials at stake in modern tennis, however, it is also this je ne sais quoi that also adds to its modern success.

Depictions of tennis in western art very much follow the image of tennis as a jolly, social pastime played by the leisured classes and gilded youth. The summer is always eternal, and the player are carefree without a worry in the world! One of the most brilliant and prolific painters of this subject is the Victorian artist Sir John Lavery, who is more usually associated with the glamorous and elegant society portraits he produced throughout his life. Tennis, however, fascinated him and he returned to paint the theme on a number of occasions, producing both informal studies and highly complicated compositions.

One of the earliest depictions is Lavery’s 1885 painting, Played!! which captures the movement and drama of an exciting new sport, as a young woman lunges to return serve. In the early 1880s, Lavery had returned from Paris, where he was studying at the prestigious Academie Julian, and was quickly taken by the game. In the summer of 1885, he visited the home of a friend in the suburbs of Glasgow, where a tennis court had been set up. The painting was inspired by this visit, and marked a new direction for the artist, away from his more usual society portraits towards depictions of ‘modern’ life – no doubt influenced by the Impressionist works he would have seen during his stay in Paris. His choice of the subject and naturalistic portrayal was considered extremely avant-garde at the time. Lawn tennis was then at an interesting stage in its development as a modern sport. It had emerged in the 1870s and had been inaugurated at Wimbledon as recently as 1877, when the All England Croquet and Lawn Tennis Club introduced men’s singles championships. Ladies’ singles and men’s doubles had not been incorporated until 1884. The process by which women arrived on court was a gradual one, then, and mixed doubles matches were yet to come.

Played!! turned out to be a mere prelude to Lavery’s undoubted masterpiece on the subject which painted the same year. The Tennis Party, which is in the collection of the Aberdeen Art Gallery and Museums, is an absolute tour de force of a painting, showing huge sophistication of composition, movement and bravura brushwork. In spite of its apparent spontaneity the picture is not merely an arbitrary slice of life, rather it is highly constructed work aimed at giving the illusion of spontaneity. The depiction of both male and female players in the same game, which seems uneventful to a modern viewer, would have been the height of modernism at the time, where casual, real-time depictions of the opposite sexes cavorting together was very rare at the time.

Throughout his career Lavery, returned often to the subject of tennis, which more than any other sport held his fascination. Although Lavery’s first depictions of tennis might have been painted in Scotland, his later works were increasingly international showing the growing popularity of the sport. The paintings Lavery produced in the first quarter of the 20th century whilst on the French Riviera and in America are some of the most spontaneous and evocative depictions ever produced on the subject. Whether they were painted at the famous courts at the Hôtel Beau Site in Cannes – then ‘the’ place to go for well healed British holiday makers, or at the courts of the Breakers Hotel in Florida or in the private residences of Palm Beach, these paintings have a freshness and sense of movement which still have the power mesmerise to this day.

Lavery’s 1885 The Tennis Party remains, however, his most accomplished and monumental depiction of the sport, an image which, more than any other artwork has influenced our vision of what we feel tennis ‘should’ be, and it remains to this day the quintessential image of the sport.

 

 

How are traditional auction houses changing?

It’s fantastic to see so many new artists’ work coming to the fore all over the globe, and how the role of buying and selling fine art is evolving to attract new audiences.


Attracting new buyers

Somehow the art world has managed to fast forward thanks to technological advances brought in as a matter of necessity during the pandemic, removing many or all of the old barriers that were putting first time buyers off auctions, or more positively pulling them in!


How many online bidders at Christie’s?

As an auctions career ‘lifer’ myself, I have always believed it’s a numbers game. The more active bidders you have in any auction the better it will perform.
Thanks to technology – Christie’s managed, in a heartbeat, to get from an average 8-1,200 hundred online bidders to 50,000, which is what happened at their global ‘one’ event in 2020. There were so many bidders that when I tried logging on, it bounced me out!


Is online bidding here to stay?

Although the online affect could diminish as the post-pandemic era progresses, thousands of new collectors and buyers are now hooked as auction houses have demystified the process of an auction.
I can see that it’s happened by accident and not design. We’re entering into a new era with contemporary art auctions still growing, Old Masters are doing well especially Prints. Jewellery, Watches and Design are still strong but the focus is heavily on masterworks or special pieces.


