Tag Archives: royal family

Playing Cards

Playing cards – Gambling with Trumps, Suits, and Kings

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Diamonds are forever but so are clubs, hearts, and spades….

The playing of cards must be one of the few things in the world that everyone can connect with – you don’t need to be a poker champion, or go to a casino every night of the week to know what a playing card is, and most likely you know the rules to one or two games, whether that is Blackjack, Gin Rummy, or even just Patience – it’s all part of the same breed of games that utilises one key item a 52 card pack (or deck) of cards. What other pastime can you say that about?

The History

The definition of a playing card, as we know it is a form of card or paper however the first form of ‘cards’ were a completely different kettle of fish. During the Tang dynasty (618-907AD) emerged a game that involved using wooden markers, that were more similar to what we know as dominoes – following the growth of the different games that were played with these cards, they spread around Asia, Persia and further afield.

The first ‘decks’ of card that we can probably identify as looking like a modern pack emerged in Egypt in the 13th century, these were the first to identify what we would refer to as ‘suits’ such as coins, sticks, swords and other such things. Within a century, the popularity of cards and the variation on the games had spread and throughout Europe each country had its own cards and games, with the Latin countries favouring the traditional suits, whereas Germany incorporated Hearts, Bells, Acorns, and Leaves.

An early German set of cards
An early German set of cards

The French created a system using Hearts, Diamonds, Clubs, and Spades which quickly became the universal standard in the 15th century and is still widely recognised as the modern format of playing cards used to this day.

French 16th century cards
French 16th century cards

Throughout the following few centuries other refinements took place, for example the printed numerals in each corner was a necessity in gambling games, enabling a player to see their card without having to hold the entirety of it in front of them, causing issues with cheating.

Another potential issue was the marking of cards, with paper and card still being an expensive product to create, there quickly became an issue because of the nature of the material as every card was either easy to mark or accidently spoil, with either wine, beer or just general dirt from the 17th and 18th century gambling dens and pubs, which meant that packs of cards were used up very quickly and discarded, which is why you will see the backs of many individual cards used for other purposes, with artists of the period using them as sketch pads.

In the last few hundred years playing cards have changed little, with a pack from 300 years ago still being completely recognisable, and one from 100 years ago being virtually identical.

The Market for Collectible Cards

When we look at values, there are two specific markets – the antique and the collectible – with the latter being modern cards that may have been used for a certain event or by a certain person, or even in a certain film. As with most items of this nature, condition is paramount.

King Charles playing cards
King Charles playing cards

Back in 2023, a pack of 17th Century English cards were sold by a provincial auction house that belonged to MP Jeffery Amherst of Riverhead in Kent, these were left with a note detailing the fact that these were used by King Charles II and Queen Catherine, which is quite a bold statement, but following research, it is very likely to be true. Whilst these cards sold at auction for £10,700 – it wouldn’t be unreasonable for them to achieve three of four times that, possibly even £50,000 to the right buyer in a private sale.

Mamluk Playing Cards
Mamluk Playing Cards

When we look at the Mamluk cards of the 15th and 16th century, what is very clear to see is just how decorative they really – all hand painted and with gilt floriate and scroll work, cards such as the ones illustrated have sold for well in excess of £10,000, with insurable values being considerably more, ranging from £20,000 – £30,000.

As discussed earlier, The French were the forerunners in establishing a universal playing card and so any part of that history is incredibly valuable to card collectors, with early sets making well into five figures with more decorative cards, or complete sheets (uncut cards) making even more.

So, whilst collecting anything for profit is always a bit of a gamble – with playing cards, you can be sure that you are collecting an item that constitutes not only one of the world’s oldest games, but the fabric of many of the world’s oldest and most important pastimes.

Silver for the British Raj in India

A Shining Example of Design

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Silver for the British Raj in India

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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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.

The Crown auction at Bonhams

Bonhams: The Crown Auction

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The Crown AuctionThe Crown AuctionWe are in the era of prestige television.

