The rise of the ‘Divorce ring’

Posted on August 23, 2024August 29, 2024 by Liz Bailey

A new phenomenon?

A huge jewellery trend of 2024 has been the rise of the ‘divorce rings,’ propelled into the spotlight by none other than supermodel Emily Ratajkowski. Following her divorce from Sebastian Bear-McClard in 2022, she revealed that she had remodelled her ‘toi et moi’ diamond engagement ring into two separate rings via an Instagram post in March of 2024. The images of these two rings were simply captioned “divorce rings,” signalling and representing a transformation in her jewellery to coincide with the transformation taking place in her life. She explained to Vogue, “The rings represent my own personal evolution… I don’t think a woman should be stripped of her diamonds just because she’s losing a man.”

From the original engagement ring, set with pear cut and princess cut diamonds, Emily commissioned designer Alison Lou to create two separate pieces. Firstly, a single stone ring in a yellow gold setting for the pear to be worn on the little finger, and secondly a three stone ring from the princess cut, with additional trapezoid cut diamonds either side in a bi-colour setting. From one original engagement ring, these two complementary dress rings mark a transformational and empowering moment in her life, as she explained to Vogue “Somehow, these rings feel like a reminder that I can make myself happy in ways I never imagined.”

Although a seemingly fresh and somewhat viral idea of 2024 thanks to Emrata’s Instagram post, the repurposing of sentimental jewellery is nothing new. Throughout the early 20th century, wedding bands themselves were altered by jewellers both in America and the United Kingdom to signify a divorce.

It was Chicago-born Mrs Marina Parke who purportedly invented the notion of the ‘divorce ring’ in 1911, when she had her wedding ring from her husband Fred sized down to wear on the little finger of her right hand – she has been quoted to say that as a result “new acquaintances no longer enquire about your husband, and old friends who have not yet heard of the divorce, perceiving the ring, are saved from embarrassing themselves and you by asking awkward questions”.

In the UK, women were recorded as having their wedding bands altered variously – with zigzags cut through, resizing and worn on the little finger. Designs specifically for the little finger followed, including black enamel sections added to former wedding rings, the addition of a broken Cupid’s bow, or simply the word ‘FREE’ inscribed to the inside of the band. Moving into the 1930s, the divorce ring was “quite glamorous, shaped as a circle of diamonds or pearls, interrupted by a coloured gemstone. The breaking of the circle symbolised the severed marriage union.” (The Times).

The act of repurposing and re-wearing sentimental jewellery in this way does certainly add a degree of autonomy and transformation to a piece. There are of course instances in which remodelling jewellery can decrease value – especially when removed from a designer’s setting, altering an antique jewel, or when the heat of the jeweller’s torch poses far too much of a risk to the gem material encased within. In any case, it is highly recommended to seek advice from a specialist, and of course up-to-date valuations for any items to guarantee sufficient cover for your jewellery both before and after any alterations are made.

A Shining Example of Design

Posted on August 20, 2024August 23, 2024 by Fiona Hamilton

Silver for the British Raj in India

The period of the British direct rule of India or The British Raj as it was known (1858-1947) closely followed the Indian Rebellion of 1847. The rebellion came about as a result of an accumulation of different factors over time, including resentment over army promotions and deployment abroad, reforms and taxes, so tensions were already running high.

The system of governance was instituted alongside the transfer of the rule of The East India Company to the Crown, which at this point was headed by Queen Victoria. This resulted in the economies of Great Britain and India becoming even more entwined than in the previous years. The construction of improved railways, roads, canals and bridges under British rule greatly eased the transport of raw materials alongside finished products for import and export between the two nations.

Although the British had been in India since the 1600’s, there came the birth of a new middle class around 1880 following this establishment of direct British rule. The residences of this section of society were opulent and of impressive proportions. The acquisition of fine goods and with it the show of affluence and taste within the home became a new pastime. With the timeless beauty and decadent ornamentation, silver was the perfect choice of work of art to showcase.

The first generation of merchants favoured the more elegant and simpler lines of silver of the Georgian era. During the tour of India by the Prince of Wales in 1875/76, he was presented with a fine and elaborately decorated silver tea service, alongside further beautiful items of Madras silver, some of which were produced by the famous and well renowned company of P. Orr and Sons.

After arriving in Madras in 1843, Peter Orr and brother Alex found work with Gordon & Co as watchmakers, (their original business in Edinburgh) taking over the business in 1849 following the retirement of the owner. Business flourished and it became the most prominent and well thought of silversmith company in Southern India. Silver produced in and around Madras is normally decorated in what’s known as the Swami style, often depicting Hindu gods within sacred scenes.

Following the return to Britain of the Prince of Wales, the fine tea service was exhibited to much acclaim. The Colonial and Indian Exhibition which took place in South Kensington in 1886 is reputed to have attracted an incredible 5.5 million visitors.

Displaying the processes and craftsmanship of their work within the exhibition were a number of Indian artisans which must have been compelling viewing.

The silversmithing companies of India began to be inundated with requests for new commissions for the silver of forms favoured by the British – tea services, punch bowls and salvers amongst others. But change was in the air and the taste for the Indian style of ornate and richly embossed decoration grew even further. These sumptuous items now adorned the homes of British families in many cities of India.

The major cities and surrounding villages had design and ornamentation often peculiar to the area which these days may make them instantly recognisable although designs and details were copied all over!

The silver of Lucknow often depicted scenes of a hunt before a jungle background, they also sometimes had the charming presence of a ‘hallmark’ engraved on the underside, often an elephant or peacock.

Kutch silver is usually very ornate and profusely embossed with scrolling foliage, often with a blank cartouche.

The highly regarded company of Oomersee Mawjee, based in Bhuj, produced a fantastic quality of work and was another favourite silversmiths, with commissions coming from high-end companies such as Liberty & Co.