How are auction houses evolving?

New ways of selling are now starting to emerge thanks to the new owner of Sotheby’s Patrick Drahi who bought the business pre-lockdown. He has quite logically seen his brand is much more able to penetrate into new areas. Yes Sotheby’s is an auction house but it’s also a luxury shop selling branded goods.

Christie's 'One' live auction held all one day July 10th 2020, it was one very long auction broadcast from four locations starting in Hong Kong,
then switching seamlessly to Paris, London and finally New York

Christie’s ‘One’ live auction held all one day July 10th 2020, it was one very long auction broadcast from four locations starting in Hong Kong,
then switching seamlessly to Paris, London and finally New York

New auctioning ideas are appearing all the time with the most recent being the Las Vegas MGM Grand live auction of works by Picasso from the Casino Picasso Dining room this October. Only 11 pictures, all by Picasso were in the auction, and raised a staggering total of $110,000,000 from what is only a selection of works the Casino owns.


The next day luxury items, sneakers, handbags, watches and the like all did equally well in a smaller MGM Casino downtown. This was truly an event auction and I think it will set the trend for the years to come.


I think we can all be encouraged by the fact that more people than ever before are taking an active interest in auctions both as buyers and sellers.


Here are some fine art pieces sold highlighting what an extraordinary year 2021 has been.

Pablo Picasso (Spanish,1881-1973)
Le Femme Algier, 1955, version F, Oil on canvas, 54 x 63 cm.
This masterwork was sold by Christie’s on the New York leg of their ‘One’ global auction sale in July 2020.
Sold Christie’s $29,217,500.

Francis Bacon (1909-1992)
Triptych inspired by the Oresteia of Aeschylus, oil on canvas in three parts, 1981,198 x 147 cm, Estimate $60-80,000,000.
Sold by Sotheby’s in the New York leg of their ‘global’ location auction on June 29th 2020 one of the top ten auction prices  of 2020.
Sold Sotheby’s New York, June 29 2020 $84,550,000.

Wu Bin (Chinese, 1545-1620)
Hand scroll, ink on paper, 26 x 112 cm, Sold by Poly auction in Beijing, October 18, 2020.
It wasn’t all about Contemporary and Modern art in 2020, this Chinese Old Master from the Qing period c1610 made a new world record in Beijing, you had to pay a deposit of $3million just to be able to qualify to bid on it! This image is just one of  12 in the scroll.
The last time a scroll of this date and quality came up for auction was in 1989 when it made $1.1 million.
Sold Poly Auctions Beijing Sunday October 18, 2020 for 
$76,591,000.

David Hockney (British, born 1937)
Nicholls Canyon, 1980, Oil on canvas, 213 x 152 cm.
Sold Phillips in New York, December 7, 2020 for $41,067,500.

Sanyu (Chinese/French, 1901-1966)
Four nudes, Oil on board, 100 x 122 cm.
Sold by Sotheby’s in Hong Kong.
And a new record for this rare Chinese Modern Master. Sold Sotheby’s Hong Kong July 8 2020 $33,300,000.

Sir Winston Churchill
Tower of Koutoubia Mosque 1943, Oil on canvas, 45 x 61 cm.
Estimate £1.5-2.5 million, this is the most important picture in existence by Churchill, it was the only painting he managed to complete during WW2 and he gave it to US President Roosevelt for his birthday in 1943 following the Allied conference held in Morocco earlier that same year. It remained in the President’s family until being bought in 2011 by Brad Pitt for his then wife Angelina Jolie, who was the vendor in the Christie’s sale in March 2021.
Sold Christie’s London March 1 2021, for a new world record price of £8,285,000.

Stan
A 67 million year old T Rex.
Discovered in Dakota and sold in a Christie’s Modern and Contemporary New York auction on October 6th 2020, 
‘Stan’ was on view alongside paintings by the likes of Andy Warhol and Claude Monet and made a new world record for any piece of its type and period, the bidding lasted for ten minutes!
Sold in Christie’s October 6 New York Contemporary and Modern sale in 2020 for $32,000,000.

