Queen Charlotte from Netflix's Bridgerton and Queen Charlotte wearing a parure.

The Power of the Parure

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.

Jewellery in Bridgerton - Queen Charlotte

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.

Pick of the week highlights of the Bonhams jewellery sale

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.

Jewellery Pick of the Week Cannes Film Festival

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]

Jewellery Remodelling and Rediscovering Lost Treasures

In an age where sustainability reigns as a paramount concern, the world of luxury is undergoing a profound transformation. Amidst this shift, an ancient practice finds renewed relevance: jewellery remodelling. Beyond mere aesthetics, this artful process breathes new life into forgotten treasures, championing environmental stewardship while indulging in the opulence of the past.

For those unsure of where to begin their jewellery remodelling odyssey, fear not – expert guidance from professionals like Lottie Leigh awaits. With a refined process honed over time, clients are gently ushered through the labyrinth of design possibilities. Even the most uncertain find clarity through collaborative visioning, discovering desires they didn’t know they had. It’s a journey of self-discovery as much as it is about transforming jewels, guided by passion and precision.

A Tradition of Elegance: From Aristocracy to Modernity

The art of jewellery remodelling is steeped in history, tracing its roots back through centuries of opulent adornment. From the courts of European monarchs to the palaces of Asia, this practice has long been a hallmark of aristocratic taste. Notably, the royal family has been a bastion of jewellery remodelling, with illustrious examples found in the treasure troves of the Princess of Wales. Pieces once cherished and now languishing in drawers find new life through thoughtful redesign – a testament to the enduring allure of sustainable luxury.

The Digital Canvas: Bringing Dreams to Life with CAD/3D Design

Innovation meets tradition in Lottie Leigh’s digital atelier, where dreams take shape with unparalleled precision, all driven by you. Here’s how Lottie facilitates this process: Through the marvels of CAD/3D design, you, as the client, assume full control, meticulously crafting every detail of your envisioned piece. Imagine this: a 360-degree image displayed on a screen, granting you the ability to explore and refine your creation to perfection.

But it doesn’t end there. Once your design is finalised, Lottie employs 3D printing technology to materialise it. This means you can not only see but also physically try on your design, ensuring it aligns seamlessly with your style and preferences. After all, being able to see and try on the design before anything is made is paramount. How can you truly know you love something without experiencing it firsthand?

This transformative tool not only streamlines the design process but also transcends geographical barriers, enabling seamless remote collaboration from inception to completion. It’s a modern twist on an ancient art, where imagination knows no bounds.

From Old to New: Trading Unworn Treasures for Fresh Beginnings

For those seeking to breathe new life into dormant jewels, an option exists to trade and upgrade unworn gemstones. Whether it’s diamonds, sapphires, or emeralds or other precious gems, these forgotten treasures find new purpose in bespoke creations. This exchange not only revitalises collections but minimizes environmental impact, aligning with the ethos of sustainable luxury. It’s a journey of transformation – a testament to the timeless allure of reinvention.

In the tapestry of luxury, jewellery remodelling stands as a beacon of sustainability and elegance – a testament to the enduring allure of heirloom treasures and the boundless creativity of human ingenuity. From the hallowed halls of royalty to the ateliers of modern artisans, this artful practice bridges past and present, leaving an indelible mark on both history and the future. As we embark on this odyssey of remembrance and renewal, may each jewel shine brightly, a testament to the timeless union of luxury and sustainability.

Doerr Dallas are delighted to have Lottie share her knowledge and expertise with us and our client base. Many of us have pieces gifted to us by our family members that are sitting in drawers that sadly we do not wear as fashion changes, so having an option to redesign is wonderful.

It is always important to remember that once you have ‘redesigned’ a piece of jewellery the need for re-valuing becomes more important. At the moment, with jewellery prices on the high street increasing; the price of gold going up daily, we are recommending to our clients to update their jewellery valuations if their current valuation was over two years ago.


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

 

This Week’s Jewellery Pick

This week I saw a lovely collection of antique jewels, 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 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…

Jewellery Valuation

Designer Jewellery Trends – An Upward Curve?