Historically, T.V. programmes have been looked upon as the lesser relation to cinematic releases – movies traditionally viewed as pinnacle of film making. Today, television shows are often highly respected productions. As series run over weeks or even years, they can capture the public imagination with scores of fans and followers alike. These shows are essential to the success of streaming
platforms – with large budgets and famous casts the quality of productions has improved enormously.

As such the field of Entertainment Memorabilia collecting has expanded with those objects featured in major television series, being broader and highly sort. Production companies have apparently become more aware of the value of these assets. Once filming ceases and series end, auctions of costumes and props are becoming more of a common occurrence.

It is with this backdrop, and several months of planning that Bonhams, London announced they would be holding an auction of costumes, props and designs used during production of the Netflix series ‘The Crown’.

The Crown has done a tremendous job of creating fictionalised accounts of historic events – capturing World Affairs and global politics from the 1930s to early 2000s. The series managed to recreate the costumes and settings enjoyed by the Royal family.

The Bonhams The Crown Auction was arranged as two separate sales – a one day Live Auction including 161 lots and many of the most valuable pieces, held at their New Bond Street headquarters. The second being an Online Auction of the more affordable and decorative objects, closing the following day. Proceeds from the Live Auction are to be donated to the National Film and Television School for a scholarship programme.

The pre-sale viewing for the auction was very popular with over 30,000 people attending – it is not very often that one can be photographed standing in the doorway to Number 10 Downing Street (be it a prop or otherwise – which eventually sold for £10,800 plus BP) or next to so many recognisable costumes.

The skill of the prop makers and set designers for the series was clear throughout the sale. One of the most impressive lots of the live auction was lot 80 – a reproduction of the Golden State Coach.

This is a highly accurate facsimile of the famous original, which has been used at every Coronation ceremony since 1831. The coach is a magnificent achievement in prop making. The replica was
designed and manufactured by specialist team including film horsemasters The Devil’s Horsemen and prop design company Anarchy. To achieve an accurate copy the coach was constructed in part from fibreglass, clay and 3-D printed elements. This stunning lot was sold for £56,280 (inc. BP).

A similarly important prop relating to the Coronation was lot 20 – a reproduction of Saint Edward’s Chair, otherwise known as the Coronation Chair. The chair – central to British history and the Coronation ceremony was predominantly manufactured out of fibreglass and had featured in the 5th episode of series one of the show. This precise replica of the 14th century original, such an important symbol of Royal authority, sold for £25,660 (inc. BP).

Another feat of prop making was lot 158 – a replica model of the funeral procession of Her late Majesty Queen Elizabeth II. According to the catalogue the model had taken between six and eight weeks to produce, being over 12 meters wides, including over 500 Britains soldiers, two hundred 3-D printed models (all having been designed and produced by The Crown team and hand-painted with accurate costume) devised by a group of experts. The selling price here was £53,740 (inc. BP).

As with the props, costume was an important element of the sale with detailed reproductions of famous regalia, evening wear and everyday outfits being included. The highest price achieved for costume in the Live Auction was for lot 21 – a replica of Queen Elizabeth II’s ceremonial Coronation garments. The original was in part designed by Norman Hartnell – the multi element costume worn by Claire Foy sold for £19,200. Also from the Coronation ceremony was lot 22 – a replica of Princess Margaret’s Coronation gown and robe. This time the lot sold for £6,144 (inc. BP).

Lot 238 was a cornelian jewellery suite designed for Vanessa Kirby as Princess Margaret and featuring in season 2. The set was specially commissioned by costume designer Jane Petrie and made by jewellery designer Katy Hackney. The catalogue detailed the inspiration behind the suite, conceived to act as a direct contrast to Her Majesty’s pearls. The lot included ear clips, triple strand
choker, together with original design. This fashionable suite sold for £5,376 (inc. BP).