David Hockney (British, born 1937)
Jade Plant 1988, Oil on canvas, 122 x 91 cm. Estimate £1.5-2.5 million.
Sold Christie’s London 10 July 2020 for £4,178,750.

Hurvin Anderson (British, born 1965) Audition, Oil on canvas, 175 x 254 cm.
Estimate £1-1.5 million.

Cecily Brown (British, born 1969)
There’ll be Bluebirds, Oil on canvas, 134 x 169.5 cm. Estimate £5-800,000.
Sold Christie’s Oct 15, 2021 £3,502,500.

Flora Yukhnovich (British, born 1990)
I’ll have what she’s having, Oil on canvas, 170 x 220 cm.
The pre-sale estimate for this picture at Sotheby’s in their October 14 evening sale was already a world record estimate for the artist at £60-80,000 it went onto sell for an amazing £2,253,500! 
Sold Sotheby’s Oct 14 2021, for £2,253,500.

Banksy (British, born 1974)
Laugh now 2004, Screenprint in colours, Signed by the artist, from a limited edition of 150, 70 x 50 cm.
A lockdown phenomena saw Banksy print prices go through the roof during lockdown and are only just now beginning to cool, the highest price in Feb 2021was £200,00 price for this particular limited edition print in December 2019 it was £35,000!

Banksy (British, born 1974)
Girl with Balloon, 2004, Screenprint in colours, Signed by the artist, from a limited edition of 150, 65 x 50 cm.
The price for this edition made even higher prices in lockdown one sold in December 2020 for £300,000 up from £150,000 in late 2019.

Bridget Riley (British, born 1931)
Firebird, Screenprint in colours, 1971, no 2 of 75, 76 x 102 cm.
This combines an increase in the price of female artists and in the price of work by Bridget Riley one of our greatest living British female artists. Highest price was £52,000 set in March 2021, 2019 price was £23,000.

Jack Yeats (Irish, 1871-1957)
Shouting, 1950, Signed, oil on canvas, 101 x 152 cm.
Ireland along with The Irish Art market was laid low by  
the 2008 crash, recovery has been slow but prices are  
now gaining strength rapidly for the big names such as, Jack Yeats, brother of W B and Paul Henry.
When this market moves it goes fast, up or down so hold onto your hats!
This is coming up for auction in Ireland on November 
29 the estimate of 1,500,000- 2,500,000 Euro is almost a record price in itself. Prior to 2019 it would have been well below a million.

Jack Yeats (Irish, 1871-1957)
The Kerry Mascot, 1915, Signed, Oil on panel, 36 x 23 cm.
This sold in July 2021 for £425,000 it came from the collection of promoter and bookmaker B J Eastwood. Prior to 2019 it is likely to have made around £200,000.

Jack Yeats (Irish, 1871-1957)
A Summer Day, 1914, Oil on canvas, 61 x 91 cm.
This was also sold in July 2021 for £1,162,500 again it  came from the collection of promoter and bookmaker  B J Eastwood. Prior to 2019 it is likely to have been sold well below a £ Million.

Paul Henry (Irish, 1876-1958)
Turf Stacks Connemara, Signed, Oil on canvas, 35 x 40 cm.
This is a glorious painting and a signature piece by the artist, it made 190,000 Euro in October 2021. Prior to 2019 it would have made under 100,000.

Paul Henry (Irish, 1876-1958)
Paul Henry ( Irish 1876-1958), Mountains and Lake Connemara, 1934, 71 x 81 cm.
This is another glorious painting and signature piece by the artist, it was from the collection of B J Eastwood and made a staggering £622,500 Euro in London in July 2021. Prior to 2019 it would have made under 200,000!

Sir Alfred Munnings (British, 1878-1959)
After the Race, Cheltenham, 1937, Oil on canvas,91 x 115 cm.
Sporting art was also dented by the 2008 crash and is slowly coming back Sir Alfred Munnings is the leading artist in this collecting field and some excellent examples have come up for sale in recent months pushing interest and prices upwards.
This prime large example sold in New York in October 2021 for $846,000 USD.

Sir Alfred Munnings (British, 1878-1959)
After the Race, Cheltenham, 1937, Oil on canvas,91 x 115 cm.
Sporting art was also dented by the 2008 crash and is slowly coming back Sir Alfred Munnings is the leading artist in this collecting field and some excellent examples have come up for sale in recent months pushing interest and prices upwards.
This prime large example sold in New York in October 2021 for $846,000 USD.

