Category Archives: Our Team News

Getting to the root of it – woods in furniture

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Wood is one of the greatest resources that mother nature has ever given us, from buildings, ships, cars, paper, its uses are pretty much universal. There is nothing involved in our everyday lives that doesn’t involve wood, and that may well be a unique quality.

In our world, and fairly low on the food chain in terms of global importance, is furniture. We all know that wood has been used since the dawn of time for making chairs, benches and many other items that make us more comfortable, but what woods have been used, and why?

Mahogany

Possibly the term that you will see the most when it comes to antique furniture, for the most part of the 18th and 19th centuries, it really was the most popular material for quality furniture. Mahogany is actually a term for three types of wood in the Swietenia variety of trees, comprising the San Domingo, Cuban, and Honduras, with a significant amount of this wood originally coming from Jamaica and the South Americas. Many of the pedigree woods are now covered by CITES regulations and subsequently modern items are made from crossbred trees that create very similar woods. Identifying mahogany is slightly tricky as there are so many variations, but the general appearance is that of a reddish brown material with fine grains, and next to no voids or pockets.

Walnut

Before mahogany and the ability to transport wood across the seas, walnut was one of the most valuable woods used for furniture construction. Elizabethan documents indicate that walnut wood, specifically from France, was regularly used in the construction of the most majestic pieces across the land. Following a particularly bad winter in 1709, the French actually blocked any exportation of the wood in order to protect it from foreign hands, which is where we start to see an influx of walnut veneers upon lesser quality wood bases, it is also where the very attractive polished burr varieties became popular. In some ways it is a similar wood to mahogany put with a more buttery colour, and with a swirling grain. The burr varieties can be found with an even more pronounced colouration, spots and pockets.

Oak

Possibly the most symbolically English tree in existence, the oak has been used since the middle ages in furniture making and one of the only woods on this list not originally used for its appearance, but its sheer practicality and useability. The wood itself was always considered more of a working wood with items made in the material known as ‘Country pieces’ with 18th century items often made in different woods, the oak being the cheapest. However, in the 20th century a resurgence in popularity in oak caused many reproduction pieces to be made, and also interesting pieces made by new designers such as Mouseman of Kilburn. Identifying oak is a lot easier than most woods, considering the nature of the wood, it is usually seen in more simple items with a heavy grain and uniform colour.

Rosewood

One of the true superstars of antique furniture, rosewood has been used for elaborate pieces of furniture for centuries and as such some of the most expensive pieces of furniture from certain periods, often seen as an upgrade from a standard mahogany piece, its rich deep brown hues really do capture the style of certain pieces. Also, some of the best Scandinavian mid-century pieces are made in rosewood, which leads to a certain problem that the industry has recently had to deal with. The Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES) has declared certain type of rosewood as an ‘Endangered Species’, meaning that certification may be needed in order to sell, or even insure some pieces.

Exotic & other woods

Of course, there are as many different types of woods as there are trees – we see many pieces of 19th century continental furniture in fruitwoods, which generally are a lovely rich orangey colour, but with a lot of grain and inconstancies.

Pine, which is without any doubt the best material for a kitchen table ever thought of, with red wine stains and children’s pen marks always adding to the patina.

Ash, Beech, Maple, Yew, Teak, Elm… the list goes on with many woods being exclusive to certain types of furniture or locations, but with so many different types to explore.

While some furniture values in the last twenty years may not have proven to be an escalating asset, the top levels of antique furniture continue to soar in value to the right client.

 

Read more articles by Alastair Meiklejon.

Pick of the week highlights of the Bonhams jewellery sale

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I had the pleasure of viewing the upcoming jewellery sale at Bonhams on New Bond Street this week. I received such a warm greeting from an old colleague at the front desk, and proceeded to head to the viewing room. Now, some might say they are too scared or intimidated to walk through these halls, let alone have the audacity to look at a jewellery sale on display. But here’s the secret… It’s open to everyone! And you should take advantage of these viewings. Think of it as a free museum entrance with endless exhibitions of exceptional goods, which have been, more often than not, hidden away from the public for generations.

I had the pleasure of being shown some highlights of this 118 lot sale.

These included a pair of Castellani sapphire bracelets from 1865.