For the fashion savvy lot 125 – a Christian Dior ‘Lady Dior’ handbag. This example, in black lambskin had been worn by Elizabeth Debicki during Season 5. The bag is closely associated with the late Princess Diana and was named ‘Lady Dior’ after Lady Diana. It is believed she owned the bag in every colour and was regularly seen carrying it, after she first received one as a gift from the First Lady of France in 1995. This bag sold for £10,880 (inc. BP).

Arguably one of the most iconic costumes in the auction was lot 134 – a replica of the black silk and chiffon cocktail dress worn by Princess Diana in November 1994. Dubbed the ‘Revenge’ dress, it had featured in Season 5, Episode 5 ‘The Way Ahead’. Unsurprisingly, one of the most sought after outfits in the sale (the lot additionally included bag and shoes) it sold for £12,800 (inc. BP).

In direct contrast one of the more affordable lots of the sale was 314 – A blouse and dungarees worn by Emma Corrin portraying the young Lady Diana Spencer. This lot costume achieved £435.20 (inc. BP).

Costume designs themselves were also popular with a number being offered for sale. Lot 170 was a collection of three watercolour and pencil designs executed by Michele Clapton for the character
of the Queen. The illustrations, which included fabric swatches and detailed annotations gave an insight into the Emmy Award winning costume designers work. They sold for £5,376 (inc. BP).

Interestingly, many of the pieces featured in the sale were not modern replicas but fine antique furniture and decorative objects. To reproduce the interiors afforded to a Royal household, pieces
had been carefully selected by the set designers. Chimney pieces, toys, ceramics and glass were all available.

Within the The Crown Auction Online Auction lot 168 was a William IV rosewood breakfast table used as part of the Buckingham Palace set. This traditional antique sold for £8,320 (inc. BP).

Lot 200 was a typical lot one might expect to see in a sale of Fine Furniture – a George II chest on chest. This 18th century and later piece of crossbanded walnut had been used as part of the set
for the Queen’s bedroom. With strong bidding it eventually sold for £21,760.

Lot 322 was a French 19th century kingwood, parquetry and cross banded brass mounted liqueur set. The set which is visible in the Audience Room scenes included glasses and decanters. It fetched £5,632 (inc. BP).

The most expensive piece of furniture included in the two auctions was lot 237 – A parquetry and gilt metal mounted cylinder bureau in the Louis XVI style. The bureau, having only been estimated at £2,000 – 3,000 was used by all three of the actresses playing the Queen (Claire Foy, Olivia Colman and Imelda Staunton). The lot was offered with set dressing, including framed
photographs and desk accessories. The piece was important to the history of the show, having served as a prop during the London stage production of ‘The Audience’ in 2013 – the inspiration
for The Crown series. The eventual online selling price was £46,080 (inc. BP).

On a different note, was lot 58 – two Beswick porcelain models of corgis. A common sight in Antique Centres across the UK, they had been chosen by the Set Decorating Department due to their similarity to pieces found in Windsor Castle. Offered together with an Edwardian silver photo frame containing a picture of a corgi – against a pre-sale estimate of £200 – 300 the charming lot sold for £3,328 (inc. BP).

The highest price paid during The Crown Auction Live Auction was for lot 102 – a 1987 Jaguar XJ-SC car – the vehicle had been used as a double for the late Princess Diana’s Jaguar, driven from 1987 – 1991.

The original, now part of the collection of Jaguar Heritage Trust, was adapted from a two-seater to allow Princes William and Harry to be passengers. Elizabeth Debicki as the Princess can be
seen driving it in the show. The car eventually achieved £70,250 (inc. BP).

The Crown auction highlighted the research and detail required when staging a production such as The Crown. This was evident during the online auction, where seven lots from The Crown’s reference library were on offer. Lot 498 included 90 volumes on the Royal Family – the books were no doubt invaluable to the team involved. The footnote detailed how the production used five full time researchers and other full-time staff to achieve historical accuracy – this lot sold for £2,816 (inc. premium).