Sir Alfred Munnings (British, 1878-1959)
A Park Meeting, The Eclipse Stakes, Sandown Park, Oil on panel, 50 x 66 cm.
A fine example of the artist’s work as a horse painter, sold in New York for $475,000 USD prior to 2019 it would be nearer to $250,000.

Dame Laura Knight (British, 1877-1970)
Sennen Cove, Cornwall, 1922, Oil on canvas, 51 x 61 cm.
The Newlyn School of painters dominated the 1990’s art market prices have remained steady over the years but I sense they are beginning to rise now.
This beautiful and rare early example of this artist’s work sold in September 2021 for £500,000 nearly ten times the expected price, sheer quality and a female artist helped push the price up to a new record price.

Samuel John Peploe (British, 1871-1935)
Still Life Apples, and Pink Roses, Oil on canvas, 56 x 50 cm.
Scottish Art is attracting new buyers and I believe this is a market to watch.
This is a prime example of the artist’s very best work and subject matter. It made £650,000 in October 2021, doubling its pre-sale expectations.

Reflections on The Old Master Sales

“There are too many auctions and not enough collectors”, that is how Scott Reyburn’s article in the Art Newspaper in December 2021 began. It makes rather gloomy reading for any fan of Old Masters, but it is, sadly, the truth. Sotheby’s and Christie’s sales were down 20% on the year before the pandemic (2019). If a good Old Master in excellent state comes on to the market after an absence of several decades, it will make a strong price but there are simply not enough of them.

For those of you lucky enough to have come to our champagne private view at Bonhams, you might be interested to hear what happened to the paintings we examined there. The beautiful unlined, unrestored Lawrence of Jane Allnutt with her spaniel made £150,000 hammer, which I think is less than it deserved. The early Turner watercolour of North Wales, painted in rather muted tones made £40,000 which was twice the bottom estimate. The famous racehorse, Flying Childers, however, did not fly and is still under starter’s orders.

Rather than dwell on what were basically mediocre paintings making mediocre prices, I’d like to draw your attention to a couple of surprises. There was a very fine portrait of a man attributed to Frans Hals by Sotheby’s, which they offered with a very cagey estimate of £80,000-£120,000. The reason for their caution was that the two main experts on Frans Hals disagreed about its authenticity and the more recent of the scholars suggested it was by his son.

Not knowing what his son’s work looks like, I thought it looked like Frans himself. I was not alone in this as it made £1.95 million!

Sotheby’s also had, like Bonhams, an early Turner, theirs too was also Welsh, but this one was in oil and South Walian. It was a view of Cilgerran Castle dated 1799 and made £1 million against an estimate of £300,000-£500,000 proving once again the magic of the Turner name. The Constables on offer had a more varied outcome mostly due to the erratic estimating.
I am into my 6th decade of looking at Old Masters professionally and I am feeling the icy blast of change. The storm of interest in NFTs is going to have a detrimental effect on the way all collectors perceive art. The young are tech-savvy and non-materialistic, so is there a subtler way of collecting than virtually? Will the virtual supersede the real?

What jewellery does Santa wear?

We all know at this time of year Santa is extremely busy, up against a very tight deadline. I’ve not come across Santa myself, but in my imagination, he surely must be wearing a pocket watch so he can keep on top of his schedule and targets in good time. And let’s not forget he has a lot to do in just 24 hours so time is of the essence.

In my mind, the pocket watch is mounted in yellow gold, with delicate floral chasing. Chasing is a technique where the jeweller outlines a design by pushing back the gold around the edges to define the motif. I would imagine the watch to be old, dating from the late 19th century, and so it would also be decorated with some guilloché enamel, perhaps blue or pink; Santa is dapper and I am sure he appreciates a touch of colour outside of his red and white suit. Guilloché is one of my favourite techniques of applying enamel. It creates all sorts of highly elaborate patterns which adds elegance to any piece of jewellery. Perhaps the watch has both pink and blue enamel: a pink guilloché enamel bezel overlaid with blue enamelled Arabic numerals. The hands would be discreet, also made of gold. It is most likely suspended by a fine pinchbeck chain, terminating in a barrel clasp decorated with turquoise cabochons.

