Jewels from the ‘Earl of Abergavenny’ Shipwreck Spark New Fascination

Posted on September 18, 2024November 25, 2024 by Liz Bailey

The infamous Earl of Abergavenny cargo ship sunk in 1805 off the coast of Weymouth with William Wordsworth’s brother John Wordsworth as the captain of the vessel. Known as one of the UK’s most horrific maritime disasters, the wreck involved the loss of 250 lives. Reaching the headlines 219 years later, the wreckage has now been granted protected status as of 14^th August 2024.

The ship’s cargo, estimated at around £70,000 at the time, is said to be worth £7.5 million today. The Earl of Abergavenny was transporting over 60 chests of silver bullion as well as countless artefacts that were excavated in 1980 and now housed in the Portland Museum, Dorset. One such find was a single gold cufflink, bearing the initials J.W., and so widely assumed to be the possession of Captain John Wordsworth.

Titanic Relics – Waltham Pocket Watch Sets Auction Record

Captain John Wordsworth’s cufflink is not the only shipwrecked jewel to hit the headlines this year. In April, a gold pocket watch worn and recovered from Titanic passenger John Jacob Astor broke auction records with a hammer price of £900,000 at Henry Aldridge & Son. This auction result marks the highest price achieved for any single artefact recovered from the Titanic.

Waltham Pocket Watch — The 14ct gold Waltham pocket watch originally owned by John Jacob Astor. Sold in April 2024 for £1.1 million inclusive of fees. For reference, unassociated 14ct Waltham pocket watches are available to buy from £1,300-£6,500 on Chrono24.

The General Abbatucci ArtefactsThe staggering uplift in value for these remarkable survivors of unthinkable disasters is ever increasing. Historic Shipwreck sales include Christie’s 2009 sale of ‘The General Abbatucci Cargo’ which saw a sale total of over £280,000.

The General Abbatucci sank on 7 May 1869, sailing from Marseilles, France, to Civitavecchia in Italy. Believed to be carrying cargo destined for The Vatican, the wreck was found nearly 127 years later and much of the cargo sold through Christie’s South Kensington in a 270 lot sale featuring bullion, chains, watch cases and jewellery, mainly presented in group lots.

In the last couple of years, pieces from this remarkable 2009 sale have resurfaced, accompanied by their provenance and certificate of authenticity. Below is a fine Victorian watch chain, available to purchase from Bentley & Skinner for £7,750.

A Victorian gold watch chain from the General Abbatucci Shipwreck. Bentley & Skinner £7,750.

Two further lots to re-appear at auction in the last couple of years featured at Woolley & Wallis sales. These lots were catalogued together with their original lot numbers from the 2009 Christie’s sale, and can demonstrate a rise in value, even from an auction standpoint.

A mid-19th century gold cruciform pendant, set with a cushion-shaped diamond, the cross decorated with layered and textured gold ivy leaves, 2.9cm wide. Sold for £551. Previously part of a group lot 28 in The Abbatucci Cargo Sale 7th October 1997, selling for £748 (both figures inclusive of fees).

A mid-19th century gold necklace, of tubular construction, entwined in coiled wire, in yellow gold, 41cm long. Sold for £2,624. Previously lot 180 in The Abbatucci Cargo Sale 7th October 1997, selling for £863 (both figures inclusive of fees).

With the clear uplift in value and an enduring, timeless fascination with these surviving relics both in the auction and retail worlds, it will be highly interesting to see the long-term trajectory for these pieces. With such tales remaining at the forefront of the news this year, values and desirability of these rare historic pieces are set to rise even further, particularly for those items with clear provenance and traceability to historic sales such as the Abbatucci Cargo Sale. For an up-to-date auction valuation of your own treasures, do get in contact with our nationwide team of specialists.

To find out more about our jewellery valuation services, call us on 01883 722736 or read more here.

Think Pink – The allure and rarity of pink diamonds

Posted on September 3, 2024November 15, 2024 by Aurélia Turrall

I had the privilege of getting my hands on a pink diamond, though a very brief encounter, it was certainly an enjoyable one. Having valued jewellery for almost fifteen years now, the opportunity to observe and inspect pink diamonds is still a rare occasion. Let alone a pink diamond from the Argyle mine in Australia.

Since their discovery in the early 17th century in India, pink diamonds have also been mined in Brazil, South Africa, Tanzania, Canada, Australia and Russia. It is believed that around 80% of the world’s pink diamonds now originate from the Argyle mine in Kimberley, Western Australia, which sadly closed in 2020. From the mine’s 20 million carat annual output, only 0.1% are classified as pink diamonds. In 2018, the GIA selected a sample of 1,000 pink diamonds graded between 2008 and 2016 and found that 83% weighed less than one carat.

Why are pink diamonds so special?

Unlike blue or yellow diamonds, who get their colour from trace elements such as boron or nitrogen, pink diamonds are pink due to crystal distortion. When nitrogen is contained in a pink diamond, it is generally concentrated along the glide planes of the diamonds.

