My favourite item that I have valued

Posted on November 24, 2020October 18, 2024 by Mary Waterfall

I feel very blessed to be a jewellery valuer because I get to see and examine some stunning pieces of jewellery. It’s actually quite hard to single out just one item as a favourite. I love more vintage pieces such as tiaras, gem set cocktail watches and anything from the Art Deco era. As I hold them I love to imagine who has worn them and how many amazing parties they have been to. My mind always wanders to the movie Breakfast at Tiffany’s and Holly Golightly dressed to the nines and going to countless ‘soirees’. I recently valued a beautiful old cut diamond festoon necklace and the owner sighed and said to her husband: ‘well darling I doubt I will be wearing it at any more balls at Buckingham Palace anytime soon……’
However if pressed to choose one particular item as a favourite it would have to be something set with sapphire. Sapphires are my all-time favourite gemstones, so much so that when I worked in the auction world and on the TV show Dickinsons Real Deal, I had to be really careful not to overestimate sapphire set pieces and give the clients over inflated expectations because I loved the gemstones!

Single sapphire ring. Valued for insurance at £30,950 NRV (New Retail Value)

I recently valued a single stone ring. It was set with a Ceylon sapphire weighing 13.73cts, measuring 12.4mm by 12.1mm. The stone came with a certificate stating there was no evidence of heat treatment, something which is becoming increasingly rare because nowadays most coloured gems undergo some form of treatment to enhance their colour. As I gazed into the gem with my 10X loupe I could see a multitude of natural inclusions. Inclusions are what I most love about gemmology. I just think it’s incredible that these beautiful gems have been formed in the earth over thousands of years, each is unique and each tells its own story through the inclusions that lie within. Examining them is like diving into another world and this particular gemstone was a real feast for the eyes, a gemmologist’s delight! I could have looked at it for hours and would have loved to have put it under a microscope. However I had to settle for a quick fix because as valuers we work under time constraints and don’t really have the luxury to truly enjoy and appreciate such magnificent pieces when they arise.

Typical sapphire inclusions

To the layperson the ring may look rather heavy and clunky. It’s set in platinum and weighs 21 grams. On the surface the sapphire facet edges are slightly rubbed. However for me, because of the magical world contained within, it was a real highlight and my favourite piece I have valued.

You have £5,000 to spend – David Oxtoby prints

Posted on November 24, 2020August 21, 2024 by David Dallas

How Would I Invest £5,000? By CEO and Old Master Specialist, David Dallas

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

Image of David Oxtoby swonderful etching

“S’wonderful”: Stevie Wonder. Signed, inscribed and dated ‘74. Published Sept 1974. Artist’s proof for an edition of 50. 3 colour etching on handmade English paper. Plate size: 165 x 142 mm

David Jowett Greaves Oxtoby is undoubtedly one of Britain’s greatest printmakers, as the show at the British Museum proved two 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.

‘The Man’: Stevie Winwood. Signed, inscribed and dated ‘74. Published Sept ‘74. Artist’s proof for an edition of 50. 4 colour etching on handmade English paper. Plate size: 335 x 115 mm

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.

Private View at Alex Postan Fine Art, Dec 1974. David Oxtoby and Rod Stewart in front of a 5 ft high watercolour by Oxtoby. Photograph by Miki Slingsby

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 82 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.

My Favourite Book – Samuel Johnson’s Dictionary of the English Language

Posted on November 24, 2020August 21, 2024 by Rupert Neelands

It is 265 years since Samuel Johnson’s 2-volume Dictionary of the English Language was published on 15 April 1755. Though many forms of reprint are available, to own a copy of the first edition would be the best of all options. Completing the Dictionary from A to Z was solely Johnson’s responsibility. As his preface points out, it had taken whole teams of academicians to produce dictionaries of Italian and French, whereas he worked in the solitude of his garret at 17 Gough Square, supported only by a succession of feckless and rather drunken copyists — five out of the six were not English but Scottish.