Pinchbeck chains are named after an 18th century London clockmaker, who used a combination of copper and zinc to make it resemble gold. Gold only came in 18ct at the time and was expensive. This new technique allowed people to purchase gold-like jewellery.

The pocket watch might look something like this:

To the reverse, the pocket watch would enclose a photograph of his wife Mary.

Santa probably has family heirlooms too such as a signet ring set with a stone. That stone could be lapis lazuli (blue with specks of “gold” pyrite), onyx (black) or carnelian (red) for example. The ring could be set with a carnelian intaglio mounted in gold. Intaglio is the technique of carving into the stone to depict a portrait for example. Santa’s intaglio would be carved with a cherub to represent all the children of the world.

He most likely also has another signet ring set with a bloodstone: green jasper with specks of red hematite, the stone of courage. It is engraved with his initials “SC”, the motto “No child to far to reach” and a family crest depicting his reindeers and helpers. Santa can then seal all his letters, replying to the children who have written to him throughout the year.

Santa also wears cufflinks under his red suit. One might be able to get a glance at them when he is in his workshop perhaps, when he is not wearing his red jacket. The cufflinks are by Cartier, from the Santos line. They are square plaques set with malachite, a green stone, set in palladium. They are chic and timeless, Cartier’s signature.

I believe Santa also wears a necklace, a gold box chain.

It suspends the very important keys to his sleigh but also several small pendants which represent all the faiths of the world, throughout time.

Lastly, I think Santa wears a bracelet symbolising his reindeers. It is of chevron design, mounted in rubber and silver. Here an example of what it might look like by David Yurman.

It echoes ancient jewellery that used strands of braided human hair set as bracelets.

The same technique was used with elephant hair.

These are the jewels I imagine Santa to be wearing, but I’m sure whatever he wears he looks dashing! Here’s hoping I might finally get a glimpse of him this Christmas. Wishing you all Happy Holidays.

 

David Morris Jewellers

David Morris is affectionately known as ‘The London Jeweller’. The prestigious shop in Bond Street continues to attract royalty and high end clientele with the spectacular creations that are intricately created there. Each piece is handcrafted to the highest standard in the workshop above the store. Although it is one of the last remaining jewellery workshops in Bond Street, it’s reputation continues to shine, putting British jewellery design firmly on the map of world class jewellers.

David Morris started his career as an apprentice in Hatton Garden at the age of 15. His love and natural creative flare for jewellery design led to the opening of his first shop in Hatton Garden in 1962. After winning The De Beers Diamond Awards two years in a row he started attracting real international acclaim. As the reputation and success of the David Morris brand grew, the company relocated to Mayfair in 1969 and then to it’s current home in Bond Street in 1996.

In amongst the glamour and the grandeur, the David Morris brand prides itself on being very much a family jewellers. In 2003 Jeremy Morris took over the helm of the company from his father as managing director and principal designer.

The company proudly states on their website: “A marriage of beauty and technology, in its approach to design and craftsmanship David Morris is as wonderfully unique as its collection of rare gemstones. Whether it is a piece from our beautiful fine jewellery collections or a bespoke creation, David Morris jewellery transcends generations, each design expressing ingenuity, creativity and unparalleled quality.”

Some of the unique creations include The Miss World Crown. It was originally commissioned by Eric Morely,  the founder of the Miss World Competition in 1969. He was inspired by the breath-taking sapphire and diamond tiara Morris had created in 1967 for the Countess Marie Kinsky of Austria on her wedding day, in her marriage to Crown Prince Hans Adam of Lichenstein. The stunning turquoise and diamond crown is still used in the competition today.

In 2012 the silver dragon on the bonnet of the vintage Aston Martin the Duke of Cambridge drove down the Mall on his wedding day was made by David Morris. Originally commissioned by the Queen for Prince Charles’s 21st birthday.