These bracelets of Byzantine inspiration really are beautifully made. Castellani is one of the best when it comes to archaeological revival style jewellery and these pieces are no exception. “To have one bracelet is wonderful but to have two is very rare” said Jean Ghika, Global Head of Jewellery. With an estimate of £25,000 – 35,000, I am sure they will find a new home.

Still in the antique jewellery section of the sale are these spectacular “Night and Day” diamond earrings.

Still in their original box, these earrings can be altered depending on the mood. One can wear the diamonds for a dash of dazzle or cover them up with the cannetille beads. It is an extraordinary piece and statement to earlier craftmanship. They have an estimate of £12,000 – 18,000.

It should come as no surprise that my eye was immediately drawn to an early 20th century Cartier piece: an enamel and diamond fob watch circa 1910.

The delicate purple guilloché enamel is highlighted by a central diamond and a diamond border. The reverse is everything that makes Cartier watches: blue steeled hands, engine-turned dial and attention to detail. The very attractive estimate of £6,000 – 8,000 is bound to call out collectors.

Amongst the highlights is a sapphire and diamond cluster ring, circa 1890 with an estimate of £60,000 – 80,000. Why the price tag? That would be due to the origin of the sapphire: Kashmir with no evidence of treatment. Though a little abraided on the facet edges, a quick repolish would restore this stone and ring to its original glamourous state.

This piece shows once more the importance of getting gems certificated, as origin or colour and clarity can affect its value dramatically. This is even more apparent with the “Toi et Moi” blue and pink diamond crossover ring by Mouawad.

Both diamonds weigh a little over 5 carats, natural Fancy Intense Blue colour, VVS2 clarity and natural Fancy Purple-Pink colour, I1 clarity.

Bonhams says: “It is estimated that as little as 1 in 10,000 gem-quality diamonds extracted from the Earth’s crust show noticeable colour and of these stones, an exceedingly small percentage are blue or pink. The majority of these rare marvels of nature are under 2.00 carats in weight and stones exceeding 5.00 carats, are even rarer. Stones with high intensity colour grades such as ‘Fancy Deep’, ‘Fancy Vivid’ and ‘Fancy Intense’ are considered some of the most desirable colour classifications by GIA.” Due to its rarity the estimate for this ring is £1,000,000 – 1,500,000.

The Bonhams London Jewels sale that was held on 13th June garnered extraordinary results, with a total of £6,590,562, with 78% sold by lot.

Montblanc – Elegance in writing through a digital age

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If anyone has watched the recent interpretation of The Talented Mr Ripley on Netflix, the originally titled ‘Ripley’, you will have seen such a plethora of stylish items, from Salvatore Ferragamo shoes to Alfa Romeos, and one of the most focused items appears to be Dickie Greenleaf’s pen. The Montblanc Meisterstuck 149 almost playing a starring role in the series.

Whilst there are many brands that create stunning pens, there really is only one choice when it comes to the real top level writing instruments that people long for. In the same way that Omega might actually make a better diving watch than Rolex, 99% of people still dream of owning a Submariner.

The brand started life in Germany in 1906, producing luxury writing instruments under various different names until 1909 when the name Montblanc became the famous brand that we know today. Inspired by one of the most famous mountains in the world, the emblem that is still used today is their representation of a snow-capped mountain, and features heavily in their products and publicity. Later on, the nibs of all Meisterstuck (German for Masterpiece) pens would be engraved with the number 4810, to represent the height in metres of the mountain the brand is named after.

During World War II, the factory that produced their range was destroyed and they had to rely on a facility in Denmark to produce their instruments, however post war they managed to shine with many new ranges being released and slowly becoming the brand that most people know them as.

During the 1960s and 1970s, and after being taken over by Alfred Dunhill, they became even more exclusive, abandoning the less expensive models and producing even more exquisite and elaborate examples of fantastic writing instruments with celebrities all queuing up to buy them. By the 1980s, if you were a rock star signing a contract, or a world leader signing a negotiation, you would be doing it with a Montblanc.

In the last 40 years, Montblanc has become synonymous with the art collaboration pens that they have embraced with items retailing for around the £8,000 mark, but with their jewelled collaborations have broken records The Montblanc Boheme Royal selling for a staggering £1.1 million. The Collaboration with Van Cleef & Arpels ‘Mystery masterpiece’ selling for just short of £550,000 and numerous other watches within their collections selling for astonishing figures.