This white glove sale of over 470 lots eventually realised over £1.6 million.

The Princess of Wales jewellery trooping the colour

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What a year it has been for the Royal family and ceremonial events and on the 17th June, they did it again, for the King’s birthday, also known as Trooping the Colour. The Princess of Wales was as regal as ever, and her outfit full of meaning – as they usually are.

When I first glanced at her stylish green outfit, my first thought was how reminiscent of the late Queen it was.

But when looking closer at the jewellery, the true meaning of the green came to light. Earlier in the year The Princess of Wales took over the role from her husband as the 11th Colonel of the Irish Guards. Her outfit designed by the fashion designer Andrew GN is called “emerald green triple crème coat dress with satin trim” and retails for £2,839 and is a deliberate choice of colour on this very special occasion.

It is completed by handcrafted jewelled buttons which appear to be a mix of turquoise, chalcedony or chrysoprase, and echoes the British flag design.

The jewelled button was also carefully placed on the back of the wide trimmed hat, by Philip Treacy.

The coat dress was paired with her signature shamrock brooch which she has been seen wearing on St Patrick’s day.

The brooch of textured design, features a single emerald to the centre. It was crafted by Cartier and then presented to Princess Mary, the Princess Royal, by the regiment in 1961. Though others state that the piece may have belonged to Queen Alexandra first. When Princess Mary died, the brooch was sold at auction and bought by the regiment and it was worn by the Queen Mother until her death in 2002, followed by Princess Anne between 2002 and 2011, and is on these occasions, loaned by the regiment.

In 2014, a similar four-leaf clover brooch came up for auction, the brooch made in 1957 by Cartier sold for £2,000 (including buyer’s premium). Today, I would place an insurance replacement value of £10,000 on this brooch.

To complete the look, the Princess of Wales wore Princess Diana’s sapphire and diamond cluster earrings.

The earrings feature two cabochon sapphires within a diamond surround, each cluster connected by a single diamond. The earrings are said to be part of a suite gifted to Princess Diana for her wedding by the Crown Prince of Saudi Arabia. The suite comprises of Burmese sapphire and diamond pendant with matching earrings, a ring, bracelet, and a watch.

The author of The Queen’s Jewels, Leslie Field described the Saudi set as, “Made by Asprey, it consists of an enormous Burmese sapphire pendant set in a jagged sunray fringe of baguette diamonds and hung on a thin diamond necklace; a matching pair of earrings and ring; a two-row bracelet of brilliant-cut diamonds with a smaller version of the sapphire pendant as a centrepiece; and a wristwatch, the face set in the same diamond sunray fringe and the strap consisting of seven oval sapphires set in clusters of diamonds.”

In 2007, Sotheby’s sold a similar sapphire and diamond cluster ring, comprised of a 3.52cts Burmese sapphire within a diamond surround, totalling 5.50cts. It sold for USD 12,000 (including buyer’s premium). Today, I would place an insurance replacement value of at least £50,000 for this piece.

For every event, The Princess of Wales carefully curates and matches her outfits including jewellery with the attention to detail simply impeccable.

Look at for her next time and spot the details within her dress and jewellery.

As jewellery replacement values continue to increase, please can we remind you to update your insurance valuations and if you have never had a valuation please call us to discuss.

The Crown Jewels for the Coronation

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On May 6th King Charles III will be crowned in Westminster Abbey. A tradition dating back nearly 1000 years since William the Conqueror who was crowned in 1066. Charles’s will be the 38th coronation in the Abbey, most, like Charles’s, having been conducted by the incumbent Archbishop of Canterbury.

We are expecting a simpler and more paired back coronation for King Charles, but this does not mean that it is going to be light on tradition and ceremony. This historic event will still be an occasion for spectacle and celebration.