The well-established firm of Birmingham silversmiths, Elkington and Company, started producing items based on Kutch designs after the strict British hallmarking put a stop to the import of some Indian-made pieces. Silver produced in or imported into the U.K has to pass strict tests in which all of the finished products have to contain a minimum of 92.5% pure silver. Much Indian silver was of a lower purity so failed to pass the strict tests and was often scrapped.

Normal decoration for silver from Calcutta would be various farming scenes, and often depicted small dwellings amidst palm trees in the background. Dass & Dutt and Hamilton & Co were both well renowned companies working out of Calcutta and much favoured by the Indian aristocracy. The marks of the latter changed over many years but always included a small and charming stamp of an elephant.

Due to Kashmir being famous for textile weaving, the inspiration is apparent on the silver produced here. Often coriander leaves, floral and paisley type patterns form part of the repoussé work, but in addition earlier middle eastern inspiration can be detected.

In the world of silver, fashions have changed countless times over the past years and more recently the taste for richly ornamented goods has dwindled with the popularity of iconic and more restrained mid-century design but these fabulous decorative pieces are testament to the craftsmen of all backgrounds and are an important link to the history of silver production in India.

To see more, visit The Victorian & Albert Museum, which showcases fabulous examples of Indian silver. For further reading on this subject, check out Delight in Design by Vidya Dehejia and Indian Silver 1858-1947 by Wynyard Wilkinson.

John Lennon’s Patek Philippe

Posted on August 13, 2024September 9, 2024 by Liz Bailey

The most iconic and elusive watch of all time?

Set to eclipse the hammer price of Paul Newman’s Daytona if this wonderful piece ever comes to auction, John Lennon’s Patek Philippe has been at the forefront of watch news for the past six months. Famously missing for thirty-four years, this iconic and elusive timepiece is currently embroiled in a near-decade long court battle in Geneva between Yoko Ono and an Italian collector, who purchased the piece via private treaty from former German auctioneers Auctionata. Set to resolve by the end of 2024, the outcome of this lawsuit is eagerly awaited by collectors and watch enthusiasts alike.

John Lennon’s ref. 2499 Patek Philippe watch was purchased just months before his death, as a gift for his 40th birthday from wife Yoko Ono. She purchased the 4th series 2499 from Tiffany & Co. in New York – cased in yellow gold, with the retailer’s signature on the dial, and possessing a single personalised engraving to the case back, which rather eerily reads, considering that Lennon was murdered just three months later:

(JUST LIKE)
STARTING OVER
LOVE YOKO
10 • 9 • 1980
N. Y. C.

The reference 2499 by Patek Philippe on its own is an incredibly rare and highly sought-after timepiece. Only 349 examples of this reference were ever made within a 35-year production run. This reference is largely considered amongst collectors to be the ultimate Patek Philippe – combining singularity and exceptional craftsmanship. Replacing the 1518, this perpetual calendar chronograph features the triple subsidiary dial, day and date aperture and pushers to 2 and 4, all within a 37mm yellow gold, rose gold and the rarest of all platinum case (only two platinum 2499s were ever made).

Following Lennon’s untimely death in December 1980, the watch was recorded and placed into storage. It is purported that from here the watch was stolen by Yoko Ono’s former private driver, Koral Karsan who was later charged in 2017. In 2014 however, the watch was sold through private treaty by Auctionata for €600,000 to an Italian collector.

The watch was subsequently taken to Christie’s Geneva, who contacted Yoko Ono’s solicitor to enquire about the watch and its provenance. It was at this point, nearly 35 years later that Ono discovered the watch had been stolen. In 2015 a contest was raised, and the watch was placed in a ‘consignment-escrow agreement,’ with each claimant declaring their rightful ownership of the watch. Now, nine years later the case has reached its final appeal at the Tribunal Fédéral, Switzerland, against a verdict that Ono is the owner of the watch. The case is expected to be settled within the year.

As the watch and pop culture worlds wait with bated breath to see the outcome of this court case and the eventual trajectory of the piece, it is natural that the market is reactionary, meaning that regular valuations are essential for any watch collection.

Prices for Patek Philippe ref 2499 are amongst the highest for the brand and continue to grow – a combination of their rarity, exceptional complication and place in the zeitgeist. Whether Lennon’s watch does make it to auction or not, the infamy and journey of this exceptional timepiece will surely continue to bolster and uplift the value of these rare timepieces.

Jewellery Pick of the week – Castellani Micromosaic Brooch

Posted on August 7, 2024November 11, 2024 by Aurélia Turrall

This week’s pick is an extraordinary micromosaic brooch by Castellani I had the delight of discovering in an inherited collection. Much to our surprise, amongst the treasured and loved jewellery was an original box containing this perfectly well kept brooch. The brooch is circular and set throughout with blue and red micromosaic, in closed-back setting, only 3cm in diameter.

A red and blue micromosaic brooch by Castellani

So why is it so special?

Firstly due to its age. Dating from the 1860s, it is extremely rare to not miss at least one tesserae in a micromosaic piece, let alone one that has been around for 170 years.

The above brooch was sold at Christie’s in 2011 for Euro 31,040, against an estimate of Euro 8,000-12,000, and had a missing tile.

No dents are present in the item’s soft gold, which is another key aspect of its uniqueness.

And it is also signed on the back with a double C (no Chanel was not the first one to use a double C as a maker’s mark!).

Castellani’s founder, Fortunato Pio Castellani, opened up shop in Rome in 1814 and is commonly described as launching the archaeological revival movement in jewellery. This passion came a few years after opening his shop, hearing his friend Michaelango Caetani speak about recreating gold to look ancient. With the opening of the Etruscan Regolini- Galassi tombs in 1836, Castellani was granted access to view the jewellery. With further fascination for archaeological finds, Castellani’s jewellery became more and more popular.

