Grima Jewellery at the Tomasso Gallery

Posted on July 8, 2025July 8, 2025 by Liz Bailey

Last month, our Jewellery Specialist Liz Bailey visited the annual exhibition hosted by the Tomasso Gallery, displaying contemporary and vintage jewels by Grima.

In its third year, this much anticipated exhibition included pieces from Andrew Grima’s collections, including a selection of pieces from his ‘About Time’ collection for Omega, as well as contemporary works by the Grima Company. Beautifully curated and displayed in groups of theme and colour, this display of retro and contemporary pieces from the Grima family blended seamlessly, expressing a true and timeless signature style.

Andrew Grima is one of Britain’s most celebrated jewellers. Creating jewellery from the 1960s onwards, he came from an engineering background and was introduced to the trade when he joined his father-in-law’s jewellery manufacturing business, H.J. Company, in 1946. With a clear design vision, his jewellery is “daring, fantastic, even flamboyant but without being clumsy or brash”. Honing a signature style with large uncut gemstones, textured 18ct yellow gold, diamond accents and bold forms, he became a royal and high society favourite. The sentiment remains, his beautifully bold and increasingly rare jewels have continued to rise in value, year on year.

Since Andrew’s death in 2007, his wife and daughter Jo and Francesca continued the tradition of creating original and handmade fine jewellery. A collection of 20 to 30 pieces is created each year, often using the goldsmiths who had been employed by Grima for over 40 years, resulting in a beautiful continuation of the Grima design ethos.

The above cabinet features two tourmaline pieces by Andrew Grima in the early 1970s. Each pendant displays an unpolished tourmaline crystal, presented from both the X and Y axis – in other words, sliced through the crystal, and down the crystal. Both of these pieces are from Grima’s ‘Rock Revival’ Collection. Elsewhere in the cabinet are three rings, the furthest right set with a faceted oval tourmaline and brilliant cut diamonds, created by the Grima Company in 2019.

The central druzy agate pendant in this cabinet is highly reminiscent of a brooch by Andrew Grima, pictured in Hinks’ 1983 Twentieth Century British Jewellery (Plate XVII), however was created by the Grima Company in 2006. Measuring 6.5cm in diameter, this impressive piece can be worn as a pendant or a brooch. The opal pieces in this cabinet date from the 1970s until the present day – the drop earrings are set with Yowah nut opals and were particularly eye-catching!

About Time – Grima’s Omega Collection

At the exhibition were three timepices from Grima’s iconic ‘About Time’ collection for Omega, commissioned in 1969. Grima’s collection of 55 watches for Omega bore neither parties name to the dial, and had a prevailing theme; each watch face was either seen through a precious stone or concealed by one. A landmark collection for both Omega and watch design more broadly, Grima was famously quoted as saying “If you need to know the time, you ask your chauffeur.”

The Linenfold Watch, circa 1969 and pictured above, was nestled amongst a wonderfully rich array of sculptural citrine jewellery. This showstopping timepiece features a 76.13ct oval citrine ‘glass’ and is surrounded by an irregular diamond bezel, completed of course with a beautifully textured 18ct yellow gold bracelet.

Secondly, the aptly named Elegance Watch, dating to 1970 and featuring the classic elongated rectangular dial, which became somewhat of a design hallmark in Omega’s following collections. Accented with off-centre hands, a smoky quartz ‘glass’ and a textured cuff bracelet, this striking piece paved the way for subsequent stylish Omega creations, see refs. 8270 and 1907.

Finally, the Utopia Watch, dating to 1971. This sculptural piece once more features a rectangular smoky quartz glass, set atop a brushed 18ct gold torque bangle. With less than a handful of Grima’s About Time Collection offered for sale via public auction in the last few years, to see three of these special pieces all in one place was a real treat!

Demand for signed 1960s and 70s jewels such as Grima’s is ever increasing, and values continue to rise over the last couple of years, with pieces far exceeding their estimates at auction. To ensure that you are adequately insured in an extremely buoyant market, do get in touch with our specialist team.

With thanks to Grima Jewellery. For further information on any of the pieces photographed, please visit www.grimajewellery.com.

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

Serving Style: How Jewellery and Watches Make a Statement at Wimbledon

Posted on July 3, 2025July 8, 2025 by Jenny Knott

The Summer Season is well and truly under way and with glorious weather so far this year we’re about to head into my favourite sporting fortnight – Wimbledon. Of course, it’s all about the tennis – but it’s also all about the elegance of The All England Club, the traditions, the strawberries and cream, the Pimm’s and yes, the people watching. Outfits both on and off court attract attention, and notwithstanding the all-white dress code tennis players can and do wear jewellery and watches on court and during play.

Rolex are the official timekeeper for all four Grand Slams including Wimbledon. The brand also sponsors a number of prominent players, including Roger Federer, Garbiñe Muguruza, Dominic Thiem, Coco Gauff, Jannik Sinner, and his current nemesis since his painful defeat in the French Open, Carlos Alcaraz.