Other aspects of deformation are involved to create the colour pink and is often the cause for high colour saturation making these diamonds the most expensive diamonds to be sold at auction.

In 1999, De Beers found a 132.5 carat rough diamond, which took two years to cut and polish. This resulted in a 59.60 carat Internally Flawless Fancy Vivid Pink diamond, the largest the Gemological Institute of America (GIA) has ever graded with the highest colour and clarity grades from the GIA for pink diamonds.

The Pink Star was sold in Hong Kong in 2017 for HK$553 million, £56 million. That’s almost £1 million per carat.

As with other coloured diamonds, pink diamonds are graded on their colour by the GIA using the classing: Faint, Very Light, Light, Fancy Light, Fancy, Fancy Intense, Fancy Vivid. Similarly, to other coloured diamonds, Fancy Vivid is the most sought-after colour. In a GIA study conducted in 2022, it was determined that only 2% of pink Type IIa diamonds were graded as Fancy Vivid Pink.

Similar in hue to the Fancy Vivid Purplish Pink diamond I had the pleasure of handling is the spectacular ‘The Spirit of the Rose’. The diamond got its name from Vaslav Nijinky’s legendary ballet, Le Spectre de la rose. The 14.83 carat Fancy Vivid Purple-Pink, Internally Flawless, Type IIa diamond was mined and cut from a 27.85-carat clear pink rough diamond, Russia’s largest pink crystal ever mined and was known as the ‘Nijinksy’.

When one understands all these factors impacting the rarity of such coloured diamonds, it becomes more comprehensible to attribute price tags for such exceptional stones. Nature overwhelms us with its beauty, and sometimes we are lucky enough to spend time observing it.

To find out more about getting a jewellery valuation, contact us here today!

The rise of the ‘Divorce ring’

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

A new phenomenon?

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

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

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

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

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

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

Jewellery Pick of the week – Castellani Micromosaic Brooch

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

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

A red and blue micromosaic brooch by Castellani

So why is it so special?

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

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

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

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

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

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

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

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

A orange and blue micromosaic brooch by Castellani

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

A green and blue micromosaic brooch by Castellani

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

The Power of the Parure

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

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

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

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

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

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

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

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

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

Vivienne Westwood the personal collection – a review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This week’s pick – Trooping the Colour and Princess Catherine

Posted on June 27, 2024August 9, 2024 by Aurélia Turrall

What fan of Princess Catherine would I be if this week’s pick didn’t focus on her one-off appearance for the King’s birthday?

Princess Catherine delighted the nation on the 15th June by attending the celebrations. With her family by her side and gleaming smile, I don’t think anyone could tell she was undergoing any treatment.

She wore a Jenny Packham dress, reworked from last year’s coronation.

Long-sleeved with thin black piping at the waist and an oversized bow on her lapel, she completed the look with a white Philip Treacy headpiece, white pumps and a black clutch.

As for the jewellery, the Princess of Wales wore Cassandra Goad Cavolfiore earrings in 18ct yellow gold, set with 2mm white cultured pearls and approximately 0.30ct of diamonds. These retail for £5,620.

One could accentuate the look with the matching Carioca cuff bracelet by Cassandra Goad, retailing for £9,580.

As a Colonel of Irish Guards, the Princess added to her jewels, the Irish Guards Regimental brooch.

The Irish Guards, to whom the Princess wrote a letter wishing them good luck for the event and to let them know how proud she was of them, were among the British troops participating in the parade.

Little fact about this year’s Trooping of the Colour: for the first time in more than 100 years, soldiers on parade were allowed to have beards, approved by the King earlier this year and which applies across the Army.

The Princess has once again shown how devoted and courageous she is: being scrutinised by millions during these times could certainly not have been easy. But, let’s be honest, she smashed it! My only glamour during my treatment was putting on my wig for very special occasions!

Though delighted to see the Princess at a public event, she has warned she is “not out of the woods yet” and it will be some time before she makes another appearance.

Until her treatment is over, I wish her and all those affected by the disease much strength.

The Trooping of the Colour marks the official birthday of the British Sovereign and has been celebrated in June for over 260 years.

Over 1400 parading soldiers, 200 horses and 400 musicians participate, together with an RAF fly-past.

The operational soldiers wear the ceremonial uniform of red tunics and bearskin hats and are inspected by the Sovereign once they reach Horse Guard’s Parade in Whitehall. The parade moves from Buckingham Palace and down The Mall to Horse Guard’s Parade and carries on to Whitehall.

Pick of the week highlights of the Bonhams jewellery sale

Posted on June 19, 2024November 11, 2024 by Aurélia Turrall

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

Posted on June 11, 2024November 11, 2024 by Aurélia Turrall

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

Posted on June 4, 2024November 11, 2024 by Doerr Dallas Valuations

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]