It is a ceremony that has remained essentially the same for a thousand years and the Coronation Regalia are at the heart of proceedings, imbued as they are with cultural and spiritual significance. They represent the powers and responsibilities of the new King and the solemnity of the occasion.

The last time we saw some of the regalia of the coronation was on the late Queen’s coffin, which was adorned with the crown, orb and sceptre.

These three items will play an integral role at the heart of the coronation service, but they are not the only pieces that we will see on the day.

St Edward’s Crown is the crown historically used at the moment of coronation and worn by Her Majesty Queen Elizabeth at her coronation in 1953.

It was made for Charles II in 1661, as a replacement for the medieval crown which had been melted down in 1649 by Parliamentarians. Charles will wear this crown. The crown is 22 carat gold, so almost pure gold. It stands 30 cm tall and weighs an impressive 5lb. It contains tourmalines, white and yellow topaz, rubies, amethysts, sapphires, garnets, peridot, zircons, spinel and aquamarines. The three superstar gems in the crown are the Black Prince’s ruby, the Stuart sapphire and the Cullinan II diamond. No wonder Queen Elizabeth used to practise wearing it before the coronation, so its weight was not overwhelming on the day.

Camilla, the Queen Consort, will wear the Queen Mary’s Crown. This was removed from display at the Tower of London for modification work ahead of the coronation. It is the first time in recent history that an existing crown will be used for the coronation of a Consort. For previous coronations a new crown was commissioned. However, as a concession to the prevailing economic climate; sustainability and efficacy this crown, originally made by Garrards for the 1911 coronation, is being repurposed. Some minor changes and additions will be undertaken by the Crown Jeweller. These changes will pay particular tribute to the late Queen Elizabeth, as the Crown will be reset with the Cullinan III, IV and V diamonds. These diamonds were part of Queen Elizabeth II’s personal jewellery collection for many years and were often worn mounted in brooches.

At the heart of the ceremony itself are the sceptre, orb and the coronation anointing spoon. The Sovereign’s Sceptre and Cross symbolises the crown’s power and governance. It has been used at the coronation of every monarch since 1661. It was first used by King Henry VIII in 1509 for his own coronation. It is a golden rod, enamelled and set with multiple gemstones, the best known of which is the Cullinan I, or Star of Africa, a heart-shaped diamond weighing a colossal 530.2 carats.

In the photograph of Queen Elizabeth’s coronation you will see a second sceptre. This is the Sovereign’s sceptre with Dove. It is also known as the rod of Equity and Mercy and depicts an enamel dove wings outstretched alighting on the golden orb and cross. It represents the monarch’s spiritual role as head of the Church of England.

The most ancient piece of the coronation regalia is the coronation anointing spoon. The monarch is anointed with holy oil. The Chrism oil which will be used on May 6th has already been consecrated in Jerusalem. The oil itself comes from olives grown on the Mount of Olives and has been infused with sesame, rose, jasmine and other essential oils.

The spoon is silver gilt. Its existence was first recorded in 1349, but it may be even older. It is ornate with a central division and has been used to anoint monarchs for nearly seven hundred years. The central division may have been so that the archbishop might dip two fingers into the holy oil as he anoints the head, breast and hand of the new monarch.

It is traditional that the choir sings ‘Zadok the Priest’ during this sacred part of the ceremony; music originally composed by Handel for the coronation of King George II in 1727 and which has become an integral part of the proceedings.

The anointing is followed by dressing of the monarch in the spectacular robe of cloth of gold called the Supertunica and the long Imperial Mantle. The monarch is then presented with other items from the Coronation Regalia.

These include the gold spurs, the jewelled Sword of Offering and the Armills. The Armills are gold bracelets representing sincerity and wisdom. It is at this point that the monarch also receives the Sovereign’s Orb, as well as a ring and two sceptres.