There is no doubt that values in the designer jewellery field have seen uplifts in the past few years. A unique combination of the Post Pandemic luxury goods ‘boom’, an exponential rise in social media influences on buying patterns, wider inflation and bullion prices have all contributed to an incredibly buoyant and enduring atmosphere.

Similarly to the trends seen over the last couple of years in the watch market, particular designer brands saw a huge increase in popularity, visibility, and subsequent demand on the secondary market, with only a slight respite towards the end of 2023 (Reuters).

Coupled with retail prices ever increasing, the value of these ‘hot’ designer items have been pushed up on the secondary market. Value factors include condition, whether the piece has its box, and the perceived popularity or rarity of any gemstones used in the design.

Cartier

Whilst Cartier’s growth in the retail sphere appeared to be easing towards the end of last year, share prices and figures released in January 2024 display a definite upward curve driven by demand in Asia. This healthy overall trajectory has filtered down to the secondary market, with Cartier items at auction demonstrating a strong sales rate and frequently exceeding estimate.

‘Love’

The last retail price increase for Cartier was implemented in early 2023, with prices rising from anywhere between 3% to over 10%. The most sought-after and iconic collections naturally increased the most, with Pursebop estimating the retail price of an 18ct white gold Love Bracelet set with four diamonds increasing 7% to £12,200.

The Cartier ‘Love’ bangle is one of the most popular items of jewellery ever designed. Created by Aldo Cipullo in 1969 and were referred to as a ‘modern love handcuff,’ only removable with the help of a mini screwdriver.

Worth noting that some designs, including Aldo Cipullo original LOVE jewels from the 1960s onwards will always command a premium for their place in the brand’s design history. Another 1960s design by Cipullo to continue to grow in retail price is the Juste Un Clou, with a ‘small’ diamond set bangle selling for £4,850, and a diamond-set choker necklace now retailing at £105,000.

Cartier Trinity

This year, to celebrate 100 years of the Trinity Collection, Cartier has released two new designs, a re-edition of the XL bracelet and an XL version of the iconic ring. Maintaining the timeless appeal and enduring relevance of this beautiful collection has seen values continue to rise over decades, resulting in a classic collection that is still coveted a century after its creation.

Van Cleef & Arpels

Another brand under the Richemont umbrella is Van Cleef & Arpels. Van Cleef & Arpels was established in 1895 following the marriage of Estelle Arpels, daughter of a dealer in precious stones, and Alfred Van Cleef, son of a lapidary. Creating masterpieces such as the ‘invisible setting,’ the minaudière, and the zip necklace, this iconic jewellery house is perhaps best known in present times for the ‘Alhambra’ collection. Indeed, according to statistics by retailer Watch Pilot, in 2023, the Van Cleef Alhambra bracelet was the most Google searched item of jewellery by category.

VCA Alhambra

Designed in 1968 by Jacques Arpels to be symbolic for luck, the Alhambra Collection is designed around a series of quatrefoil ‘four leaf clover’ panels. Varying in designs with quantity, size, and gem material, these beautifully set clover shapes are truly emblematic of the brand. Worn by royalty and celebrities to include the likes of Princess Grace of Monaco, Elizabeth Taylor, Kate Middleton and many more, the Alhambra collection possesses a truly timeless appeal.

Since 2022, the retail price for an 18ct gold Alhambra bracelet with five mother of pearl motifs has increased by 5.3% to £3,950.

At auction, the Van Cleef Alhambra pieces that well exceeded estimates were limited edition runs and unique pieces that were impossible to procure from the retail market.

One such example was a striking collar necklace, formed from openwork Alhambra links in 18ct yellow gold, selling at Bonhams in 2022 for £50,000 against a £12,000-15,000 estimate.

Boodles

Boodle & Dunthorne was established in Liverpool in 1795, gaining a reputation as one of Britain’s finest jewellers. Rebranding to ‘Boodles’ in 2004, this coveted brand has designed several sought-after jewellery collections that continue to enjoy increases in value as the years go by. Collections such as the Velocity, Blossom, and Raindance are all designed and handcrafted in-house from Boodles’ workshops in the heart of London.