I recently had the privilege of valuing some David Morris pieces. Including these beautiful hoops from the Rose Collection. These exquisite rose cut diamond hoops are composed of four graduated rose cut diamonds, each within a brilliant cut diamond surround, with further scintillating micro set diamond detail to the inside of the hoop and clip. The total carat weight is approximately 3.40cts. These were originally purchased in 2008 for £12,500. The current retail price for these earrings is now £38,700. This example not only illustrates the strength and popularity of David Morris designs, it also highlights the importance of getting an updated jewellery valuation because prices and values can change dramatically over time. Doerr Valuations are delighted to be hosting a Wednesday Club event at David Morris on the 15th December. It will be a unique opportunity to see some of the stunning pieces in the current range and to find out more about the diamonds, gems and fascinating creative process from their experienced sales team. I for one cannot wait.

How are traditional auction houses changing?

It’s fantastic to see so many new artists’ work coming to the fore all over the globe, and how the role of buying and selling fine art is evolving to attract new audiences.

Attracting new buyers

Somehow the art world has managed to fast forward thanks to technological advances brought in as a matter of necessity during the pandemic, removing many or all of the old barriers that were putting first time buyers off auctions, or more positively pulling them in!

How many online bidders at Christie’s?

As an auctions career ‘lifer’ myself, I have always believed it’s a numbers game. The more active bidders you have in any auction the better it will perform.

Thanks to technology – Christie’s managed to attract more than 80,000 people via their online bidding channel during their global ‘One’ sale in 2020. There were so many bidders that when I tried logging on, it bounced me out!

Is online bidding here to stay?

Although the online affect could diminish as the post-pandemic era progresses, thousands of new collectors and buyers are now hooked as auction houses have demystified the process of an auction.

I can see that it’s happened by accident and not design. We’re entering into a new era with contemporary art auctions still growing, Old Masters are doing well especially Prints. Jewellery, Watches and Design are still strong but the focus is heavily on masterworks or special pieces.

How are auction houses evolving?

New ways of selling are now starting to emerge thanks to the new owner of Sotheby’s Patrick Drahi who bought the business pre-lockdown. He has quite logically seen his brand is much more able to penetrate into new areas. Yes Sotheby’s is an auction house but it’s also a luxury shop selling branded goods.

New auctioning ideas are appearing all the time with the most recent being the Las Vegas MGM Grand live auction of works by Picasso from the Casino Picasso Dining room this October. Only 11 pictures, all by Picasso were in the auction, and raised a staggering total of $110,000,000 from what is only a selection of works the Casino owns.

The next day luxury items, sneakers, handbags, watches and the like all did equally well in a smaller MGM Casino downtown. This was truly an event auction and I think it will set the trend for the years to come.

I think we can all be encouraged by the fact that more people than ever before are taking an active interest in auctions both as buyers and sellers.
Here are some fine art pieces sold highlighting what an extraordinary year 2021 has been.

 

My Favourite Item…The Cunha Braga Cup

Knowing that I am a picture specialist, it may come as a surprise that I have chosen this 14 cm long, ceremonial drinking vessel. It is a rock crystal masterpiece of renaissance craftmanship, carving and decoration and is my favourite piece of all time. I am not sure if I know myself why I love it so much – maybe it is because it is so tactile, almost warm to the touch, and just oozes history. It fits neatly in the palm of your hand and is beautifully made – and nearly 400 years before Carl Faberge turns up and makes anything nearly as good.

I first saw the cup in October 2006 on its preview in New York. I was previewing pictures alongside my colleague from the works of art team who was accompanying the cup. My colleague gave me some of the background to its discovery. Amazingly, he spotted it among a bunch of Polaroid shots sent over from Portugal by a client just in case there was anything of interest. Even more remarkable is that the photographs were general room shots of a room full of display cabinets all rammed with various pieces and the cup was spotted tucked in a cabinet full of undistinguished objects. He was on a plane to Lisbon the next day to see it and the rest is history. I remember he told me that at first it was thought to be a copy or later version of a similar cup in a Munich museum. However, once the two were put together side by side in the museum the curators were delighted to discover that our one was made by the same craftsman as theirs – making these two the definitive pieces and ours the only other example in the world available to buy.

It had belonged to Alfredo Baptista Cunha Braga (1869-1932) from Lisbon. He acquired it circa 1920 and then by direct descent to the owners in the auction. The piece was offered in London on 30/11/2006, the pre-sale estimate was £200,000-300,000 but it sold for an astounding £1,968,000.