Using various exquisite techniques, such as wiring and granulation, Castellani was able to imitate ancient jewellery. The week’s brooch has a ropetwist border, adding to it a sense of completion.

So what’s the price tag on such a rare piece?

At auction, the item would be valued at £1,500-2,500. A similar example sold for £2,375 including premium in 2018 at Bonhams. It was orange on a blue background.

A orange and blue micromosaic brooch by Castellani

Another piece is currently for sale privately for over £18,000. This brooch is blue and green.

A green and blue micromosaic brooch by Castellani

And though I was able to find two almost identical pieces for sale, over a decade separates their sale date. Which goes to show how rare brooches of this style and make are. If you find one… Grab it and keep the box!

Old Master Sales July 2024

Posted on August 6, 2024August 9, 2024 by David Dallas

The Old Master market, judging by the London sales in early July, continues to be split between the desirable and the unloved. The Day Sales, for the “unloved” were very flat affairs. Christie’s managed a total of £3.489M for 170 lots, with 36 unsold – mostly sculptures and watercolours, which they now include with oil paintings as there is such a dearth of viable lots; while Sotheby’s total was £2.178M for 182 lots, 65 of which were bought in.

The evening sales painted a much rosier picture, with only 10 out of 58 lots failing to sell on the day, although they may have found buyers, subsequently. Christie’s had much the better sale, in fact, their wonderful Titian of The Rest on The Flight into Egypt made over £5M more than the whole of the Sotheby’s sale! It was estimated at £15-25M and was knocked down for £17.56M including buyer’s premium. Other star lots at Christie’s include the beautiful Quentin Metsys of The Madonna of the Cherries which made £10.66M including buyer’s premium to the Getty Museum, against an estimate of £8-12M. It is interesting to note that this picture was offered by Christie’s in 2015 described as a studio work and made £200,000. At that time, a green curtain, painted at a later date, obscured the beautiful landscape seen through the window. Subsequent cleaning and restoration have revealed that this is the prime version of a much-copied composition. There was also a handsome Frans Hals Portrait of a Gentleman, which made a solid £5.7M.

It was a bad week for George Stubbs the great Liverpudlian, 18th Century horse painter, however. His magnificent Mares and Foals offered by Christie’s with an estimate of £7-10M failed to find a buyer, as did the fine double horse portrait by him offered at Sotheby’s with an estimate of £400,000-600,000.

The Christie’s evening sale achieved a very healthy £43,594,800, which was their best result for 10 years, while Sotheby’s total was a less impressive £12.366M.

One of my favourite pictures of the week, was the view of a Baroque Sculpture Gallery by the Dordrecht painter Samuel van Hoogstraten, which made £356,000 including buyer’s premium at Bonhams. Hoogstraten was a man of many talents, poet, painter, art theoretician and sometime pupil of Rembrandt. There is a wonderful trompe l’oeil, peep show with views of the Interior of a 17th Century Dutch House, by him in the National Gallery, London. It is well worth a visit.

The message from the week’s sales is that if you have a masterpiece by an Old Master make sure the insurance value is high enough and if you have works by minor masters, check current values to make sure your premium isn’t too high.

From Wreaths to Gold: The Evolution and Value of Olympic Medals

Posted on July 30, 2024December 19, 2024 by Jenny Knott

The 2024 summer Olympics in Paris is the 33rd Olympics of the modern Olympiad and the third time that Paris has hosted the event; the previous occasions being in 1900 and 1924. Paris is only the third city to have put on the games three time, the other cities being London and Los Angeles.

This year approximately 11,000 athletes will be competing for the gold, silver and bronze medals awarded in each discipline. In the ancient games, Olympians received a wreath formed from an olive branch; and that only for the winner. Nowadays, there is something rather more substantive and enduring as a token of achievement.

The design of the medals is the responsibility of the host city’s organising committee and varies with each iteration of the Games. The first Olympic medals in 1896 were designed by French sculptor Jules-Clément Chaplain and depicted on the obverse, Zeus holding Nike, the Greek goddess of victory; the reverse showed the Acropolis. They were made by the Paris Mint, which also made the medals for the 1900 Olympic Games and are responsible for this year’s medals. The medals for 2024 are currently stored at the Mint prior to of the start of the games.

The tradition of awarding gold, silver and bronze medals was first instigated at the Summer Olympics in 1904 in St Louis, Missouri, although competition place medals were retrospectively awarded to competitors in the 1896 and 1900 games.

It is the International Olympic Committee (IOC) which determine the physical properties of the medals. Although they were rectangular in 1900, in every other year they have been circular. Over time the designs have been honed, originally medals were handed out, then pinned to chests and then finally in 1960 they were hung around the neck; initially with a laurel chain and subsequently on a ribbon. The three tier victory podium was not introduced until 1931. Prior to this, medals were awarded at the closing ceremony with athletes wearing evening dress.

Until 1912, the gold medals were made of gold. This would be prohibitively expensive these days, but they are still made of silver gilt and at current prices the gold medals from the 2020 Olympics held in Tokyo in 2021 are worth about £630. The silver medals are made from sterling standard silver, which is 92.5% silver; and the bronze medals are predominantly copper at about 97% with zinc and tin alloy to give strength.

An Olympic medal is the pinnacle of any athlete’s career and monetary value is irrelevant compared with the physical embodiment of years of training, sacrifice and perseverance. That said, and without seeming crude, in our world we are sometimes required to put prices on the ‘priceless.’

In Paris this year the successful athletes will be receiving medals that symbolise the motto of the modern Olympics, ‘ Faster, Higher, Stronger – together.’; medals made from gold, silver, copper, tin and zinc. I suspect however, that the athletes might view them as the embodiment of blood, sweat and tears.

Clyde Purnell’s 1908 Olympic Games gold medal for football fetched £18,000 (plus premium) at auction in June 2024. This medal, produced prior to 1912, is made from 15 carat gold, but nonetheless the sale price far exceeds the scrap metal price, which is a little under £1,000.