Raindance

Designed in 2000 and inspired by a trip to the Chelsea Flower Show in which Head of Design Rebecca Hawkins admired the way light played on raindrops, the Raindance Collection is seen as one of the brand’s most iconic collections. Indeed, the Victoria & Albert Museum has a Raindance ring on display as part of their ‘Best of British Design’ permanent exhibition.

Featuring a series of collet set diamonds in varying sizes and angles, these beautiful jewels are retailing from £3,400 for a single band set with three circular rubies or sapphires and a pair of brilliant cut diamonds. At the top end of the spectrum is the Raindance ‘Chelsea’ bracelet, set with over 15 carats of colourless and fancy pink diamonds at £134,400.

Celebrating its 20th anniversary in 2020, Boodles released a limited-edition ring, set in platinum and 18ct rose gold with colourless and Argyle pink diamonds. Varying in carat weights, these limited edition pieces will continue to grow in value and hold their own at auction. In 2023, one such example with approximately 2.80cts of diamonds sold at Tennants Auctioneers for £19,000. Meanwhile, a version of the design on Boodles website set with 4.25cts is available for purchase at £84,000.

To conclude, exquisitely constructed and expertly finished jewellery will always possess a value, and continue to rise according to demand, popularity and inflation over time.

Although trends and fashionable collections will alter and vary over the years, items from the premier jewellery houses, in good condition and with original boxes will retain a demand from collectors, jewellery lovers and indeed those new to the market. Pieces that possess an unusual or rare aspect, such as an early piece from the collection, limited edition runs, and unexpected gemstones can expect to exponentially increase in value over time.

With the clear discrepancy between open market value and retail replacement value, it is essential that clients are equipped with adequate cover for their items. For a specialist, informed and up to date valuation of your jewellery collection, contact our experienced, nationwide team at Doerr Dallas Valuations.

Unveiling the Brilliance Lab-Grown Diamonds

When is a diamond not a diamond?

What do you call diamonds that are not formed underground but grown in a controlled environment that mimics the conditions under which natural diamonds develop? So, are they synthetic, lab-grown or factory grown or simply ‘diamonds’?

First of all, lets look at how you ‘grow’ those divine diamonds.

There are two popular ways to grow a diamond. Both involve starting with the ‘seed’ of another diamond. The first lab diamond was made in the 1960’s and the industry has changed massively in size and complexity in the intervening 65 years.

The growing of LGD’s is a little like the VHS and Betamax fight in the 1980’s. The first option is using a High Pressure High Temperature (HPHT) system, where the seed is then placed amidst some pure graphite carbon and exposed to temperatures of about 1,500C and pressurised to approximately 1.5 million pounds per square inch in a chamber. The alternative model to make diamonds is called Chemical Vapor Deposition (CVD). This was slower out of the starting blocks but the quality and size of diamonds produced using this method is arguably superior to HPHT.

This system involves putting the seed in a sealed chamber filled with carbon-rich gas and heating to around 800C. Under these conditions the gases begin to “stick” to the seed, growing a diamond carbon atom by atom.

No one knows quite yet who will win the fight like VHS did back in the day. Vast research development and investment is being put into both practises with neither side prepared to admit defeat yet.

LGD’s represent nature at its most perfect, at a fraction of the price of a natural diamond.

Retail

  • 3ct G VS1 round brilliant cut LGD in 2021 – £16,500
  • 3ct G VS1 round brilliant cut LGD in 2023 – £7,500
  • 3ct G VS1 round brilliant cut certificated natural in 2021 – £55,000
  • 3ct G VS1 round brilliant cut certificated natural in 2023 – £70,000

Some of the questions we are asked are ‘Are they real diamonds?’ and ‘Can you tell them apart from a natural diamond?’

The answer is yes to the first question. They test as a diamond (2.412 on a refractometer) visually and chemically identical to a natural diamond.

However, they can be told apart by those in the know.

Using LWUV and SWUV (long wave ultraviolet and short wave UV) the florescence of a factory made stone is an absolute giveaway. They often have a strong turquoise or purple colour that you never find in the natural world. The growth structure can also give away a man-made diamond because they were grown so quickly, the atomic structure does not have the same chance to settle into a classic framework.