Roger Federer became a brand ambassador for Rolex in 2006 with what was, at the time, the largest single endorsement for any professional athlete. He was contracted to Rolex for 10 years for which he received $15,000,000. Others now in the Rolex stable are Dominic Thiem for the Daytona and Garbiñe Muguruza with the DateJust. Jannik Sinner entered the Rolex testimonee stable, as Rolex likes to call its brand ambassadors, in 2020 and wears the Cosmograph Daytona. Coco Gauff is also part of the horophile elite. At her recent victory in the French Open she wore a discontinued Rolex Oyster Perpetual watch, the same timepiece she wore when she won the U.S. Open in 2023. This particular watch, with its distinctive purple dial, is known colloquially as the “Red Grape” (£7,000-£8,000 approx. second hand).

It’s not all about watches though and no article on this subject would be complete without acknowledging the significance of Chris Evert and her now infamous bracelet incident. What might have been a disaster turned into a coup for the jewellery industry. She wore a diamond line bracelet when she played; perfect because it did not have claws to catch and sat flush against her wrist. However, in 1978 during a match in the U.S. open the clasp broke and the bracelet fell off. Play was suspended so that it could be retrieved, which it was.

She later said ‘When I competed, I wanted to wear something that gave me confidence and empowered me, both as a woman and an athlete. My tennis bracelet added a personal element to my style on the court and served as a daily reminder that I can do and be anything.” Who wouldn’t want some of that?

This style of line bracelet has been popular since the Art Deco period, but it was Chris Evert that brought it to such wide prominence and as a result it became known as a ‘tennis bracelet’. The Boodles collection includes one with an integral diamond-set tennis ball charm.

Bracelets are not the sole preserve of the female tennis players. Grigor Dimitrov is known for his ‘stack’ of Van Cleef and Arpels Alhambras and it’s hard to deny that they suit each other.

Closer to home Emma Raducanu has been a brand ambassador for Tiffany since 2021 and has been seen at Wimbledon in pearl drop earrings, diamond and pearl necklaces and white gold Tiffany bangles. The Tiffany earrings seen here are from the Victoria range and retail at £11,300.

Jack Draper has chosen the sartorial route and since April this year has been sponsored by Burberry, though given the strict all white code we won’t be seeing any of the famous Burberry checks on court.

From Raducanu’s exquisite Tiffany pearls to the impressive timepieces, jewellery in tennis has evolved from subtle accents to powerful style statements. These collaborations reflect not just fashion, but identity and give players a chance for some self-expression within the confines of the tight dress code.

A Tale of Two Tiaras…

Posted on June 5, 2025June 11, 2025 by Liz Bailey

Two tiaras, remarkably similar in design and created by Cartier for two society sisters are on display and sale in London this week.

A hotly anticipated lot in Bonhams’ 5^th June London Jewels Sale is the Astor turquoise and diamond tiara, owned by Nancy, Viscountess Astor. Estimated at £250,000-300,000, this incredibly rare piece dating from 1930 is seen on the market for the first time since it was sold to Lord Astor by Cartier London. The Astor Tiara comprises an earlier bandeau, circa 1915, that was adapted by Cartier using these beautiful turquoise carvings. The order for these carvings’ dates to 1929 and the finished piece was purchased soon after completion in 1930.

Incredibly, and reunited once more in London, is a second tiara, commissioned six years later for Nancy’s sister, Phyllis. Part of Cartier’s permanent collection, this remarkable reiteration and commissioned piece is on display as part of the Cartier exhibition at the V&A until November.

In the early 1930s, Lady Nancy Astor loaned the tiara to her sister, Phyllis Langhorne Brand for a court presentation at Buckingham Palace. Inspired by this exquisite Cartier jewel, Nancy’s brother-in-law, the Hon. Robert Henry Brand (1878-1963), commissioned Cartier to produce a similar turquoise and diamond tiara in 1935.

There are differences between the Astor and Brand tiaras, commissioned within six years of one another, yet both display the international influences in Cartier’s jewels of the time. The Astor tiara is detailed with carved turquoise plumes, leaves and scrolls that were drawn from Egyptian, Indian and Persian motifs. Similarly, the Brand Tiara features a teardrop shaped Boteh motif that originates to Iran, where turquoise was originally mined. The scrolling terminals on each were likely influenced by traditional headdresses worn in Thailand and Cambodia (V&A, 2025).

Sisters coveting one another’s clothing, jewellery – and tiaras – is a tale as old as time. Nancy and Phyllis were two of the five famously beautiful Langhorne sisters, born in Danville, Virginia, and four of whom found exciting and covetable lives in British Society. Nancy Astor met and married the 2^nd Viscount Astor in 1906 and moved into Cliveden, Buckinghamshire. She quickly became a prominent part of the British social elite, and through her advocating for temperance, welfare, education reform and women’s rights in parliament she became the first woman to take her seat in Parliament, serving from 1919 to 1945.

Phyllis moved to London in 1913 and married English economist Robert Brand, “the Wisest Man in the Empire” in 1917. The two sisters were incredibly close – I would recommend further reading of their letters in Vanity Fair’s The Lady Vanquishes feature, written by James Fox in 2020.