Swimmer Michael Phelps is the mostdecorated Olympian of all time. He has won 28 medals, 23 of which are gold. He has enjoyed being on the front cover of Sports Illustrated twelve times.

We wish all our Olympians ‘bon courage’ and enjoy Paris.

The Olympic Games – The history & memorabilia

Posted on July 23, 2024August 9, 2024 by Stephanie Connell

The Paris 2024 Summer Olympic and Paralympic Games are about to commence – historic tournaments where sports people from all over the globe assemble to compete for arguably the most prized award in elite sport – the Gold Medal.

The Olympic symbolism is today immediately recognisable – the rings; torches; the gold, silver and bronze medals – all icons of the event. Whilst precursors to the modern Olympics were held throughout the 19th century, the first true modern Olympic Games was held in Athens in 1896. The idea had been cemented by French aristocrat Pierre de Coubertin (Baron de Coubertin) (1863-1937) founder of the International Olympic Committee.

The 1896 ‘Games of the I Olympiad’ was on a much smaller scale than that of the games today – with just 241 all male athletes competing, the majority of whom were Greek, and others from just 19 nations. For these inaugural games the winners received a silver, rather than a gold medal.

In July 2021 RR Auctions sold one of the Athens 1896 ‘Silver’ winners medals. They were designed by Jules-Clement Chaplain (1839-1909), one of the most important medalists of the late 19th century. As is often the case it had been presented to a now unknown recipient. Despite this it sold for a total price of just over $180,000 (Lot 6001, Olympic Memorabilia – RR Auctions, 22nd July 2021).

The second Olympic Games were held in Paris in 1900 as part of the World’s Fair during that year. The Olympics in their infancy were often held in conjunction with other, then larger events, in the hope of generating interest. A broader field of sports were involved in 1900 with men and women both competing. The events included Polo, Croquet and Tug of War, which was an Olympic Sport between 1900 and 1920! Bizarrely, ballooning was also one of the events – with competitors aiming to travel by balloon and land on a target. In July 2012 Sports Memorabilia Auctioneers, Graham Budd sold a participation medal for this very event – presented to Abel Corot the Balloonist who finished in 9th place – it sold for a modest £300 (Lot 23, Graham Budd, 24th July 2012).

The third Summer Olympics were held in the American city of St. Louis, in 1904, again as part of the World’s Fair. Golf was one of the early sports included in the Olympic roster. In 2016 Christies, London offered the 1904 Olympic Gold Medal awarded to amateur golfer Robert E. Hunter (1886-1971). The medal was actually cast from solid gold (gold medals were only truly gold for two Olympic Games). Estimated at £20,000 – 30,000, it sold for a total of £206,000 (Lot 521, Out of the Ordinary, Christies London, 14th September 2016).

For the fourth tournament in 1908 the host city selected was Rome. However, the location was altered, when the Italians decided against holding the competition after Mount Vesuvius erupted in 1906. London stepped in to hold the games. This time the tournament coincided with the Franco-British Exhibition at the newly constructed ‘White City’. The promotional poster for London 1908 offered information on travel to London from Europe as well as location of the event. This rare piece is seldom offered for sale. Ahead of London 2012 Games, Christies held a sale containing Olympic posters. The Alfred Edwin Johnson work illustrated by Noel Pocock sold for £15,000 (Lot 4, Vintage Posters, Christies London, 18th April 2012).

As the games continued many of the now familiar symbols were established. The instantly recognisable logo of the games – the Olympic rings – were introduced in 1913, having been designed by the (aforementioned) Pierre de Coubertin. They represent the five continents and competitors coming together.

Art and design have an important connection with the Olympics – surprisingly in fact between 1912 and 1948 Olympic Gold, Silver and Bronze medals were awarded for painting, sculpture, architecture, literature and music amongst other areas of the arts. Famous artists including Sir William Nicholson and Dame Laura Knight were Olympic medal winners.

The Paris 2024 Games marks the third occasion which the city has held the competition. The second was one hundred years ago in 1924. Winners of Gold Medals during the 1924 games were additionally presented with a vase produced by the great French porcelain manufacturer Sevres. The vases feature four medallions, decorated with different sports. In April 2024 auctioneers Bonhams/ Skinner Marlborough sold an example featuring cycling, tennis, sailing and shooting, it achieved a total selling price of $12,160 (inc. BP) (Lot 95, Eric van Rooy Estate, Bonhams/Skinner, 15th-25th April 2024).

Appreciation of art and design has always been important at the Olympics (as the Gold medal competition for art show). Influential artists have designed objects and promotional material for the Olympics throughout the events history. Posters are one area where this has been obvious.

Early posters, as with the London 1908 example, frequently included information about the forthcoming games with representations of Athletes. The 1928 Amsterdam Olympics was typical of this type, designed by Joseph Rivers the poster included a central image of a runner. One was sold by Cheffins in October 2022 for £3,000 (excluding BP) (Lot 326, Art & Design, Cheffins, 27th October 2022).

London has also held the Olympics on three occasions. To promote the London 1948 Games an eye-catching poster design was created by Walter Herz (1909-1965), including landmarks and a central discus thrower – a statement of British post-war optimism. One hundred thousand were printed over two formats, resulting today, in versions appearing on the open market consistently. Swann Galleries USA sold a double-crown style poster in February 2020 for $3,750 (Lot 204, Vintage Posters, Swann Auction Galleries, 13th February 2020).

The torches, used to relay the flame from Athens and eventually lighting the ceremonial cauldron are sought by collectors of Sporting Memorabilia. Often manufactured entirely of metal, they ordinarily feature Olympic rings clearly in their designs. Like the posters, relay torches from the 1948 Games pop-up for sale regularly.