The pricing of diamonds, whether natural or labgrown, depends on various factors such as carat weight, cut, colour, and clarity. While lab-grown diamonds are generally more affordable than their natural counterparts, the price difference is becoming more pronounced as technology advances and demand grows.

Natural diamonds are esteemed for their rarity, formed over millions of years deep within the Earth. Lab-grown diamonds, despite sharing the same physical and chemical properties, are sometimes perceived as less valuable due to their manufactured origin. Costs over the last two years has dropped in value of these stones while natural diamonds are keeping their value.

The latest findings propose that there is very little resale value for a LGD. Many auction houses will not take them and many of the large fine jewellery houses will not sell them including De Beers who set up their own LGD factory and company for their ‘Lightbox’ ranges. They stopped making engagement rings in 2022.

The marked retail price difference gives rise to the challenge in ensuring transparency and proper disclosure to the consumer. Some critics argue that buyers may not always be adequately informed about whether the diamond they are purchasing is natural or lab-grown.

Due to the price differential this could be a devastating find?

Did you know; if a diamond is marketed or sold or valued as a ‘diamond’, without a pre-fix such as lab-grown, synthetic etc, then it is assumed to be an earth grown natural diamond? All lab-grown diamonds of any shape or size must have a pre-fix to aid a consumer’s educated decision process.

During a recent valuation, a diamond ring was presented from a charming young man, who had purchased it to propose to his girlfriend. However, during our appraisal, Annabell had to give him the devastating news that it was not a natural diamond. He had purchased the stone for £38,000 when infact,the price should have been around £9,000– did the jewellers know it was lab grown?

This type of miss-selling has caused the potential for market confusion. Consumers might face challenges distinguishing between natural and lab-grown diamonds, impacting the perceived value of their purchases. So, it is important to buy your jewellery from a recognised jewellery company.

Having reviewed some of the challenges for LGDs verses natural diamonds, they are still hugely popular. In August 2023, LGD amounted to 50% of all diamonds purchased in America. Pandora, who are one of the world’s largest jewellery companies, uses LGD for many of their designs. Gems TV and ‘fashion jewellery’ brands are developing price sensitive ranges for LGDs and because of the size of the market and the lower margins being made, the producers are concentrating on melee size cut goods for watches and ‘halo’ rings and larger (2ct plus) ultra high quality diamonds, such as E & F colour VVS clarity.

So, are Lab-Grown Diamonds here to stay… the rise of lab-grown diamonds is indicative of a broader trend toward sustainable and ethical practices in the jewellery industry. While traditional diamonds maintain their allure and value, lab-grown diamonds are carving a niche for themselves, driven by consumer demand for more price sensitive choices. As technology continues to advance and consumers prioritise ethical considerations, lab-grown diamonds are likely to remain a significant player in the market. However, the coexistence of natural and lab-grown diamonds is expected, with each catering to different preferences and values. The issues associated with lab-grown diamonds against natural stones are multifaceted, touching upon perceived value, ethical considerations, disclosure, and market dynamics.

Will natural diamond values increase due to scarcity? Will women prefer to have a natural diamond on their finger rather than a lab-grown diamond or will price decide?

We wait and watch!

Antique Jewellery

Antique Jewellery

Antique, heirloom second-hand jewellery is a finite commodity, sometimes incorporating unrepeatable craftsmanship and irreplaceable gemstones.

Some of my favourite jewels are antique pieces. The reason is simple: exceptional quality and craftsmanship. One could argue that with today’s tools and technology, jewels are just as well made, if not better. But there is a difference, the exquisite craftsmanship from a hundred, or two hundred years ago was so exceptional that these “artists” accomplished unique pieces, without our modern tools and are still admired to this day.

Cartier is often the go to example when discussing unique skills, then and now. The above Art Déco sautoir by Cartier, was sold at Christie’s in May 2012. With an estimate of CHF74,000-110,000 (approx. £60,000-85,000), it sold for CHF 507,000 (approx. £400,000), excluding premium. The hammer price reflects a combination of excellent work but also unique gems. The quality of the emeralds would have been chosen to be the most vivid green, eye-clean or with very few inclusions. And the pearls, would have had to be selected minutely to match in size, colour, overtone and quality. Any blemish to the nacre, and the pearl would have been discarded.