These two tiaras not only display Cartier’s height of creativity and society commissions of the early 20^th century, reflecting an international flair for design and a commitment to excellence. They also represent the tale of the two Langhorne sisters, their bond and shared – impeccable – taste.

Update: As expected, the Astor Tiara attracted a huge amount of interest from across the globe and was fiercely contested at Bonhams 5^th June London Jewels Auction. Exceeding its pre-sale estimate three times over, this exceptional piece sold for a hammer of £700,000, totalling £889,400 inclusive of fees.

The Brand Tiara will be on display at the V&A Cartier Exhibition until November 2025.

The Victoria & Albert Museum Cartier exhibition

Posted on June 5, 2025June 11, 2025 by Aurélia Turrall

Where do I begin? How can one describe in a few words the magnificence that is this exhibition. Though a bit crowded (to be expected) it was still as jaw dropping as the Paris exhibition, I had the delight of seeing some 15 years ago.

The exhibition’s curators have chosen to take us through time, continent, through to watches and finish with a bang in the form of tiaras, both antique and modern. I will therefore endeavour to give you a tour in the same manner.

The earlier pieces from the beginning of the 20th Century are, naturally, inspired by the times in the shape of Belle Epoque garlands, bows and drapes.

The Manchester tiara was commissioned by the Dowager Duchess of Manchester who supplied Cartier with the 1,513 diamonds “for a design inspired by 18th century French architecture and ironwork. Born in NY from wealthy Cuban-American parents […] married into British aristocracy exchanging her wealth for a title.” It is set with diamonds and paste, mounted in silver and gold as was customary before platinum took over the jewellery industry by storm a few years later. This kicked off the Art Déco period.

This particular tiara was accepted by the HM Government in lieu of inheritance tax and allocated to the Victoria & Albert Museum, as were quite a few pieces found in this exhibition.
Other pieces of the era include these diamond-set bows, lace ribbon brooch and stomacher, all dating from 1909-1912, mounted in platinum and set with diamonds.

This tiara was made by Cartier in 1912, commissioned by Baron Pierre de Gunzburg (French banker and philantropist). It is an exquisite example of exceptionnal savoir-faire. This tiara is made of carved rock crystal (colourless quartz) and overlaid with diamonds.

Cartier also perfected the craftmanship of more “practical” pieces such as this perfume burner. Made in 1907, it is set with aventurine quartz, guilloché enamel, sapphires and silver gilt. The following year they created this desk clock on inkstand.

It is similarly-set with guilloché enamel, diamonds, sapphires, silver, gold, platinum and silver gilt.

Three other wonderful examples of guilloché enamel are these three pieces:

As we move in time, so do we move geographically. With long travels becoming more “common”, came new discoveries and new combinations of styles and texture, such as this Chinese Vanity case created in 1928.

Other far away places include Egypt, put on the map with the discovery of Tutankhamun’s tomb in 1922.

These new designs, step away from fluid lines and nature-based motifs, giving way to geometric design as clean lines, contrast and new colours.

This is the Art Déco movement which ‘cast aside the dictates of the past’, says decorative arts historian Melissa Gabardi. Art Déco jewels were sleek and bold, characterised by sharp edges and regularity of surface, line and volume. Unorthodox combinations of stones were introduced, with many designs combining natural materials such as onyx, emeralds, rubies, jade, silver, ivory, lapis and rock crystal with manufactured ones such as plastic and glass.
It is no secret that this is my favourite period when it comes to jewellery design.

The below pieces illustrate this daring combination of semi-precious and precious gemstones, resulting in some magical design by the luxury brand.

Renewed interest in Egyptian, Chinese and Japanese art offered European artists a new source of stylistic motifs. They adapted decorative elements particular to Asian jewellery, such as jade, coral, enamels, lacquer and pearls. Designs ranged from exact copies of dragons, pagodas and Chinese characters, to more liberal interpretations of Asian themes.

Keeping with the use of different materials and gems, the Cartier exhibition delighted us with a selection of Tutti Frutti jewels.

At the time of Art Déco jewellery creation, Jacques Cartier was running Cartier London and would return from his many far away travels with the most exquisite gems. These stones could be carved or made into cabochon. Cartier was the first to create these new colour and gem combinations and in the 1970s the style was named Tutti Frutti.

The daring and striking colour and gem combination expands to other gems such as quartz in this handcuff bracelet made of amethyst and citrine.

Jade and ruby seemed the perfect alliance of West meets Far East in this sublime necklace made in 1934.

The exceptional colour and translucency of these matching 27 jadeite beads make this necklace one of the finest jade jewels ever made. In 1933, Alexis Mdivani, husband of American heiress Barbara Hutton, brought these beads to Cartier to add a diamond clasp, which Hutton swapped the following year for the current ruby mount.

This necklace now belongs to the Cartier collection along with several other pieces presented at the Victoria & Albert Museum. Over the years, private owners have sold their heirlooms and Cartier has been very pro-active in buying back all of their most prized pieces.