In September 2023, one of these aluminium torches designed by Ralph Lavers (1907-1969) reached a hammer price of £3,000 at Dawsons Auctioneers (Lot 257, Dawsons, 28th September 2023). Torches of similar design were used during the 1950s. In November 2022 Welsh auctioneers Anthemion sold a bearers-torch from the 1956 Melbourne Olympics – the hammer fell this time at £5,500 (Lot 724, Anthemion Auctions, 23rd November 2022).

The designs for the 1960s Olympics reflected modernist and abstract movements of the period. Italian Sculptor Silvio Gazzaniga (1921-2016) most famously designed the FIFA World Cup trophy. He also designed the bronze Trophy awarded at the first Paralympics held Rome, 1960. One such sculptural piece, presented to an unknown athlete, was sold at Mallams Auctioneers in March 2018 for £380. (Lot 376, Modern Living, Mallams, 7th March 2018). The Collection of Phyllis & Jerome Lyle Rappaport.

The 1964 Tokyo games were the first to produce an official set of posters designed by Yusaka Kamekura (1915-1997). The most notable of these is titled ‘The Rising Sun and the Olympic Emblem’ featuring simply a red circle, Olympic rings, text of the host city and year. In January 2022, Chicago based auctioneers Potter & Potter sold this lithograph poster for $1,200 (excluding buyers premium) (Lot 0488, Potter & Potter, 29th January 2022).

The 1968 Mexico City poster was similarly striking. Inspired by Op-art the design was a collaboration between Lance Wyman, Eduardo Terrazas and Pedro Ramirez. Poster specialists Antikbar sold a copy in August 2019 – reaching £3,400 (hammer, excluding BP) (Lot 3603, Vintage Posters, Antikbar, 3rd August 2019).

David Hockney (b. 1937) designed posters for both the 1972 Munich Games and 1984 Los Angeles Games. In June 2012, Sotheby’s offered Hockney’s partially completed pencil design for the 1972 poster, featuring a diver – the work eventually sold for £169,250 (total including BP). The final poster often appears at auction and is part of a set created by several artists for the Munich games. In March 2024 an example of ‘The Diver’ poster was offered at Forum Auctions reaching a hammer price of £600 (Lot 61, Editions, Forum Auctions, 12 March 2024). Also, during the same month Bonhams London sold Hockney signed limited edition print of the 1984 Los Angeles swimming pool design for £11,250 (Lot 26, Bonhams, 26th March 2024).

Pop artist, Roy Lichtenstein (1923-1997) also produced a poster design for the Los Angeles 1984 Games. A signed limited-edition version of the dynamic work ‘The Red Horsemen’ sold at Bonhams Los Angeles in January 2024 for a total of $5,632.

For the London 2012 Games several notable British artists were commissioned to produced poster artwork, including Bridget Riley (b. 1931). An offset lithographic copy of this work ‘Rose Rose’ was sold at Rosebery’s London in June 2023 for £650 (excluding BP).

Such is the global recognition for the Olympics – when memorabilia directly relating to some of the most famous events (for both the Summer and Winter games) appears on the open market it can command very high prices.

Famous sporting names often establish their status at the Olympics. Gymnast, Olga Korbut has long been associated with advancing the sport and acrobatic routines. In February 2017, American auctioneers Heritage offered Olga Korbut’s Team USSR Gold Medal from Munich 1972 Games. The overall price here was $66,000.

In February 2024, Christies New York offered the Men’s Long Jump Gold Medal awarded to Bob Beamon at the 1968 Mexico City games. Beamon, achieved sporting greatness beating the World Record during the competition, leaping 8.9 meters – 55cm further than any jump prior. His World Record stood from 1968 until 1991 and remains the Olympic record! This fascinating piece sold for a total of $441,000 (including B.P).

Basketball legend Michael Jordan, is one of the most famous sportsmen in history. In June 2023 Sotheby’s offered the Reebok jacket worn by Jordan whilst receiving his 1992 Olympic Gold Winners Medal alongside his USA teammates dubbed ‘The Dream Team’. The performance of ‘The Dream Team’ during the Barcelona games is one of the most influential in Olympic history. The Reebok jacket controversial, due to Michael Jordan’s famous association with the Nike brand. This important piece of memorabilia was signed by Jordan and offered with an estimate of $1m – $3m. The garment achieved a sales total of just over $1,500,000 (Lot 1, The Dream Team, Sotheby’s, 29th June 2023). While his signed and worn Nike ‘Air Jordan VII’ sneakers also used during the 1992 Olympics sold for $114,300 (Lot 2 as before) (inc. BP).

Michael Johnson is one of the fastest men in history and one of the most famous names in athletics. In March 2024 auctioneers Heritage offered a pair of ‘Gold’ Nike running spikes worn by Michael Johnson whilst representing team USA during the Atlanta 1996 Olympic Games. Johnson achieved gold in both the Men’s 200m and 400m sprint competitions – breaking World Records in the process. The stylish pair sold for $68,750 (inc. B.P.) (Lot 90347, Treasures from Planet Hollywood, Heritage Auctions, 24th March 2024).

At the opposite end of the collecting spectrum and what seems a very affordable piece – a shirt worn by footballer Mohamed Salah during the Egypt v Brazil match at the London 2012 Olympic Games. The then 20-year-old was eligible to play in the team due to his age (Olympic Games Football competition is between Under-23 age group). The jersey was offered by Julien’s in America in 2017 (prior to Salah’s cementing his status as a Liverpool FC legend) the shirt sold for just $192!

With the Olympics just around the corner – sporting legends will be made, and the memorabilia of the future created.

Finally therefore to quote Founder Baron de Coubertin: “The important thing in life is not the triumph, but the struggle, the essential thing is not to have conquered but to have fought well.”