This necklace would have required hundreds of hours from skilled jewellers and tradesmen.

Another example of the skilled work is this below Belle Epoque pendant watch by Cartier. The pink is enamel and the technique is called guilloché enamel. It resembles waves and the know-how to achieve this is unparalleled. It was sold for CHF7,500 (approx. £6,700) excluding premium at Sotheby’s.

Though the technique requires exceptional skill, the piece’s relatively “low” value for an antique Cartier jewel, can be explained by the lack of gems. Unlike the sautoir, only a few rose-cut diamonds were used in this piece. As complex and unique as this piece is, the demand for such an item is less than, for example, the below rock crystal and diamond Art Deco bracelet by Cartier, and therefore commands a lower price.

The rock crystal and diamond bracelet sold at Sotheby’s for USD237,500. The seven larger old European-cut diamonds, weighing approximately 11.60 carats, are approximately H-I colour and SI-I clarity. The smaller old European, old mine and rose-cut diamonds, weighing approximately 6.80 carats, are approximately G-J colour and VS-I clarity. This piece, just as with the sautoir, is a perfect combination of choosing good quality gems, and working with a semiprecious gem, rock crystal, in such a manner, that probably only a handful of people could ever deal with. The bracelet was sold with a note from the jewellery department stating that it is “exceptionally flexible and supple”. An incredible achievement.

Side stepping away from the worldrenowned jeweller, is Bvlgari. In the 60s, Bvlgari created an entire collection based on antique and irreplaceable coins, the Monete collection. Launched in the 60s, it is one of their most celebrated and successful collections, worn by private individuals and also Hollywood glam, such as Anne Hathaway, below, wearing Monete High Jewellery by Bvlgari.

Their collection includes coins from centuries BC, and never-used replicas. This meant there was limited supply and sourcing took a long time when they initially launched the collection. As popularity grew stronger, sourcing became easier and quicker. Though readily available, these jewels still retail for several thousands, and tens of thousands of pounds.

Irreplaceable gems and antique jewels make up some of the most precious collections, whether on display in a museum or on sale at auction. Exceptional prices and auction sale results will always take the world by surprise but can we actually put a price on a unique antique items of jewellery? Sentimentality will always play a role when inheriting jewellery, and who could put a price on those feelings.

Discovering Sotheby’s Auction

Vienna 1900: An Imperial and Royal collection

On the 6th and 7th November, Sotheby’s Geneva will be auctioning some of the finest antique jewellery from the 1900s, described as Belle Epoque jewellery. This collection is unique in that it groups prestigious gems, such as emeralds, sapphires, rubies, and natural pearls, but also in that these pieces have been kept intact all this time. It is becoming increasingly rare to find pieces from over a century ago. Jewels are very often broken up and stripped of their gems and metal. It is, in my opinion, a great shame, as the craftmanship of that period was stunning and very refined.

Belle époque jewels are characterised by bows, ribbons, swags and flowers, and items mounted en tremblant. Meaning to tremble, en tremblant diamond-set flowerheads (for the most part) are attached to a thin metal wire spring which trembles with movement. This gives the illusion of life and allows light to reverberate into the diamonds, bouncing off and reflecting “fire”, all the colours of the rainbows. It is often found on tiaras, brooches or devant de corsage such as lot 1089 of the sale.

Gifted by Philipp, Duke of Württemberg (1838-1917) as a wedding gift to his bride Archduchess Marie Therese of Austria – Teschen, Duchess of Württemberg (1845 –1927 in 1865, it is composed of natural saltwater pearls and approximately 60 – 75 carats of diamonds. It comes with an estimate of CHF270,000 – 450,000 (approximately £245,000 – 410,000).

Selling with the same estimate is a natural pearl and diamond brooch, circa 1865.

It is set with a first button-shaped pearl, measuring approximately 14mm and suspends a larger drop, measuring approximately 19mm. They are highlighted by approximately ten carats of diamonds.