The Samuel Johnson Dictionary, 1806 edition

One has to admire the Dictionary as a book which received no academic support, compiled “not in the soft obscurities of retirement, or under the shelter of academick bowers” but in London “amidst inconvenience and distraction, in sickness and in sorrow”. Johnson’s contract was with a group of influential London booksellers including Robert Dodsley and Andrew Millar. Although he had agreed with them to finish the work in three years, the first volume was not completed for seven. The whole task took nine years altogether. Far from thinking himself a national celebrity, Johnson felt reduced to “a harmless drudge, that busies himself in tracing the original, and detailing the signification of words” (the Dictionary’s definition of lexicographer). When his wife Tetty died early in 1752, his morale must have hit rock bottom.

Dr. Samuel Johnson

Johnson’s brilliant handling of illustrative quotation means that his lexicon can also be enjoyed as a unique form of anthology. Though quotations from 18th-century sources, particularly Pope, Swift and Thomson, occur with some regularity, Johnson’s highest regard was for writers from before the Restoration whose works were “the wells of English undefiled”. Many recently introduced words, particularly anything “Gallick,” are condemned as “cant” or “low”. Giving such frank expression as it does to the author’s tastes and personal prejudices is what makes the Dictionary so endlessly fascinating.

Most impressive of all is Johnson’s battle with his own indolence or what his Dictionary termed “the repugnance which we naturally have to labour”. His publishers became exasperated by the years of procrastination. Boswell recorded Andrew Millar’s oath, on receiving the last sheet of copy from Johnson’s messenger: “Thank God I have done with him”. On returning the messenger duly passed on Millar’s words to Johnson who replied: “I am glad that he thanks God for any thing”.

Modern British Sculpture Sleeper

Posted on November 11, 2020August 21, 2024 by Jonathan Horwich

Known in the Art business as a ‘sleeper’ this 19 cm high, charming, and unique marble carving sold for 150 times its low estimate at Mellors and Kirk’s auction last month.

Very temptingly priced at a ‘come and buy me ‘estimate of £40-60 and intriguingly catalogued as ‘Modern British School’, this sculpture of a fawn grooming was finally hammered down at £6,000.

The Fawn is often depicted as a mythical creature and this piece certainly bears the hallmarks of early 20th century British carving. The attribution to Modern British School, although somewhat broad, is I believe, largely accurate as the piece could be attributed to the ill-fated and short-lived artist, Henri Gaudier Brzeska, (1891-1915), who although 100% French, somehow became an honorary ‘Brit’ and an integral part of the early dawn of the Modern British Art Movement at the beginning of the 20th century. He exhibited alongside greats such as Walter Sickert and Augustus John and is now very highly regarded as a sculptor and original work by him rarely if ever appears at auction. If this piece is by Gaudier then it’s a particularly good buy for someone as it could be worth 10-15 times the purchase price.

Another possibility is the sculptor and first husband of Barbara Hepworth, John Skeaping (1901-1980). If by him then it is still worth more (but not hugely more – value may increase by 2 or 3 times). I do not think it is by any of the big guns of Modern British sculpture such as Henry Moore or Barbara Hepworth, at least neither of them sculpted fawns. However it is an intriguing, good quality and well carved piece and so well worth a punt at £6,000…..

Watch this space for an update in case I hear anything more about its final attribution!

Caring for Paintings

Posted on November 10, 2020August 21, 2024 by David Dallas

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

Water damage

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

Example of water damage

Where to hang your painting

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

A light-damaged painting

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

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

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

Cleaning of paintings

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

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

Damage caused by fly faeces

Some things you just must live with, such as houseflies whose poo can stain an oil painting and can only be removed with a scalpel (don’t try this yourself!). Thunderflies, in high summer, can find their way under the tightest-fitting glass and litter the surface of a watercolour or drawing. Wait until autumn and take the backing off the work on paper, dust them out and reseal.

An example of damage caused by silverfish

Silverfish are a menace. If they get into a Victorian watercolour, they can munch their way through the pigments, which have been impregnated with gum Arabic, (the substance that Osama Bin Laden’s family fortune was based on), leaving patches of bald paper. Try to keep on top of silverfish by regular hoovering.