The Power of the Parure

Posted on July 16, 2024August 9, 2024 by Liz Bailey

The release of series 3 of Bridgerton on Netflix has provided viewers with a visual feast – brightly hued costumes, sensational floral displays, grand balls, outlandish wigs, and of course – some fabulous jewellery! Whilst adapted to the modern -day audience and of course not strictly true to Queen Charlotte’s time, this beautiful display of gem-set jewellery should quite rightly draw attention to the truly amazing pieces produced in the late 18th and early 19th century.

Seen throughout the series and most ostentatiously on Queen Charlotte herself is the parure. Deriving from the French ‘parer’ ‘to adorn,’ the Parure refers to a set of jewels intended to be worn together.

The Bridgerton books by Julia Quinn are set between 1813 and 1827, covering the Regency period and beyond. By this time, parures set with precious and semi-precious stones were worn for court and formal occasions, with an abundance of jewellery at the very height of fashion.

The finest parures and demi-parures would consist of hair ornaments, necklaces, earrings, bracelets, bodice brooches and stick pins set with aquamarine, topaz, citrine and amethyst. Owing to their age, many parts and the frequent remodelling of jewellery over time, complete parures in their original form, with fitted cases are relatively rare and ever-increasing in value.

As seen in the aquamarine example above, fashionable, pastel-coloured gemstones such as aquamarine, pink topaz, and golden topaz were set within richly hued cannetille settings. Particularly sought-after at auction and therefore increasing in value are pink and golden topaz, whether in closed or the later open back settings.

A sub-section of Georgian jewellery that can very frequently be undervalued or even be dismissed as costume jewellery is paste jewellery. Although set with glass instead of crystalline material, this colourful and vibrant jewellery is increasingly sought-after by collectors. Paste is a notoriously soft material, prone to scratches and chips particularly if stored with other jewellery, so survivors of paste jewellery from this time command a premium. As seen with the following two examples, blue paste in particular has been performing incredibly well at auctions, but examples in all colours can be found in jewellery boxes up and down the country!

Rivière necklaces have very much had the spotlight on the latest series of Bridgerton, with the ‘diamond of the season’ Francesca Bridgerton adorning an array of these classically elegant and universally adored necklaces. Set with a wide range of gemstones, from diamonds to agates to cameos, the rivière necklace consists of a gently graduated pattern and continues in popularity to the modern day! As seen in the example below, rivière necklaces from this time period are frequently seen with a hoop surmount to the principal stone, allowing for the addition of a drop pendant. Values can depend upon the age, condition, gemstone identity, saturation, settings and carat weight.

For an up-to-date, confidential valuation of your Bridgerton-era jewellery by our nationwide, specialist team, contact us.

Beach Bag Ready!!

Posted on July 11, 2024August 9, 2024 by Helen Doyle

There’s nothing like a stylish, thoughtfully crafted beach bag to complete your resort wear ensemble and ensure all your personal essentials are within reach, and with the Great British Summer upon us we thought there was no better time to review this season’s most fabulous beach bags with a couple of rainy-day options thrown in, because, well, you know!

This year, the most sought-after brands have you covered, with Hermès, Louis Vuitton and Chanel offering this season’s most desirable beach bags and accessories with even a designer chocolate sauce for your ice cream.

Aside from the fact that a designer handbag can make a great investment, there are numerous factors to consider beyond your bag’s appearance when shopping for your perfect match. It makes it easier that most of the choices nowadays are as functional as they are chic. This year there are some beautiful vibrant options available, and it seems bigger is better.

Here’s our top designer beach bags, to suit any of your form and functional needs. Many of these are sure to become year-round accessories and the best part is they are all available to buy now, no wait list, even with Hermès!! So, let’s dive straight in!

Hermès

Hermès offer a fabulous range of beach bags and accessories and you can guarantee you will be the chicest person on the beach. Not only this but, a Hermès handbag always makes a great investment, with retail prices going up every year.

This season’s hottest selection comprises of:

Hermès From My Window.

Designed by Nigel Peake the collection is bold, colourful, and graphical which is a signature style of the artist with multiple perspectives being represented, with one or more windows opening out onto the world.

They are from cotton, canvas and wood, they are the perfect accessory for this summer, and they are also available to purchase directly from the website, with no wait list!

This example is retailing for £1,850.

Another great example by Hermès is the ‘Escale a a Plage’ beach bag, designed by Matthieu Cosses, in canvas and currently retails for £1,850, a bargain when compared to the price of a Birkin and Kelly.

Hermès not only have a wonderful collection of handbags but also beach towels with this bold and colourful example in Summer Games print, retailing for £600.

Christian Dior

Christian Dior produce some classic, timeless designs which always prove exceptionally popular, and like Hermès, their retail prices also increase in value every year, making them ever so popular on the open market.

The hat basket bag is made in Italy and stands out with its elegant silhouette combining functionality and refinement. It is hand-woven using artisanal techniques in natural wicker. The style features top handles and a blue Dior Oblique jacquard interior drawstring pouch. The Christian Dior Paris signature adorns the front. The spacious bag is completed by an adjustable and removable embroidered shoulder strap that allows it to be carried by hand, worn over the shoulder or crossbody. With the Christian Dior Paris signature on the front, it retails for £4,100.

Gucci

This year Gucci has taken its inspiration from the summer spirit and beach clubs on the Italian coast. The House’s straw accessories shed new light on the traditional material in vibrant colours and iconic motifs.

From the Lido Collection, this tote bag features brown leather straps across a natural base. The name of the House appears as a straw Gucci patch in keeping with the warm weather feel and retails for £2,030.

Chanel

Chanel never disappoints when it comes to handbags and their beach bags are no exception. This large cotton crochet & gold-tone metal tote in beige, pink & light green retails for £8,170.

Beach sets do very well on the open market, with this great set selling for just under £1,800 at auction in 2022.

Prada

Prada have produced some beautiful neutral tones this summer, this example of a medium wicker and linen blend tote bag retails for £1,750.