A few have the extraordinary chance of owning exquisite pieces such as this diamond and sapphire sautoir made in 1911. It is set with a 35.13 carat star sapphire and is part of a Swiss collection. The sapphire in the piece beside it, weighs 478 carats and was made in 1913. It belongs to the Qatar Museum.

As we leave the room presenting some of the most spectacular gems, we step into the world of clocks and watches.

My favourite piece was this Mystery clock made in 1956 set with a single piece of smokey quartz.

As we step away from the more “wearable” we enter the last room dedicated to tiaras.
The Sun Tiara made in 1907, set with a Fancy Intense Yellow diamond weighing 32.58cts, part of the Al Thani collection.

This tiara is set with diamonds and synthetic rubies. It now belongs to the Victoria and Albert Museum, after being allocated by HM Government in lieu of inheritance tax. The design and stones were supplied to Cartier by Alexandra Calvocoressi-Comnène, who was to wear it for her wedding to Robert Everts in 1913.

Tutti Frutti is still in demand as does this tiara prove. Made in 2018, it belongs to a private collection.

The above pieces are but a snippet of the wonderful creations over the last 100 years by Cartier. When I am fortunate enough to handle period pieces by this unique brand, I am reminded that each one of them has been carefully designed, curated, set with stones flown from the other side of the world, from sometimes perilous countries and nothing should be taken for granted when admiring extraordinary artwork, in whatever shape or form it may come.

I hope this preview has given you an appetite to discover the exhibition in its entirety. Hurry, few tickets remain available!

Other highlights to discover include:

Alan Gard (1936–2025): Celebrating a Legacy of Innovation in British Jewellery

Posted on April 23, 2025May 21, 2025 by Liz Bailey

The jewellery industry was saddened to learn of the death of one of the great mid-century British jewellers, Alan Gard. Alan Martin Gard apprenticed at Bond Street and worked for Andrew Grima, before forming his own jewellery business in 1964 at the age of 29.

Working in the 1960s and with contemporaries such as John Donald, David Thomas and Gillian Packard, Gard was a key part of the experimentation and exuberance of the British ‘jewellery renaissance.’ During this decade, jewellers disrupted conventional design and the austerity of the decades before, with experimentation in goldsmithing, statement pieces, gemstone setting and sculptural forms. Gard continued to work until the 21^st century, adapting and refining his style with his own take on contemporary design, however it is the experimental pieces from the 1960s and the earlier portion of his career in which he gained his fame that are the most distinctive.

Gaining well-deserved repute for his skill and eye, Gard’s work soon achieved royal acclaim. His Lilypad brooch of 1967 was in Princess Margaret’s collection and was sold at Christie’s legendary sale of her jewels in 2006 for £10,200.

More recently, in September 2023, at the age of 87 he was commissioned by the author Jeffrey Archer to recreate the Imperial State Crown for his novel Traitors Gate – it took Gard 500 hours to complete and was a complete replica, formed from a base metal alloy, cultured pearls, synthetic stones and glass stones – a true testament to his craftsmanship.

Textured Gold

Experimenting with the forms, malleability and limitations of gold in the 1960s, Gard created wonderfully textured pieces, working with bark-like textures, nests of gold, rods, nugget-like forms, polished accents and maze-like structures to name a few. Most frequently working in 18ct yellow gold, it is these pieces that purist collectors’ favour.

Stunning Sculptural Forms

Alan Gard created bold, sculptural, and statement pieces. Often wonderfully dimensional and formed from layers and nests of gold, these jewels are so typical of their time and yet can appear incredibly modern and fresh today. The suite below crafted with a flattened, pierced and abstract design, is set with fifty-one ruby cabochons and sold at Bonhams in 2016 for £17,500.

Celebrating Gemstones

Another of Gard’s design hallmarks is the sparing use of diamonds. They are frequently used as small accents to add a slight sparkle to dramatic gold settings but are hardly ever the principal stone. Instead, Gard favoured coloured gemstones, and natural crystal forms with unpolished rough specimens, and where polished he showcased gemstone’s natural inclusions and conventional ‘imperfections.’ One such example is the pink tourmaline ring above, in which the tourmaline’s prevalent needle-like inclusions provide a symmetry to the gold needle ‘nest’ surround.

Another example of tourmaline in Gard’s work is shown in this brooch dating to 1967. Here he celebrates the natural form of tourmaline, using wonderful ‘watermelon’ slices of the natural crystal as the centrepiece of his design.

Other rough and polished gems to feature in his jewels include amethyst, peridot, ruby, emerald, turquoise, aquamarine, pearl, opal and countless others.

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

Rowing in Style: CHANEL Brings Luxury to The Boat Race

Posted on April 10, 2025April 10, 2025 by Aurélia Turrall

This year’s long awaited boat race will take place on Sunday 13 April along the 4.25 miles between Putney and Mortlake and sees the teams of Oxford and Cambridge compete in this much beloved sporting event, established in 1829.

So why is a jewellery specialist reporting on this particular sporting event?

That’s because this year, the event, which is attended by over 250,000 spectators on the riverbank, watched on live television by millions and broadcast on the BBC, is sponsored by Chanel and will be known as The CHANEL J12 Boat Race.