The good news is, if you just want to write and enjoy a quality pen, Montblanc still have you covered in 2024 with a lovely ballpoint pen, the Pix available for £240… so if writing is your passion, and even if you aren’t signing multi million pound deals, one can still enjoy the elegance that a good pen brings.

Jewellery Pick of the Week Cannes Film Festival

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It should come as no surprise to those who have read my previous articles that I would have chosen Cannes Film Festival for this week’s pick. A red carpet is always a good opportunity to see some of the most beautiful haute couture and jewellery which are inaccessible to most of us. Today I am looking at jewellery pieces by Tiffany & Co. worn by Camille Cottin – for whom I happen to have written a feature length jewellery heist screenplay.

As Mistress of Ceremony of the 77th Cannes Festival, and ambassador for Tiffany & Co., the spectacular French actress wore Tiffany Edge diamond drop earrings. These are set with 3.27cts of diamonds, mounted in platinum and 18ct yellow gold and retail for £32,800.

That same evening for the gala’s opening dinner, while still adhering to a very chic and elegant style, she sported another Tiffany & Co. suite from the HardWear collection.

Her neck was adorned with the Tiffany HardWear Graduated Link Necklace in yellow gold and pavé diamonds. It retails for £72,500 and is set with 9.07cts of diamonds.

The earrings en suite are set with 1.18cts of diamonds and retail for £15,800.

This particular jewellery line comes in white, yellow and rose gold, and can, as demonstrated the last few days, be worn to any circumstances, it really is a girl’s best friend.

The choice in design from Tiffany & Co. jewellery seems to resonate the theme of this year’s opening ceremony: women at the forefront of film and creativity. Camille Cottin’s speech mentioned #MeToo movement, the extraordinary Meryl Streep was awarded the Palme d’Or after a moving speech by Juliette Binoche, and Greta Gerwig (director of Barbie) was appointed President of the jury, six years after the last female jury president Cate Blanchett, in 2018. The HardWear collection says it all in its name and in its polished smooth and geometric lines. How could a jewellery collection be more perfect to echo both femininity and power.

To find out more about our jewellery valuation service, call us on 01883 722736 or email [email protected]

This Week’s Jewellery Pick

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I recently finished the multiple award-winning show The Marvellous Mrs Maisel. And if you haven’t seen it yet, you know what you’ll be doing straight after reading this article!

The main character, Midge Maisel, played to perfection by Rachel Brosnahan is based on Joan Rivers.

Other characters are real, such as Lenny Bruce, others fictional. Created by Amy Sherman-Palladino, it portrays women’s experiences in the mid-20th century, focusing specifically on a young Jewish woman trying it to make it on the comedy scene.

The series is mostly set in the late 50s and 60s and the costume and jewellery are divine. Costume designer Donna Zakowska created a dream wardrobe for all the characters, earning her awards for her creativity.

Not only are the dresses and jewels visually stunning, they add and carry the story, they are a story of their own. Today I will look at the pearls used in the series and especially one set of doublestrand cultured pearls which Mrs Maisel wears for her first official stand-up at the Gaslight Café (a sticky downtown New York club where the great Joan Rivers also performed).

In this moment she experiences great success, slightly undermined by some misogynistic remarks, then put to right by her estranged husband, and the outfit is perfect and effective. A black dress complemented by a pearl necklace.

The double-strand is strung and knotted with 6mm peach cultured pearls. The pearls appear to be uniform in shape, colour and lustre.

And when looking to purchase pearls, these are the most determining factors in assessing pearl necklaces. In this scene, the choice of colour sends the message of softness, being peach and not gold, and also lets us extrapolate that she could become very successful in the future, the pearls being almost golden. Mrs Maisel and her success shine thanks to the peachy colour and also due to the pearls’ lustre. Lustre measures the rate of light reflecting off the surface of the pearl and the sharpness of reflection visible on its surface. We often describe these as poor, fair, good and excellent. The better the lustre, the more radiance and glow they emit.

The pearls are also well matched and round. Their shape in this scene is key. She is trying to make a name for herself in a male dominated industry, all the while maintaining and celebrating her femininity and exposing her marital instability and struggles as a mother. The roundness works brilliantly.

Though the above baroque pearl necklace comes with a generous price tag of £7,500 they would have sent a very different message than perfectly round pearls.

It was common practise to have faux pearls at the time and they were very effective. In today’s market they do not have any value. The costs of cultured pearls vary greatly depending on the factors mentioned above, amongst others. But essentially, their value depends on what they mean and signify to the wearer.