Louis Vuitton

Louis Vuitton’s latest spring-summer collection is landing in boutiques and it’s the perfect opportunity to refresh your accessory lineup. Whether you’re planning a getaway to the sun or embracing a city staycation, they’ve curated the hottest LV bags for your closet. From timeless hobo styles to sleek crossbody designs, these trendy companions promise to elevate your adventures in style.

Fun summer items such as a surf style Pochette Voyage Pouch retails for £850 and a Mini Golf Bag that can be yours for £2,490.

Speedy P9 Bandoulière

The Speedy P9 Bandoulière by Pharrell Williams is undeniably one of the hottest bags of the moment. Originally unveiled during Pharrell’s Men’s Spring-Summer 2024 collection, the Speedy P9 Bandoulière swiftly captured attention with its luxe appeal. Despite its origin in the menswear collection, this bag has become a coveted item for both men and women alike. However, getting your hands on one may prove to be quite the challenge and as such some are being listed on the resell market for three times the retail price of £6,850.

And finally, Louis Vuitton have just released their very own chocolate spread!! Its only available in two locations, a pop-up boutique in Singapore and their Paris store. With these limited supplies the secondary market for this designer chocolate spread has gone crazy with some examples selling for up to £500.

So, whether you are indulging in some chocolate spread and ice cream this summer, or a new beach bag, remember that having an up-to-date insurance document for your luxury belongings is extremely important. Doerr Dallas Valuations can provide you with an an insurance valuation, so you can relax and enjoy the beach, knowing that if the worst should happen, you’re properly insured, even if it’s your precious chocolate spread!!!

Vivienne Westwood the personal collection – a review

Posted on July 9, 2024August 9, 2024 by Stephanie Connell

June is one of the most important months in the European fashion calendar with Milan Men’s Fashion week and Paris Haute Couture Week, showcasing forthcoming styles.

This year, however, perhaps the more significant occasion for fashion historians took place at Christie’s, London – the sale of the personal collection of British fashion designer Vivienne Westwood.

Dame Vivienne Westwood (1941-2022) was a seminal British fashion designer and linchpin of the Punk movement. Her designs simultaneously captured and redefined quintessential British fashion.

The Christie’s auction included pieces worn by Vivienne Westwood from her own collections. The auction was offered in two parts, Part I – a live day sale (including 95 lots) held on 25th June and Part II – an online auction (including 179 lots) closing on the 28th June 2024.

Proceeds from the sale were to be donated to a number of charities important to Westwood: Amnesty International, Medecins Sans Frontieres, Greenpeace and The Vivienne Foundation.

The highest price achieved during the auction reflected these values. Lot 1 – ‘THE BIG PICTURE – Vivienne’s Playing Cards, Collect the Cards, Connect the Cards’ – a series of 10 signed digital prints. Though conceived in 2017, they were printed in 2024 – with Vivienne signing the blank sheets prior to printing in 2022. Each suit was designed by Vivienne to represent those who have had a positive or negative impact on humanity and the environment. The prints used images and symbols recognisable from her career spanning six decades. With 100% of the sale proceeds being donated to Greenpeace, the lot had a total selling price of £37,800.

Her route to becoming one of fashions leading figures, was much like Vivienne herself, unconventional.

She was born in Cheshire, spending her childhood between Cheshire and the county of Derbyshire. When Vivienne was 17, her father took the decision to move his family to Harrow (now in Greater London). She attended Harrow School of Art to study fashion but did not enjoy the course or believe a woman would be able to earn a living with this career. After a spell working in a factory, Vivienne chose primary school teaching as an alternative occupation (sharing her knowledge seemed to be a lifelong endeavour – she continued to teach fashion throughout her life – fashion designer Bella Freud described her as “the greatest teacher I have ever known” [Vogue, December 2022]).

Vivienne Westwood continued to make her own clothes, by the early 1960s was married with a son. During the mid 1960s she met Malcolm McClaren – the man influential on her perception of the possibilities of art and fashion – he would become her second husband.

The pair collaborated on a vision of an entire shop (developed from McClaren’s existing stall) – selling clothes, memorabilia and 1950s inspired pieces for the rebellious, located on at 430 Kings Road, Chelsea. This location was to change the course of fashion and music history – and would be connected with the Vivienne Westwood brand throughout her career.

The shop’s first incarnation dubbed ‘Let It Rock!’ opened in 1971. With each changing collection the store changed its name (‘Too Fast to Live to Young to Die’ 1973, ‘Sex’ 1974 – 1976, and ‘Seditionaries’ 1976 – 1980), – becoming a focal point for the burgeoning punk movement. For these later incarnations Vivienne created what we would now call the Punk Aesthetic – with fetish wear, graphic designs, and accessories of chains and safety pins. The band the Sex Pistols were formed by Malcolm McClaren through the shop (members Glen Matlock and Sid Vicious both worked there) and their name chosen in part to promote it.

By the early 1980’s Vivienne Westwood was not yet a household name and her innovations generally under appreciated. As punk faded, a new scene grew – dubbed by Vivienne ‘New Romantic’. The shop rebranded to ‘World’s End’.

Vivienne held her first fashion collection ‘Pirates’ in 1981.

Christie’s chose to sell Vivienne’s wardrobe in chronologic order – with the earliest dating ensemble created as part of the ‘Witches’ collection (1983) (her first to be shown in Paris and her final collaboration with McClaren).

Lot 2 was from the ‘Witches collection – A navy blue two-piece outfit bearing the ‘World’s End’ label, estimated at £4,000 – 6,000. The garments had been inspired by Vivienne’s meeting artist Keith Haring in late 1982. The total selling price here was £8,190.

Prior to the sale the viewing was packed with celebrities and Sartorialists looking to add to their collections, or simply get a glimpse of a career in microcosm – the sale more typical of a V&A exhibition than auction.