“On behalf of the wider Boat Race community, we are so thrilled to welcome CHANEL as our new Title Sponsor.

We knew when we first met, on June 10 – the same date as the first ever Boat Race in 1829 – that they understood the appeal of our event and we’re very confident that their involvement will help us take the event to new places and new people, as well as enhancing it for our millions of existing followers.” Says Siobhan Cassidy, Chair of The Boat Race Company Ltd.

But why J12? The Chanel J12 is a unisex watch launched in 2000 by the luxury brand Chanel. It comes in white, black, with or without diamonds, and is mounted in ceramic and usually ranges in between £3,000 and £16,600.

The below J12 retails for £5,000 and is one of my personal favourites. Dress it up or down, it suits every occasion, well almost!

The diamond-set version retails for £16,600 and is also mounted in ceramic and stainless steel.

The name of the collection was inspired by the early 20^th century J Class 12-metre race boats.

Gabrielle Chanel, aka Coco Chanel, was an avid sportswoman. And most clothes of early 20^th century were rather restrictive. Stepping away from the Belle Epoque era with swags and flowers, jewels mounted en tremblant, Coco Chanel was one of the pioneers of short hair “à la garçonne” worn with stylish suits. New textured and fashion styles allowed women to dress as they choose to, with more freedom to enjoy the sports they wanted to such as cycling and horse riding. Newfound freedom, giving women a more masculine but still sexy look.

It is at the same time that Cartier had created the wristwatch, the Santos-Dumont. No more cumbersome watch chains and pocket watches. A simple turn of the wrist and voilà!

But for this event it is Chanel leading the way, rather than Cartier. Perhaps more synonymous of polo events and other horse related sports.

The President of CHANEL Watches & Fine Jewellery, Frédéric Grangié says “We are delighted to sign a strategic partnership with The Boat Race who share the same values of collective endeavour and the pursuit of excellence. It’s an honour to be the first ever official timekeeper in the race’s 195-year history to simultaneously become Title Sponsor and principal Partner.

“Synchronicity in rowing is as crucial to the race as watchmaking craftsmanship to ensure accurate timing. Every rower, like every mechanism in a watch, must work together as one; the balance, the weight and the oar movements must all be impeccably timed.

“We look forward to working with The Boat Race over the coming years to bring this partnership to life, through the world of CHANEL and our iconic J12 watches.”

For the last 25 years the J12 has not disappointed its clientèle and Chanel has adapted new styles and versions of this now iconic watch. The key to success is indeed reinvention. Such as their Premiere collection which has seen many tweaks over the years since its launch in 1987.

The below watch mounted in stainless steel retails for £4,400 and is a classic.

But Chanel launched in 2024 a version of the watch with headphones integrated: the Premiere Sound H10166. It retails for £12,600.

Innovation, reinvention and… quality. Those trademarks are key to Chanel and they have once again proven why they are a leading luxury brand.

We wish the teams best of luck!

Holding it all together: The Key to Keeping Jewellery Secure

Posted on March 27, 2025April 2, 2025 by Jenny Knott

Eagle eyed observers at the Commonwealth Service on 11th March this year, noticed that something was absent from The Princess of Wales’ otherwise immaculate and eye-catching ensemble.

One tiny diamond was missing from the drop pearl and diamond earrings that she was wearing. These earrings had been gifted to Princess Diana by Collingwoods. They were a favourite of Diana and are now much loved by Princess Catherine. Few jewellery collections are better maintained than those of the Royal family, yet this event shows that accidents can happen to even the best cared for jewels. For those of us without entourages to look after these things, we need to be even more vigilant about our jewellery.

Buying, acquiring or even inheriting jewellery can be so wonderfully exciting that when picking out the perfect necklace, earrings, bracelet or ring, the last thing that most people consider is the clasp, catch or claws. However, we should give these much more attention, as this is that will keep those much prized stones in place, or even keep the necklace or bracelet around your neck or wrist. I write as someone who found a much loved chain link bracelet in an umbrella stand when it had broken as I took a coat off and inadvertently flung the bracelet into this receptacle. The discovery was several years after I thought I had lost it forever; not all mishaps end so well.

As heart-breaking as it is to discover your jewellery has been lost or damaged, it will add insult to injury to then be told that your insurance policy does not cover you. Jewellery insurance typically covers damage, theft, or loss, but whether it specifically covers clasps and settings depends on the terms of the policy. Many policies state that claws and clasps must be regularly checked by an expert and this, along with valuations, are often able to highlight possible problems before they become a disaster.

Things of which to be mindful include:

Remember that gold is a soft material, the higher the carat of gold the softer it is, therefore claws on rings are susceptible to wearing down, or catching on threads of clothes and peeling back.
Clasps on necklaces can suffer loss of their spring mechanism.
Links in a bracelet can wear and become thin, as can the shanks on rings, especially when worn stacked with other rings. Shanks can split.
Pearls and bead necklaces should always be knotted so stop beads spilling everywhere if broken. Knotted necklaces should be checked regularly, especially if they are frequently worn.