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

 

Protecting the Cash in the Attic

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Frequently, for those whose homes are filled with antiques and art – particularly when they have been treasured family possessions for generations – potential replacement values for insurance can be overlooked.

Whilst jewellery and silver are often undervalued for insurance – recent costs having increased – there are certain types of objects which can be discounted completely.

With that in mind, Doerr Dallas Valuations would like to share a few examples where interesting history and excellent quality have led to growing value and this fact may lead to under insurance.

Georgian Costume Jewellery

The 18th and early 19th centuries were a time of great innovation and advances in technology. One of the fields in which this was obvious was jewellery design. With sumptuary laws being ignored, and with a growing middleclass keeping up with the latest trends, the desire to own the most fashionable jewellery became widespread. This demand was met by advances in artificial stone production – what would now be described as paste jewellery. Paste stones could be manufactured in a range of dazzling colours – mimicking – or even more vivid than their precious stone equivalents. It made jewellery more affordable to the fashionable of the day.

Costume jewellery, in terms of its financial value, has often been disregarded in comparison with fine jewellery equivalents. However, in recent years a strong market for costume jewellery as a whole is evident. Recently, the Georgian paste jewellery market has strengthened resulting in rocketing prices.

At auction, estimates have been smashed – in February 2023 a suite of blue paste jewellery (parure) comprised of a necklace (which would have been attached by a ribbon), a bracelet and a pair of earrings was offered in auction (Woolley & Wallis lot 148) with an estimate of £200 – £300. The eventual total selling price was over £25,000!

Domestic Metalware

Objects made from brass, copper and pewter may appear ordinary but again their values can be surprising. Lighting, fire grates, door furniture, mortars are all things to consider when arranging an insurance valuation.

Early pieces are highly prized by collectors and their replacement value can be in the thousands. In a recent auction, (The Chapman Pewter Collection – Bishop Miller; April 2023) a rare pewter candlestick manufactured during the reign of Elizabeth I/ James I achieved a selling price of over £30,000 (Lot 43). If you are uncertain as to the origin of your metalware, it is always best to consult a specialist valuer.

Furniture

In recent years the antique furniture market has been much maligned, with reports of the decrease in values being widespread. While the market may not be that of the 1980s, quality antique furniture continues to be esteemed and seeking replacements competitive.

Modest oak and antique country furniture should be closely looked at when considering insurance. Windsor chairs, mule chests, dressers and farmhouse tables are respected amongst collectors.

Treen

In a similar vein to country furniture and domestic metalware – treen – domestic objects made from wood may have been disregarded. In this fierce collecting field, prices can be surprising and some objects extremely rare.

 

 

Toys, Games and Juvenilia

When considering a valuation, looking at the playroom or nursery may not be the first area for attention but with the market for antique toys and games proving ever popular, replacing these treasured possessions can be costly.

Important and interesting 18th and 19th century dolls houses are collected not only by those interested in toys, but for those with a passion for architectural history. These microcosms of the family home often include complete furniture and decoration – showing how families lived and operated their homes. To replace good examples, the anticipated cost will be upwards of £10,000.

Rocking horses have a history which dates back thousands of years – the toy in the current form has existed since the 19th century. Rocking horses, both antique and modern, are a focal point for a playroom and as such should often be insured. When looking to acquire a good 19th or early 20th century example, one should budget over £2,000.

Playing cards, board games and games compendiums may be valuable depending upon age, manufacturer and scarcity. Toy specialists can offer guidance on teddies, dolls and antique toys and games.

Exploring the hidden treasures in your attic could be a delightful journey down memory lane. These items which hold dear memories close to your heart might even surprise you with their financial value.

Angelica Kauffman

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Angelica Kauffman (1741-1807), who was a founder member of the Royal Academy and one of the most soughtafter portrait painters of her generation, is the subject of a major retrospective Exhibition at the Royal Academy, the first of its type in Britain in my lifetime.

The press release from the R.A. describes her as “one of the most celebrated artists of the 18th Century” and indeed she was. She was born in Switzerland and trained under her father before moving to various cities in Italy, ending up in Rome in 1763 where she became friends with Nathaniel Dance, the English portrait and history painter.