During the preview Christie’s projected one of Vivienne’s quote’s ‘The art lover is a freedom fighter’. With portraiture in mind, Christie’s displayed pieces from the Vivienne Westwood auction alongside paintings included in their forthcoming Old Masters sale. Lot 30 a dress created for the Autumn/ Winter 1998/ 1999 ‘Dressed to Scale’ collection was viewed alongside Sir Peter Lely’s ‘Portrait of Barbara Villiers’ [Lot 20, Old Masters, Christie’s, 2nd July 2024, £567,000]). The corseted piece of silk taffeta fetched the highest price for clothing realising £32,720.

Similarly, two lots included clothing from the AW 1997/8 ‘Five Centuries Ago’ Collection. This show was directly inspired by garments depicted in Tudor and Jacobean portraiture, which had been exhibited at the Tate Gallery in 1996. Lot 23 was a flannel two-piece suit worn by Vivienne on the runway at the close of this show. Estimated at £2,000 – 3,000 it achieved £8,190. Whilst lot 23 a black and gold brocade dress sold for £8,820 (against an estimate of £1,200 – 1,800).

Lot 4 was a three-strand faux pearl necklace and matching earrings produced for the Autumn / Winter 1991/1992 ‘Portrait’ collection. Vivienne had worn the jewellery during publicity for her Swatch Watch campaign – again showing the impact of historic imagery and faux pearls becoming part of her signature style. Estimate at £800 – 1,200 the set sold for £5,040.

The Orb is the symbol most closely associated with the Vivienne Westwood brand. It was conceived in 1986 and first appeared in the ‘Harris Tweed’ Autumn/ Winter 1987/ 1988 collection. Several lots of costume jewellery were available with the Orb central to the design. Lot 9 (estimated at £600 – 900) was a knuckle duster orb ring, created in 1992. Now instantly recognisable as a Vivienne Westwood piece, it sold for £4,043. Lots 10, an orb choker, and 11, a pair of orb earrings, both from the 1993/4 ‘Anglomania’ collection, sold for £10,080 and £4,788 respectively.

This ‘Anglomania’ collection was the first to feature Vivienne’s own tartan – again a style now synonymous with the brand – and marked the beginning of her creative partnership with husband Andreas Kronthaler (which would continue over their almost 35 years together). Vivienne met Andreas in 1988 whilst teaching fashion design in Vienna. The tartan was named ‘McAndreas’ after him and produced by weavers Locharron. Lot 12 was a two-piece tartan suit utilising the fabric, here selling for £5,292 (inc. BP).

The ‘Anglomania’ show was memorable, due to Naomi Campbell’s catwalk tumble whilst wearing a pair of super elevated platform shoes. Lot 13 was a velvet jacket, identical to that worn by Campbell during the show, offered together with a blouse. Estimate at £800 – 1,200 it sold for £11,340.

Several pairs of platform shoes were included in the auction – the highest price achieved for footwear was lot 39 – A pair of brown leather ‘Animal Toe’ heeled ‘Trainer Shoes’ from the AW 2002/3 ‘Anglophilia’ Collection. These sold for £6,048.

From the same collection and inspired by Elizabeth II Golden Jubilee celebrations was lot 40 – a complete ensemble from the Gold Label, against a pre-sale guide of £1,500 – 2,500 it sold for £13,860.

Lot 68 was given special attention during the viewing and placed in a space alone. The satin ‘Cinderella’ dress in ice blue colour was created as part of the 2011 ‘Gaia The Only One’ collection. Taking influence from ballet and 18th century fashion it achieved ten times its mid estimate figure selling for a total of £25,200.

Part I was a white glove, 100% sold auction – achieving a sale total including buyer’s premium of £465,192.

Part II included further items from Vivienne’s collection – many of them being individual garments and accessories.

Lot 105 was of costume jewellery produced for the 1993 ‘Grand Hotel’ collection and reflected Vivienne Westwood’s earlier career. The ‘Sex’ choker and earrings sold for £7,560 (inc B.P).

Several of the pieces could have been purchased for inclusion in a contemporary wardrobe. Lot 193 was a striking blanket coat from the AW 2004/5 ‘Exhibition’ collection. The graphic fabric, in a punk / graffiti inspired motif, sold for £4,410 (inc. B.P).

From the later part of Westwood’s career was an unusual handmade headdress designed for AW 2017/18 (lot 258). Inscribed ‘Ecotric’ in felt pen and manufactured from pieces associated with waste, it achieved £2,520.

A lot which seemed to show how 1950s style continued to influence Westwood was 104 – a faux leopard fur coat from the AW 1991/2 ‘Dressing Up’ collection. Here the estimate was £1,500 – 2,500, it achieved £6,930.

Lot 162 showed the cross-over in Westwood collections of punk symbolism, with historical classical inspired pieces and contemporary prints. From the ‘Summertime’ collection, Spring/ Summer 2000 it included a long sleeve Lycra top and a silk skirt – selling for within estimate at £2,142.

An ensemble which highlighted the continuing influence of the punk style alongside the importance of her environmental message was lot 232 – a jersey t-shirt from the 2012 ‘War and Peace’ collection. Printed with the Gaia family tree and a climate change map of the world, it realised £2,016.

Towards the end of the auction were several pieces designed by Vivienne Westwood’s husband and current brand Creative Director, Andreas Kronthaler. Produced for Vivienne Westwood label and from Vivienne’s wardrobe, lot 272, a brass necklace with tooth shaped charms from ‘Rock Me Amadeus’ Collection, 2020 – the estimate here was £500 – 800 but total price of £3,276.

The highest price achieved during the online auction was not for clothing, but for the neon sign, specially commissioned by Christie’s to display at the King Street headquarters. In two pieces, totalling over 10 meters in diameter, it was not included in the printed catalogue, despite this it eventually sold for £30,240 (inc. BP).

As with Part I – Part II was 100% sold achieving a total of £289,296, bringing the combined figure for the two sales to just over £750k.