 

Harry Winston

He was known as ‘The King Of Diamonds’ and ‘The Jeweller to the Stars’. He inspired a legendary brand based on the philosophy that jewellery design should be dictated by the gemstones themselves and not their settings. He used to carry around in his pocket some of the rarest diamonds in the world, worth millions of dollars, just for the pleasure of having them close by.

He is famed for saying “I love the diamond business. It’s a Cinderella world. It has everything! People! Drama! Romance! Precious stones! Speculation! Excitement! What more could you want?”. Perhaps his most well know statement: “People will stare, make it worth their while”

Harry Winston worked at his fathers jewellery shop and developed a keen eye for jewellery and gems from an early age. There’s a story that when he was 12, he spotted a green stone at the local pawn brokers which was supposedly glass and cost him 25 cents. It turned out to be a 2ct emerald which Winston sold a couple of days later for $800!

In 1920 he launched his first business in New York, The Premier Diamond Company, and in 1932 he opened Harry Winston Inc. His insistence on excellence, attention to detail, passion, discretion and knowledge attracted a high profile clientele including royalty, movie stars and business moguls.

Winston was one of the first big brand jewellers to truly understand the power of celebrity marketing. In 1943 the actress Jennifer Jones was adorned with Harry Winston diamonds at the Academy Awards. Ann Bancroft seduced Dustin Hoffman in the movie The Graduate wearing Winston diamonds, and not much else. In the movie Gentlemen prefer Blonds Marilyn Monroe sings those famous lyrics “ Talk to me Harry Winston…” in the song Diamonds are a Girls Best Friend.

In 1968 he used publicity to his advantage once again when the 601ct Lesotho diamond was cleaved on live TV! It went on to be cut into eighteen magnificent diamonds including the 40.42ct marquise cut Lesotho III which Aristotle Onassis gave to Jacqueline Kennedy as an engagement ring.

Throughout his career it is estimated that Harry Winston owned more than a third of the worlds most famous diamonds. Perhaps the most well known being The Hope Diamond. This beautiful blue diamond weighing 45.52cts is seeped in history and believed to be cursed. It is said to have attributed to many misfortunes in the lives of its owners such as King Louis XIV, Marie Antoinette. Winston purchased it in 1949 as part of the Mclean Jewellery Estate. He held on to it for ten years and exhibited it around the US as part of his ‘Court of Jewels’. He went on to donate it to the Smithsonian museum where it resides today.

Many recognised his jewels but few recognised the man himself. He was very rarely photographed and many did not know his face until it was published next to his obituary in 1978. Discretion was paramount to this man and it is said he had a concealed private elevator in his office so he and his VIP clients could come and go without being noticed.

Harry’s legacy lives on in The House Of Winston as they continue to deal with legendary stones. In March 2021 to celebrate what would have been Harry’s 125th birthday,they unveiled the Winston Pink Legacy Diamond ring, a vivid pink diamond weighing 18.96cts. Nayla Hayek bought the diamond from Christies in 2018 for a record breaking $50 million. It now forms part of the Incredibles Collection.

Harry Winston continues to thrive as a leading brand in the world of luxury jewellers, with stores all over the world including New York, London, Tokyo and Paris.

The breath-taking gems and designs continue to attract the rich and famous.

These stunning Winston Cluster earrings, composed of high quality diamonds with the largest pear-shape weighing 0.75ct, currently retail for £53,000.

When was the last time you had your jewellery valued? Please ensure your documentation is up to date to avoid a shortfall in compensation in the event of loss.

Macklowe Collection

After 10 years of legal wrangling through the divorce courts of New York, the Macklowe Collection finally hit the auction block on November 15th.

For the warring Harry and Linda Macklowe, the sale brought some partial closure to their epic divorce battle. For Sotheby’s it represents significant market share and the highest possible Art Market profile for 2021 and 2022.
For collectors worldwide it was a truly golden opportunity to pick and choose from the most important single owner collection sale in auction history. Each and every work is a Masterwork in its own right and everything is so carefully chosen, curated and of the highest quality that it would be impossible to ever put a collection like this together again. Equally the quantity of works in the collection quite simply couldn’t be sourced or is even available. This was a landmark sale in all respects, putting aside all the couple’s endless arguments, it has rewritten the record books.