This piece and its estimate are an indication of exceptional provenance but also reinforce the importance of having certificates for unique gems. These two pearls have reports from the reputable laboratory SSEF in Switzerland. When looking to insure or sell, reports will be a key part of valuing an item correctly.

In the example of the above brooch, if the pearls were not natural, its value would be mainly in the diamonds. It is their natural origin that give it a hefty price tag.

What do we call natural pearl?

Natural, as opposed to cultured pearls, are created in the wild, without human intervention. Cultured pearls are grown in farms and commonly are bead nucleated. This means a nacre has been formed around a nucleus as way for the pearl of defending itself. The pearls are then collected anywhere from six months to 3 years depending on the type and environment in which they are grown.

To illustrate further the uniqueness of the pearl and diamond brooch sold by Sotheby’s (above), the retailer Hancocks, who deals with antique jewellery, currently sells a natural pearl and diamond brooch for £22,500 (below). The pearl measures approximately 11mm and there are close to five carats of diamonds.

There are a variety of jewellery for women of course in this sale but also for men. Beautiful emerald cufflinks for example are also for sale.

The above cufflinks are centrally colletset with rose-cut diamonds within a navette-shaped emerald terminal. They belonged to the Tsar of Bulgaria and have an estimate of CHF3,600 – 5,500 (approximately £3,200 – 5,000).

Cufflinks and medals were worn with uniforms for balls, together with neck badges such as the below.

This beautiful gem-set neck badge has an estimate of CHF36,000 – 55,000 (approximately £32,000 – 50,000) and is adorned with a Ceylon sapphire, accompanied by an SSEF report stating it has no indication of heat treatment.

In this instance again, a report is essential and its findings are reflected in the estimate. Heat treatment is often used in sapphires to deepen a stone’s colour and, although a common practise, can detract from a gem’s value. The key factors of quality of this sapphire, together with provenance and other gems in the piece makes it a stunning piece.

This collection embodies the late 19th century, early 20th century era of court, wars and balls with delicate attires and military uniforms. Waltzes and lavish court dinners with men and women draped with the most exceptional jewellery, reflected who they were in society, and if judging by the quality of these pieces, it is no surprise they could have been considered semi-Gods.

On a personal note, I wish great success for this sale in association with Duke Philipp of Württemberg, who I had the extreme pleasure of working with at Sotheby’s.

The Evolution and History of Diamond Cutting

Believed to be a gift from God, diamonds were first discovered in India in the 4th Century BC and were recognised for their hardness and strength. They were worn as adornments to ward off evil and provide protection in battle. Diamonds were also used as a medical aid; thought to cure illness and heal wounds when ingested. This was later dismissed, and it was thought that diamonds were highly poisonous; a rumour introduced to stop miners stealing diamonds by swallowing them.

Up until the 18th Century the only known source for diamonds was in India and their value was still considered much less than sapphires and rubies.

Alexander the Great opened a small trade between the East and the West in the mid-4th Century but it wasn’t until much later in the 14th and 15th century when diamonds entered Europe through Venice. They made their way north to Bruges, Antwerp and Amsterdam making these cities bustling diamond centres. It was at this point that European and Indian cutters begin to experiment with diamond cutting.

Point Cut Diamond

The earliest diamond cut is the point cut and was popular in the 15th Century. Cutters used diamond grit and olive oil to simply polish stones in their natural octahedral form. Olive oil was used due to its ability to tolerate the high temperatures caused by polishing.

Below is a diamond crystal in its natural octahedral form and a diamond ring set with multiple polished point cut diamonds.

Point cut diamonds are very rare as many of the original diamonds were re-fashioned as cutting techniques and styles changed. Here is an example of point cut diamond selling at auction for £11,000, well exceeding its pre-sale estimate of £1,800 – £2,400.

The Table Cut

In the mid-15th Century cutters designed the table cut diamond, they used the same polishing methods and simply removed the top point of the octahedral shape to produce a table.

This style of cutting possessed far better optical qualities than its predecessor, with greater brilliance and fire. It also displayed, when viewed from above, the impression of a table within a table, which fitted perfectly with Renaissance Europe’s love of classical proportions. The table cut became far more desirable than the point cut, which is why it is now rare to see examples of the point cut diamond as most were re-fashioned into the table cut.