He, like many of his male contemporaries, fell under the spell of Angelica and sent her portrait of the actor, David Garrick, painted in Rome, to the Free Society in London, where it caused a stir. Who was this Swiss girl in her very early 20s who could paint such a powerful portrait? Even the thought of this young girl staring into the face of a man 25 years her senior, as Garrick was, must have caused a frisson. When she arrived in London a year later, she was inundated with commissions to paint portraits. These she undertook and specialised in painting the most famous women of the day and “history” pictures, whose subjects were taken from classical history or literature and which depicted female protagonists, for the most part. This altered the direction of European Art.

History painting, despite the promotion of Sir Joshua Reynolds, President of The Royal Academy, who was rumoured to have had an affair with Angelica, whom he referred to as “Miss Angel”, was not very popular in England and Angelica left London for Italy in 1781. In that year she married Antonio Zucchi, a Venetian painter working in England and they lived first in Venice and latterly in Rome, where her salon/studio was to quote the R.A. flyer “a hub for the City’s cultural life”. Goethe and Canova were frequent visitors and Canova organised her funeral. She took Goethe on art appreciation trips every Sunday in Rome and contemporaries described her as “the most cultivated woman in Europe”.

But what of her paintings themselves? I confess that I have always found them rather unlovable. I was steeped in classical mythology and history as a child, so I don’t find her subject matter dry or forbidding. It is her palette and technique I don’t like. She is painting in the age of Neo-Classicism, so one expects a clarity of line, which is wholly missing in her work. It may be that the smudgy outlines are a result of her early training in Italy, where the Sfumato Technique was so popular. This avoids harsh outlines and encourages a smokey, blurred edge to figures and draperies. This blurriness has, to my mind, crept into her choice of colours too, which lack purity and brilliance. Angelica likes dirty golds, muddy oranges, and beige. Compare her self-portrait with that of her younger contemporary Elizabeth Vigee-Le-Brun (1753-1842) and tell me who you think is the greater painter. Finally, with so much of her work based on ideas of Classical beauty, I am not sure she is any good at catching a likeness. Compare her portrait of her friend and admirer, Sir Joshua Reynolds, with one of Reynolds’ own self-portraits. We know exactly what Reynolds looked like, because he painted himself so many times and they do not vary, except in age.

Angelica’s portrait does not look anything like him. It could be anybody.

I am sorry, Angelica, to make these harsh judgements about your work, but I have always felt you were overrated as a painter, not as a human being. I would have loved to have sat next to you at dinner.

Anyway, don’t take my word for how good or bad Angelica Kauffman is as a painter. It is just my opinion.

Over the past few decades, her reputation has soared and she has an international following. Her prices at auction have followed suit. Twenty-two of her paintings have made six figure sums and the top price is $1.1M. Most of these pictures have been group portraits, but not all. In 2001 Sotheby’s sold a self-portrait by Angelica, in a painted oval, for over £420,000. Anyone who has inherited a painting by Angelica Kauffman should be aware of current auction prices to make certain they are properly insured.

Jewellery Pick of the week – an alligator hinged bangle by Barry Kieselstein-Cord

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This week’s pick is a gold piece of jewellery with a lot of character and no gems. An alligator hinged bangle by Barry Kieselstein-Cord from the 1980s.

This bangle is made of 18ct yellow gold and realistically designed as an alligator with detailed teeth, eyes and skin. And it could be yours for £20,000.

It was offered at auction at Christie’s with an estimate of $4,000-6,000 and sold for $16,250, including premium.

So why the price tag? This item is a good example of how premium is added to craftsmanship. The bangle weighs a little over 100grms and has been worked and moulded with great care, attention and exceptional know-how.

Barry Kieselstein-Cord didn’t always work with gold. His first collection, dating 1972, was crafted in sterling silver. When we think of silver jewellery, one of the famous names that come to mind is George Jensen. Barry Kieselstein-Cord’s collection was bought and presented at Jensen’s flagship store on Madison Avenue in New York City (now closed).

He shot to stardom and his jewellery was soon a key accessory to have. Movie stars like Diane Keaton were quick to get their hands on this new stylist’s designs. He also worked closely with Calvin Klein and Helmut Newton.

His brand has extended into handbags over the years and are considered works of art. So much so that The Museum of Fine Arts in Houston exhibits his Alligator Trophy Handbag made in 1992.

He also created belt buckles, which caught the attention of the Spanish bull fighter El Cordobès who purchased a horse-head buckle in the 70s.