In a rapidly changing Post Lockdown Art World, this collection of Modern and Contemporary Art Masterworks re-defines the boundaries of both categories. The collection was ‘guaranteed’ to sell, it was just a matter of how much it would sell for! Having been an auctioneer myself for over 30 years I could feel the excitement even from this side of the Pond, and as we got nearer to the sale itself, collectors and advisors would have all been in a heightened state of excitement.

Each of the 65 works is a masterwork and together they constitute an unrivalled ensemble that meticulously traces the most important art historical achievements of the last 80 years.

The November 15th auction, which was held at Sotherby’s New York, featured 35 works, ranging in date from the 1940s to works painted less than a decade ago. Many artists – among them Jeff Koons, Brice Marden, Agnes Martin, Sigmar Polke, Gerhard Richter, Cy Twombly and Andy Warhol – are represented by multiple works, each one marking a distinct and critical moment in their respective careers, and together forming an insightful portrait of the artists’ evolution over time.

The entire group of 35 works was backed by the auction house with a guarantee and every single lot was sold, 21 lots came to the sale with ‘irrevocable bids’ and the sale total soared over its pre-sale low/high estimate expected total of between $439.4 million-$618.9 million.

This was only the first half of the 65 works in total from the Macklowes’ holdings to be auctioned off by authority of the NY Courts, the second half is to be offered in another final standalone sale devoted to the remaining works in May 2022.

The first half of the Macklowe collection sale totalled $676 million.

Here are some of my highlights:

 

 

 

If I had £5,000 to invest what would I buy?

David Oxtoby prints

If my godfather left me £5,000, I wouldn’t hesitate to spend every penny buying the suite of etchings (24), which Dave Oxtoby produced in 1974.

David Jowett Greaves Oxtoby is undoubtedly one of Britain’s greatest printmakers, as the show at the British Museum proved a few summers ago. He was one of the notorious ‘Bradford Mafia’, a group of young Yorkshire artists, who after attending the Regional College of Art in Bradford, came to London to further their education at the Royal College of Art and The Royal Academy schools. As well as Oxtoby, the group included David Hockney, Norman Stevens A.R.A, John Loker and Mick Vaughn. Before he had left the Royal Academy schools, Oxtoby had his first one man show in New York. His was and is a prodigious talent.

By the early 1970s his hands were starting to crack, and he was told that he was allergic to the acrylic paints he was using. After taking medical advice, he took up etching and what a triumph that was. In collaboration with J.C. Editons he produced a suite of 24 immensely complicated, in some cases, 4 colour, etchings. I have the good fortune to own a set of artist’s proofs.

In 1974 I worked for Alex Postan Fine Art and was entrusted with getting publicity for the show of etchings, which included watercolours and acrylics as well as prints. It was the easiest job I have ever had. Marina Vaizey wrote a half page review of it in The Telegraph, Bill Packer, a half page in the Financial Times and it was in the list of the 10 best things to do this Christmas in London in the Daily Express. Rod Stewart came to the private view. Oxtoby went on to exhibit with the Redfern Gallery in Cork Street in the 70s where the private views would sell out. Elton John bought Oxtoby’s canvases in vast numbers, for prices that were somewhere between Hockney and Picasso. He is still with the Redfern.

He has had more than 50 solo exhibitions and taken part in more than 70 group shows, yet for much of the last 30 years has lived like a recluse and kept all his latest work from public scrutiny. The result of this has had an adverse effect on the value of his work.

Oxtoby has not had the recognition for the brilliance of his draftsmanship and use of colour from the establishment that his oeuvre deserves. This seems to be because his work is inspired by popular culture, pop, rock and blues music, which is considered low brow and because he works from photographs, despite knowing subjects like Jimi Hendrix, George Harrison and Roger Daltrey well.

He was 83 in January and is not in good health. The cracked hands, which turned him into a printmaker, were actually caused by misdiagnosed diabetes. What future generations will make of his work remains to be seen, but I believe he is ready for a critical re-assessment and should take his rightful place amongst the greats of late 20th/early 21st century British art.