Throughout the 16th and 17th century, variations of the table cut shape such as rectangles, triangles and tapered diamonds appeared.

Here are some more examples of diamonds with a table cut selling through auction.

The Rose Cut

The early 16th century saw the birth of the rose cut diamond. This made use of the flat rough instead of the octahedral crystal that we have seen so far. It proved the most efficient way to retain the weight of a flat crystal. The flat bottom and faceted domed top proved much more effective at displaying brilliance but not fire.

The Mazarin Cut

After developing and perfecting table and rose cuts, European cutters started to experiment with new cuts and styles. Cardinal Jules Mazarin requested that cutters in Europe designed a faceted diamond. The result was a cushion shaped diamond with 34 facets called the Mazarin cut, also known as the double cut.

The Old Single Cut

The mid-17th century saw the introduction of the single cuts. Like the point and table cut, the single cut resembled the shape of the octahedral rough. It also displayed more potential for brilliance than the table cut because it had more facets. This cut served as the basis for the modern brilliant cut and even today, the single cut is still used on smaller diamonds.

In the early 17th Century, the mines in India were running low on diamond source and European cutters needed more stones to continue experimenting with cuts. Luckily at this time, while miners were panning for gold in Minas Gerais, Brazil, a few odd crystals, and pebbles were found. Not knowing what they had discovered the miners used these stones to keep score during games of cards. It wasn’t until an official saw them that they realised that in fact it was a new diamond source.

The discovery of alluvial deposits in Brazil meant great things for the cutters in Europe. The diamonds rivalled those of India, and Brazil became the main source of diamonds for Europe.

At this time, Europe had a great desire to experiment and evolve the diamond cut, and there was an increasing interest in optical science. With the aid of advanced lighting and the modernisation of technologies, the developments of the first modern brilliant cuts could start to take place.

The Peruzzi Cut

The new rough from Brazil was used to create the first old mine cut also known as the Peruzzi Cut; this has the same number of facets as the round brilliant, but with a high pavilion it resembles a cushion shape. In 1750, a London jeweller called the new style of cut a passing fad and said the classic rose cut would outlast them all.

Today, antique cushion cut diamonds remain extremely popular and sell very well. Here are some examples – notice how almost all exceed their pre-sale estimates.

The round brilliant cut diamond

Years of experimentation with cutting led to the production of the modern brilliant. We can see examples of the modern brilliant cut being traced to the 1800’s. Henry Morse had been trying to achieve the optically efficient cutting design. It was however Marcel Tolkowsky in 1919 who published his PhD thesis called Diamond Design. This used mathematical calculations that considered how to display both brilliance and fire in a diamond. Tolkowsky understood that if a diamond was cut too shallow or too deep that the light entering the stone would leak out of the side; this discovery was achieved by systematically analysing the optics of a diamond. Although this was revolutionary for its time, there have been other claims on the perfectly proportioned diamond. In 1940, Eppler produced the European Cut and later in 1970 The IDC (International Diamond Council) also produced a set of ideal ranges.

Compared Results

These differing proportions are all aiming to show the viewer the perfect amount of brilliance and fire. Brilliance is the reflection of light from the back facets when viewed from the top of the stone. Fire is the splitting of white light into the spectral colours as the light passes through inclined facets.

Altering the angle of the crown will affect the balance of brilliance and fire.

Fancy Cuts

In more recent times we have seen variations of the round modern brilliant cut diamond. Cutters have applied the same perfected proportions displaying great amounts of fire and brilliance and applied them to the Pear and Marquise cuts. The Pear and Marquise cuts have been around for centuries but never before displayed the optimum optical properties. Furthermore, this led to the production of more fancy shapes in the brilliant cut; heart cut and princess cuts are now examples of this. Triangular diamonds cut in this way were even named the Trillion cut.

With many attributing factors that have been considered in the cutting of diamond throughout its evolution; from a polished octahedral crystal through to the brilliant cut diamond displaying fire and brilliance, I wonder what the next seven centuries will bring. Will our future generations look back and consider the brilliant cut diamond a primitive design compared to what this stone, advanced technologies and creative cutters achieve in the future?