There are some easy ways to help mitigate against the chance of accidental damage or loss.

Rings:

Claws do not necessarily need to be replaced; they can often be retipped.

Clasps:

Clasps are critical to ensure that jewellery stays in place. There are many choices of clasps. The jump ring or spring ring clasp. This is the most common and consists of a metal jump ring with a spring loaded mechanism which opens and closes with applied pressure. The lobster claw clasp, which works in a similar way to the jump ring clasp but are often larger. Both work well unless the spring mechanisms fail. Antique necklaces often have box clasps, which have a tab or prong which fits into the ‘box’ and snaps into place. These work well as long as the fit stays tight.

Safety chains:

These are small chains attached to jewellery which add an extra level of additional security to prevent loss. On bracelets and necklaces, a safety chain will join the ends should the clasp fail. On a brooch it is often attached to a small pin which is to be used in tandem with the main brooch pin.

Earring backs:

Unless your earrings have integral fittings I think the safest fittings are alpha backs. You can see from the diagram that the posts are notched, and the spring clasps ensure that they can’t come away. If you have earrings with a shepherd’s crook fitting, which are common with antique pendant earrings, you can add an extra level of security with a plastic stopper.

As the Princess of Wales images proves accidents do happen but reducing the chances of mishaps might save your precious jewellery. Precious does not just apply to value, sentimental attachment can be far more emotive than actual cost.

The three crucial steps are:

Have clasps, claws and settings regularly checked by an expert, especially if after checking your policy your insurance is predicated on this as a requirement.
Repair and replace broken, elements in your jewellery and regularly restring necklaces.
Buy clasps, safety chains and earring backs that are best suited to the security of your jewellery.

TEFAF Maastricht: The Jewellery & Watches That Stole the Show

Posted on March 20, 2025March 20, 2025 by Liz Bailey

The European Fine Art Foundation, or TEFAF was founded in 1988, and holds two major international fairs per year, the TEFAF New York, covering Modern and Contemporary Art and Design, as well as its flagship event, the TEFAF Maastricht, which ran from 15^th-20^th March this year.

TEFAF Maastricht showcases 7,000 years of art history and provides international dealers and collectors with the opportunity to present and acquire fine and museum quality works, including paintings, sculpture, furniture, collectables, books, and of course – fine jewellery and watches.

If, like me, you have missed your first-class ticket to New York this week, here are my ‘top picks’ of the pieces on display at this year’s fair.

Surely one of the jewellery ‘headliners’ at this year’s fair is of course Van Cleef & Arpels, who were exhibiting around 30 pieces available to purchase from their heritage collection. A collection I would personally love to see, the selected pieces reflect the maison’s impact and excellence in 20^th century jewellery design.

The Orsay Bracelet, a platinum ruby and diamond bangle with VCA’s signature ‘mystery setting’ – an innovation in the 1930s of setting stones with seemingly no metal holding them in place – and a brand hallmark that continues into present collections. This bangle dates from 1994.

Another masterpiece on display is a platinum, turquoise and diamond necklace from the 1950s. Dating to circa 1955, this exquisite piece reflects the brand’s appreciation for jewellery history, decorated with floral garlands and a graduated design, and of course fine turquoise drops.

Epoque Fine Jewels from Belgium were also at the fair, exhibiting an incredible Art Nouveau gold, diamond, enamel and glass choker by René Lalique. Dating to circa 1905, this exceptional choker necklace is interspersed with Lalique’s wonderful glass panels moulded with thistle flowers and accented beautifully with a rich yellow gold setting, brown enamel border and sparkling diamond detailing. This was a real treat to see in person!

Contemporary jewels to really catch my eye from the fair are on offer from Hemmerle, Feng J and Margot Mckinney. Hemmerle are previewing a pair of beautifully naturalistic pinecone earrings cast in copper and white gold, and accented with natural pearls and diamonds. Meanwhile, Australian fourth generation jeweller Margot McKinney has a typically vibrant, vivid and colourful collection of jewels that encompass a wonderful exuberance and joy- it is hard to pick a favourite!

Somlo London of Burlington Arcade have on display two beautiful Patek Philippe pocket watches, each exceptional in their own right, with an option for him and for her.

The first is an 18ct gold Perpetual Calendar hunter pocket watch with equation of time. This fine timepiece dates to 1982, and is double stamped with Patek Philippe, and the retailer of the piece, Beyer of Zurich. A sophisticated, and complicated timepiece, this watch displays the difference between mean solar time, or our conventional time, and true solar time, based on the actual position of the sun. Owing to the Earth’s orbit, this discrepancy can fluctuate throughout the year, and is reflected in the -15 and +15 subsidiary scale to 12 – now how many watches can do that!

My second selection from Somlo is this beautifully decorated Patek Philippe fob watch, crafted circa 1889. Cased in 18ct gold and detailed with split pearls, this fob watch is hand painted to the case back with an enamel portrait of Saint Fabiola, an early Christian Saint.