Another example of damage caused by silverfish

If you do have the misfortune to have water or fire damage or a painting falls off the wall, it makes sense to have a good photographic record of it, as this could help a conservator restore it and a loss adjuster assess a claim.

Keep on Running…a look at the Sneaker (Trainers!) Collector’s Market

Posted on November 10, 2020August 22, 2024 by Alastair Meiklejon

Why do people collect? Sometimes it can be a fascination with a subject matter, and sometimes a desire to be a completist – to own everything produced by a certain artist, or manufacturer.

A few years ago, I was asked to value a sneaker (that’s trainers here in the U.K.) collection and my eyes were opened to a burgeoning sub culture that is on the increase and shows absolutely no sign of abating.

The collection comprised around 250 pairs of mint (‘boxfresh’ in sneaker speak) shoes that had been bought as art pieces and collectables, rather than something anyone would ever dream of wearing. It included rare pieces from manufacturers that we all know, such as Nike and Adidas but with particularly limited runs and designed by musicians and traditional artists.

The collector was keen to tell me about the way in which the market has changed over the years, and nowadays it involved waiting in line at a retailer and being allowed to purchase only one pair of sneakers. On some occasions, he had recruited friends to go with him so that he could buy more than one pair. The value of the shoes traditionally doubled as soon as they left the store and could be seen for sale on internet sites within hours.

Signed pair of Nike Air Jordan 1s

For insurance, the collection was valued at £480,000. This no doubt will have changed in the last 24 months, with markets changing in the same way as traditional art and new designers dominating the hierarchy of sneaker chic, it’s a culture that just keeps on running…
Even Sotheby’s on-line store features a trainers section. In fact, the signed pair of Nike Air Jordan 1s above have become the most expensive trainers sold at auction, fetching over £460,000 at their online auction of 17 May 2020.

The Nike Air Jordan 1s were game-worn by Michael Jordan in 1985 after being made exclusively for the legendary NBA Chicago Bulls player.

Nike Air Mag Back to the Future 2016 – £26,500

One of recent year´s most famous sneakers – owned by, for example, the Slovakian rapper Rytmus. This reference to the legendary movie Back to the Future was released back in 2011 in a quantity of 1500 pairs. Several years later, in 2016, fans demanded a re-release, which they got – but only 89 more pairs were made, which pushed the Nike Air Mag Back to the Future 2016´s into the top 10 of the most expensive sneakers

Nike Air Mag Back to the Future 2016

Nike Moon Shoe – over £330.000

This shoe was designed by Nike´s co-founder Bill Bowerman for the 1972 Olympics qualifiers. It’s the only remaining preserved pair of this shoe, and it is also unique because the sole was literally made in a waffle maker!The sneakers were auctioned off at Sotheby’s by collector Miles Nadal in July 2019, officially making them the world’s most expensive shoes for many.

Nike Moon Shoe 1972

Converse Fastbreak, worn by Michael Jordan – £144,000

This is where we start reaching astronomical prices. This crazy price tag wasn´t caused by the sneaker´s rarity or the use of expensive materials. The third pair on our list was owned by Michael Jordan himself – he won the 1984 Olympic games in the USA in these shoes.

Converse Fastbreak worn by Michael Jordan

Air Jordan 12 OVO (Drake Edition) – £75,600

What you see in front of you is the result of a collaboration between the Jordan brand and rapper Drake’s brand OVO (October’s Very Own). At first glance, they don’t seem like anything special. However, at a Toronto Raptors game, Drake gave a pair of these sneakers (with a retail price slightly over $200) to one lucky fan, who managed to sell the shoe for an incredible $100000 on eBay, which made them the second most expensive Jordan sneaker at the time. A lesson to be learned from this is that going to a Toronto Raptors game might be worth it, not only for the entertainment value.

Air Jordan 12 OVO Drake Edition

Business in Lockdown II

Posted on November 6, 2020May 14, 2024 by Doerr Dallas Valuations

Rachel Doerr, Managing Director

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As we are now in lockdown again, I wanted to let you know that following the government guidelines during November, our specialist valuers will be able to continue to visit clients in their home to carry out our valuations of their art, antiques, jewellery, watches, cars and any other personal possessions.