Whilst he was working with sterling silver he made a skull necklace for Mick Jagger’s 30th birthday and continues to this day to make iconic pieces. Though access to these is very limited and exclusive.

So if you want a piece of history, keep your eye on auctions and specialised vintage jewellery shops as these pieces are very rare and the market is scarce for these recognisable pieces.

Swatch – When the 80s were good, they were very good

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In the watch world, Swatch holds one of the most unique positions possible, not only do they manufacture some of the coolest affordable watches that you can buy, causing worldwide pandemonium for the latest model, but they still are a watch maker first and foremost still forging ahead with technology and creating new visions in horology – also, in doing so becoming one of the most successful brands not just of watches, but of luxury goods owning such iconic brands as Omega, Blancpain, Breguet and Harry Winston.

So where did Swatch start?

Whilst most horological big names will be able to quote 19th century dates and locations, Swatch became a watchmaker in 1983, and really as a reaction against the quartz crisis of the 1970s and 1980s that saw many of the big names in horology to the brink. You may gasp, but many of the big names that I talk about regularly almost sank into obscurity after mechanical watches fell out of favour during this period – Even Rolex had to resort to producing a battery powered watch, although even this now is very collectible.

One of the keys to their continued success is knowing their place in the market, never one to take on the brands that people long for, even their name actually meaning ‘second watch’ indicates that whilst not throw away items, they can be worn as fashion pieces and with such collaborations that would mean so.

Swatch in 2024 is the brand that everyone can wear, from somebody that just wants an inexpensive reliable watch, to somebody that wants a cutting edge design piece, with some serious style and street credentials.

The last couple of years have seen collaborations at the forefront of the brand’s successes, but actually they have been doing this from the very start, with watches in the 1980s inspired by Picasso, Keith Haring and many other artists all forming an important part of their history, and whilst you will have read about the recent work with Omega and Blancpain, some of the most interesting items have come recently from galleries and individual artists, with licensed watches sporting famous paintings by Botticelli from the Ufizzi gallery in Firenze, and Basquiat, Lichtenstein, Magritte and many others all appearing recently, with what I think is a very usable function – Swatch Pay, the ability to connect your credit cards with a watch that looks to all intents and purposes as far removed from an Apple Watch as is possible.

In the past few weeks, in addition to these great names we have seen a collaboration with the Tate Museum, giving us the opportunity to purchase some great watches with colours and designs that virtually explode from the wrist, now they are certainly not for the faint of heart, but in my opinion present a great opportunity to own a watch with designs by Leger, Chagall, Miro, Matisse, Turner and more…If none of the fine art subjects appeal, the ranges are endless with basic colourful watches featuring many different subject matters and if you really are stuck – Homer Simpson eating a donut…what other brand could possibly present so many options!

This Week’s Jewellery Pick

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This week I saw a lovely collection of antique jewellery, dating from the mid-19th century. Mid-19th century felt ‘relatively’ close until I realised it was getting closer to being 200 years old rather than 100… If you’re like me, the 80s was still only 20 years ago! Enough revelation on how old I am and back to this beautiful collection.

The one piece which caught my eye was an onyx mourning brooch dated 1854.

The oval onyx plaque, measuring 4cm x 4.5cm, has an overlaid border of acanthus leaf gold detail, the central glazed compartment with a lock of hair within a surround of 31 seed pearls, in closed-back setting. The reverse was engraved with ‘In Memory of Henry Thomas, Sept 14th 1854, Oct 54 years & 11 Months’.

Though its value might be relatively low, around £500 for insurance purposes and £200 for open market value, one can immediately sense the priceless sentimental value this piece had.

When Prince Albert died on 14th December 1861 of typhoid fever, Queen Victoria entered a state of mourning and wore black for the remainder of her life.

It was then that onyx became fashionable. The court was quick to follow the new strict “dress code”. With wars and epidemics, death was everywhere. The demand for hair for mourning jewellery was such that it is said an extra 50 tonnes of human hair a year was imported to England to meet the demand.

Though a very personal jewel, the demand for mourning antique jewellery is constant. The below items, comprising of two mid-19th century gold and enamel mourning brooches and an 1830s gold locket, sold at Bonhams for £1,000 (including premium).

Mourning jewels are both sad and a beautiful statement of the love someone has for a departed. Whether antique or new, it is a celebration of the life that once was.

Stay tuned for next week’s jewellery pick…