So there we have it, my round up of the TEFAF works and exhibitors to keep on your radar, whether you are lucky enough to attend this international event, or, like me, will be looking on enviously! Let us know which pieces have caught your eye!

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

Diamond Prices and Jewellery Insurance – The Truth Behind the Headlines

Posted on February 27, 2025February 27, 2025 by Annabell Parry

Anyone in the jewellery or related industries can’t open their laptop without being hit by another doom-laden headline about diamond prices.

The latest reports declare that Anglo American, the majority owner of De Beers, has published another vast write-down of its investment. Meanwhile, Alrosa, the Russian diamond giant, has been propped up by the Russian government. Both companies are reportedly stockpiling around $2 billion worth of unsold diamonds in an increasingly challenging global market, driven by geopolitical tensions and advancing technology.

These are mining giants, and the headlines are dramatic. However, it takes around two years for a diamond to move from the mine to the shop window. This is a crucial factor when valuing an engagement ring. Despite the headlines, these market shifts do not immediately affect valuations or replacement costs. Diamond prices fluctuate constantly, and experienced valuers rely on top trade sources such as RapNet. The best valuers consult at least three independent sources for each stone they assess.

A knowledgeable valuer will also understand the impact of Russian sanctions introduced in 2024, the conflict in the Middle East, and the downturn in Chinese middle-class spending. All of these factors influence diamond pricing and the ability to source replacements in case of loss.

The Danger of Headlines

Professional brokers, insurers, and jewellery owners are often short on time, scanning dozens of headlines each day. Decisions made solely on headlines risk being based on incomplete or misleading information. At worst, they could be influenced by an opinion piece paid for by a company with something to sell.

Diamonds hold a unique place in the retail market, as they have for centuries. Once reserved for royalty and the wealthiest elites, diamonds became a mainstream expectation by the 1950s, particularly as engagement rings for modern, independent women.

The Perception of Falling Prices

“But diamond prices are falling,” you may say.

Historically, younger buyers and the bridal market have been major consumers of small natural diamonds. However, over the past decade, their social feeds have been flooded with man-made diamonds (not ‘laboratory-grown’ which is a misnomer) and high-quality, stylish dress jewellery from brands like TJC and Pandora. The shift in pricing, environmental concerns, and changing consumer preferences have had a major impact on the lower-to-mid market.

It is true that diamonds under 1.50ct have seen price drops, in some cases by as much as 30%, as their key buyers have moved away.

Prices are per diamond for a round brilliant cut, F colour VS1 clarity GIA diamond Report in March of each year.

These are approximate selling prices in the UK at that time with the historic approximate retail margins and timely interest rates taken into consideration.

But Do Not Be Fooled

The high-net-worth market is thriving.

Diamonds over 2ct have always been beyond the reach of most buyers, making them the preferred size for professionals and affluent individuals. Second marriages, milestone anniversaries, or the sale of a business often drive purchases at this level. This is not the market that man-made diamonds have disrupted.

For high-net-worth and ultra-high-net-worth clients, jewellery values are not falling. Rubies bought in the 1990s, heirloom Art Deco and Cartier pieces, and upgraded engagement rings all hold their worth. In fact, many of my clients own multiple engagement rings, one for weekday wear and another for weekends.

Man-made diamonds are certainly purchased, but often as travel jewellery or gifts for daughters rather than as investment pieces.

A glance at recent fine jewellery auctions shows that branded vintage pieces from Cartier, Verdura, and Van Cleef & Arpels continue to command strong prices, along with larger, certified diamonds. These are not easily replaced and require an expert valuer to determine a proper replacement figure. Some brands such as Cartier and Tiffany increase their prices twice a year. On average the basic beautiful LOVE bangle from Cartier increases £300 every year.

New

Pragnalls Jewellers 1.51ct - £18,000	Pragnalls Jewellers 3.02ct - £74,650
Second Hand

Cartier yellow and white diamond cross over ring Wooley & Wallis auctioneers Estimate £4-6k Hammer £9.5k	Victorian antique cluster ring Harper Field Auctions Estimate £8,500 - £10,500, Hammer £28,500	1980's Cartier Panthere earrings $66,000 at Opulent Jewellers - USA

Additional Factors

Another important factor is the price of gold – the value of a 1 Troy Ounce of gold has increased 819% from 2000 – 2024, as displayed in this graph:

Pound / Dollar interest rates have fallen and retail margins have had to be pared back to compete with global and technological competition and wages for goldsmiths, polishers, cutters, apprentices, setters have in some cases tripled since 2000.

The Role of Professional Valuers

Valuing jewellery, like the value of a car, is a sum of its parts plus the brand, popularity, rarity and condition. One would not stop valuing cars because the price of steel had dipped. So too is the case for the valuation of diamond jewellery even when the markets are in flux.

Jewellery valuation is a specialised profession that does not always get the credit it deserves. It requires years, often decades, of expertise, and valuers do not typically shout about their knowledge.

But in a world flooded with misinformation and sensational headlines, their insight is more relevant than ever.

So, where do you get your information?