The Orb is placed in the right hand of the monarch, during the investiture as the symbol of sovereignty. As a cross mounted on a globe, it represents the Christian world and the power of God. It is a reminder to the monarch that their authority is given by God. It is bisected with applied bands incorporating clusters of emeralds, rubies, sapphires and rose diamonds between bands of pearls. Having been handed to the King, it will be removed and placed on the altar before the moment of crowning.

The King will also be presented with the pair of golden spurs. These were first included amongst the regalia of the coronation in 1189 at the coronation of Richard the Lionheart. These represent his ‘knightly values and virtues’, such as protecting the poor, and defending the church. The current spurs are gold, made in 1661 for Charles1 and adapted in 1820 for George IV. In the past, the spurs were attached to the sovereign’s feet, but on May 6th they will be held at the ankle of the king.

The Sovereign’s ring will be placed on his fourth finger. The ring has the cross of St George at the centre formed from five rubies, overlaying an octagonal cut sapphire and bordered with fourteen old cushion cut diamonds. The ring was originally made by Royal Goldsmiths and Silversmiths Rundell, Bridge and Rundell for the coronation of William IV. It is said to be a symbol of ‘kingly dignity’.

The coronation sword, also known as The Jewelled Sword of Offering, will be presented by the archbishop, who first blesses the sword and then presents it with the direction that it should be used for the protection of the good and the punishment of evil. First used in 1821 by George IV, it has been used at all coronations since 1902. Like the Sovereign’s ring, the sword, made from blued steel, with a gold, jewel encrusted hilt and jewelled leather scabbard, was a commission from Rundell Bridge and Rundell.

The ceremony culminates with the placing of the St Edward’s Crown on the monarch’s head, the actual ‘coronation’.

The new King will change his crown for The Imperial State Crown as he leaves the Abbey. This is the crown that he will wear for future state occasions like the annual opening of Parliament. Although set in gold with 2,868 diamonds, 269 pearls, 17 sapphires, 11 emeralds and four rubies, it weighs a mere 2.3lb and is a more practical choice. It was worn by the Queen when she left Westminster Abbey in 1953. It was originally made for the coronation of her father, King George VI, in 1937.

Many of us grew up listening to older relatives tell tales of the Queen’s coronation. Televisions were purchased for the first time for the occasion, families huddled round radios to hear the ceremony live, and there is the enduring account of Queen Salote Tupou III who refused to be cowed by the rain and rode through London in an open topped carriage. No doubt King Charles’s coronation will be a different meld of old, new and unexpected acts of generosity and kindness. We can but wish for a day of joy and hope, amidst the tradition and ceremony.

To Dress a King

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At 74, starting a new job must feel a little taxing for our monarch, and the pain the King Charles shared with the rest of the country last year was visible to all that could see, it was a strange time through Britain and The Commonwealth but Charles would be ready to be king for many years, if not emotionally, then certainly sartorially.

Over the last seven decades, King Charles has worn some iconic (I use that word carefully) outfits that have moulded military, outdoor sports, polo, and tips of the hat to many other styles and cultures through the plethora of different countries he has spent time in within the Commonwealth and the wider world.

Firstly though, three of the things that I always notice with King Charles as soon as he steps out of a car, aeroplane, or reaches up to open a local leisure centre are of course – Cufflinks, Watch, rings.

The cufflinks have of course been written about extensively as on honeymoon, after marrying Lady Diana Spencer, Charles may have worn a pair of gold cufflinks that had been purchased by Camilla with twin C figures intertwined, which if nothing else is bold.

King Charles Fashion

The signet ring has been the staple of the British aristocracy for many years, but monarchs have never been compelled to wear one, however this ring didn’t start its life with King Charles. The three plumes of the Prince of Wales feathers have adorned this simple design for over 175 years, with the last owner of note being The Duke of Windsor, someone that Charles may have felt some affiliation with. He has been noted to have worn it since his late 20s and supposedly is never missing from his daily dress.