Most importantly, we will of course be complying with all the government guidelines. These include social distancing requirements and we will be discussing with each client how the appraisal will be done and how these regulations can be complied with. As long as clients are happy to have us in their home during this time. I am pleased to say most clients at the moment do appear to be happy but we are ensuring everyone stays safe during this time.

Our valuers will be wearing gloves and masks as appropriate and we will continue to carry out our own Covid-19 PCR Testing (Polymerase Chain Reaction) on our team going forward to reassure clients as to their safety.

We hope that we can count on you for support during this time and that you will feel able to advise your clients that we are ready, willing and able to assist with all their valuation needs. We are also offering online valuations if possible, so please do give us a call to discuss.
Rachel Doerr
Managing Director
Mobile: 07876653602
Office: 01883 722736
[email protected]
London Office
Savoy Hill House, Savoy Hill, London, WC2R OBU
Southern Office
42 Station Road East, Oxted, Surrey, RH8 0PG
Midlands Office
The Wharf, 16 Bridge Street, Birmingham

Caring for Ceramics

Posted on November 2, 2020August 22, 2024 by Mark Longley

Tips on Handling and Examination

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

A poorly repaired English tin glazed earthenware bowl,
late-17th to mid-18th century

Tips on Display and Storage

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

Tips on Cleaning

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

Film Posters

Posted on October 28, 2020August 22, 2024 by Alastair Meiklejon

With the Sotheby’s James Bond Poster sale on 5th of November this year, and a huge collection going under the hammer on the same day at Prop Store the market for movie posters has never been stronger, but is it the artwork, the iconic characters, or in fact the memories surrounding the time of their release that fans are buying into?

Dr No movie poster, 1962

One of the highlights at the Sotheby’s sale is of course the original Bond film; “Dr No”- it’s 1962 production created one of the most valuable and recognisable franchises of all time and is still referred to as one of the best of the films ever released – the much delayed latest offering may give it a run for its money, but it’s doubtful. With a top estimate of £25,000 the UK issued poster outshines its American counterpart not only in value, but in style – these posters were designed to bring attention to the masses and of course the ever suave Connery holding a smoking pistol surrounded by scantily clad young ladies certainly did just that.

Away from the Bond sale, Prop Store has some iconic moments in film history all through the sale – “Jaws” from 1975 must be one of the most recognised film posters of all time, with the lone swimmer in the targets of the elusive shark ready to pounce, it instantly brings the legendary theme by John Williams to mind and probably helped to terrify a generation of beach swimmers for years to come, surprisingly with a low estimate of only a few hundred pounds, it seems good value to me.

Jaws movie poster, 1975

So why has the humble poster become so valuable? The truth is that it’s simplicity and infinitely researched creation is designed to appeal to so many people that having the images of a promotional studio item is very appealing – one could argue (and many probably will) that an original film poster could be as important a piece of art socially as many of the wonderful pieces of top tier art that we see every year, just less exclusive.

So what poster would I have on my walls? Well, unfortunately for my wallet – Prop Store happens to have an original poster from “Raiders of The Lost Ark” the first in the fantastic trio of 1980s adventure classics (note purposeful non inclusion of the 2008 effort) and with a lead character so important to the era, one forgets that Indiana Jones wasn’t even part of the title for the first film.

Raiders of the Lost Ark movie poster

An antiquity searching, Nazi killing, mid 20th century archaeologist with a battle cry of “It belongs in a museum!” Seems an unlikely hero, but for a young history obsessed schoolboy in Gloucestershire “Indie” quickly became my idol, and whilst my searches have never quite matched his, I would like to think there is still time….

Review of the Watch Market October 2020

Posted on October 23, 2020August 22, 2024 by James Lowe

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

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

Patek Philippe Nautilus

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

Rolex Daytona

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

Image of Audemars Piguet Royal Oak Offshore watch

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

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