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

Unapologeticaly Iris – The Iris Apfel Collection Auction

Posted on February 19, 2025February 19, 2025 by Liz Bailey

Highly anticipated, Christie’s Sale of Iris Apfel’s collection took place as a timed auction from New York, running from 28th January until 13th February. The sale included 220 lots from the late ‘Matriarch of Maximialism’s’ personal collection across fashion, furnishings, textiles, accessories and of course, jewellery.

Known and celebrated for her bold and bright signature style, Apfel was a renowned interior designer, fashion icon, model, curator and collector. Her irreverent, eclectic and playful style was absolutely reflected in the incredible lots on offer.

Accessories

It seems fitting that the lot to ‘kick off’ this stylish sale was a selection of eighteen pairs of glasses. In bright hues, zebra prints and heart shapes, this striking mixed lot certainly set the tone for the rest of the sale. Estimated initially at $400-600, the bids were sitting at over ten times that amount a mere few days into the two-week timed sale, and one lucky bidder secured this lot for $15,120.

Another lot that was unsurprisingly popular was lot 48, ten pairs of eyewear. Only two days into the sale the bidding was at $3,500 against a modest $200-300 estimate, and bidding concluded at an incredible $16,380.

Another lot of Apfel’s accessories included a selection of evening bags. Including all the hallmarks of Apfel’s signature style to include embroidery, bold colours, feathers and embellishments, this popular lot sold for $10,080.

Furnishings

The daughter of an antique dealer and an expert on interiors (having decorated the White House for no less than nine Presidents!) bidders were offered a glimpse into Apfel’s extraordinary collection of interiors and decorative objects.

Animals were a huge feature in Apfel’s interiors collection, multiple paintings of Maltese dogs (a clear favourite), Black Forest bears, and even a giant carved ostrich were just a few of the animal lots on offer. The carved 1970s Italian ostrich stood 124cm high and had been featured in Apfel’s Architectural Digest issue of 2016, estimated at 6,000-8,000, this big bird sold for $16,380.

Vibrant prints, colours, and an eclectic mixture of items from Greek style all the way to the present day ensured the catalogue was a visual treat!

A personal favourite of mine was a pair of wonderful Italian armchairs. Modelled with a scallop shell back, dolphin armrests and raised on shell legs, these 20th century carved and silvered chairs exuded sheer opulence! Estimated at $2,000-3,000, these chairs reached $8,820. The back and seat in scallop-shell form, the arms modeled as dolphins raised on shell-form legs, the back legs on each example attached backwards. 40 in. (101.5 cm) high, overall.

Fashion

Hotly anticipated was Apfel’s selection of fashion and couture pieces. Taking up just under half of the sale, there were ninety-six lots from Iris’s collection, ranging from group lots of unattributed vintage clothing at the lower end of the offering, all the way to custom couture pieces Iris wore in printed publications. This wonderful mixture of high-low dressing was absolutely Apfel’s trademark and lent an accessibility to collectors of all levels.

Designer garments by Carolina Herrera, Balenciaga, Dries Van Noten, Moschino, Christian Dior, Alice & Olivia, Valentino, Prada, Jean Paul Gautier, Iris Apfel x H&M and countless other designers were offered with estimates from $100-200 to $1,200-1,800.

Lot 51: A MULTICOLOR FEATHER COAT
LABELED DIOR HAUTE COUTURE, PARIS, 21ST CENTURY

Amongst the top sellers was this fabulous Dior Haute Couture feather coat that Apfel had been photographed in by James Mollison for the Collectors series, featured in a 2018 Issue of Christie’s Magazine. This piece instantly attracted bids and reached $9,000 very early on in the timed sale, finally settling at $11,970 at the conclusion of the sale.

A heavily beaded and embroidered coat by Stacey Bendet for Alice & Olivia in 2022 was also fought for by bidders and reached $6,048 against a $400-600 estimate.

Another garment by this designer was an eye-catching A-line skirt detailed with Iris’ own embroidered and sequinned portrait sold for $7,560.

Jewellery

Another layer of Apfel’s iconic style was of course her jewellery. This sale featured sixteen lots of jewellery, all beautifully bold and eye-catching!

Group lots of brightly coloured lucite bangles, costume jewellery acquired from travels to Eastern Europe, the Middle East, China and the Hindu Kush region, beaded necklaces, rhinestone suites, and Southwestern American jewels were all a part of this spectacular offering of stylish jewellery.

The top-selling lot for the jewellery was this wonderful selection of turquoise, lucite and resin costume jewellery. Featuring an Alexis Bittar bangle, Jianhui London necklaces and bracelet, Rara Avis bracelets, blue hardstone studded lucite cuffs and bangle among others, this beautiful collection sold for $9,450 against an estimate of $300-500.

Pieces from Apfel’s own line of costume jewellery Rara Avis, originally sold through the Home Shopping Network were also amongst the lots on offer. Her playful lucite bangles set with googly eyes were trademark Iris and one of the most popular designs from Rara Avis at the time. These typically retail on the secondary market between $300-400, however with the added provenance, this lot of fifteen bangles (six by Rara Avis) sold for $6,300.