To complete the small amount of jewellery, King Charles tends to opt for a subtle yet well sized timepiece. In more recent years he has been known for his Parmigiani Fleurier Toric model, which is about as esoteric as the watch market gets – it’s a stunning watch with astounding attention to detail, something which I am sure the King appreciates.

His clothing has always been dictated by the roles he has been performing and whilst he has never been one to shy away from fashion, it couldn’t be said that he has a love of clothes in the same way that the Duke of Windsor may have done.

The double breasted suit, the Fair isle jumper, and the Barbour have all played a big part in his life, as has the 1970s safari suit that came to the fore, but for millennials, perhaps his biggest style moment would have to be the big number T shirt – worn for polo when he was a very competitive player.

King Charles III, Passionate Painter

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King Charles III first began painting in 1970, inspired by Robert Waddell, his art master at Gordonstoun School in Scotland. The school has a 200-acre woodland campus, and is within walking distance of the beaches of the Moray Firth and so provided the young prince with a wealth of subject matter. His Majesty began painting with watercolour at Gordonstoun and has stuck with it until now, despite it’s occasionally unforgiving nature.

The King says it gives him a greater sense of immediacy and ease of working ‘en Plein Air’. He also likes the speed of working in watercolour, it means he is quicker to finish a picture, and so doesn’t have to keep his security detail waiting for too long while he finishes a sketch.

The King is following a tradition first begun by Queen Victoria, who also only used watercolours and as a young girl was taught by well known artists such as William Leighton Leitch (1804-1883) . After leaving school King Charles initially received instruction from the then President of the Royal Academy and Architect Sir Hugh Casson, and his early work clearly shows Casson’s influence. Subsequently he was taught by some of Britain’s most famous Royal Academicians artists, including John Napper, John Ward, the Royal Family’s favourite painter, Edward Seago, and the Anglo Irish artist Derek Hill, who also facilitated painting trips in Ireland for the King.

The King’s style has evolved over the years into something that is clearly his own and for me as a specialist is immediately recognizable, often simply signed with a capital C. Favourite subjects to paint are outdoor scenes, particularly mountains, streams, and the surrounding areas of the Royal estates in Scotland and Norfolk. However other subjects include overseas landscapes including Saudi Arabia and the South of France.

He is a generous supporter of many causes and all profit and sales benefit the Prince’s Trust for Children and the Arts. As a regular Charity auctioneer myself I have brought the gavel down on many of his signed, limited edition colour lithographs all generously donated and selling for prices between £3-£8,000 depending on the event and subject. These also regularly appear for sale on the auction and retail market and so are available for anyone to buy either from traditional galleries or online vendors for between £6-10,000 again depending on subject and rarity. As for the original watercolours, it is my belief that these are only given as personal gifts from the King to his artist and other friends and therefore are kept as treasured gifts and so never sold.

Very very occasionally an original watercolour will find its way onto the auction market, and these are well worth looking out for. King Charles has continuously shown his work in non selling events over the years beginning with his first exhibition in 1977 held at Windsor Castle, where his work was displayed alongside works by Queen Victoria and the Duke of Edinburgh, himself an enthusiastic painter and sometime designer, whose sketches helped create the stained-glass windows in the Private Chapel of Windsor Castle.

The King rather modestly refers to himself as an “enthusiastic amateur,” however sales of his work have raised an estimated £2 million from the sales of signed limited edition prints of his watercolors from 1997 to 2016, making him one of the country’s best-selling living artists. Additionally in conjunction with Hugh Maxwell Casson ,King Charles illustrated a children’s book, “The Old Man of Lochnagar,” about an old, cave-dwelling man who meets a bubble-blowing god of the sea!

I imagine a King’s duties may leave less time for painting, hopefully not as the result is very pleasing to all concerned and is clearly a source of relaxation and pleasure in achievement for our New King.

Princess Catherine’s jewellery

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From Everyday Mum To Future Queen, A Jewel For Every Occasion

It all started with a proposal…

One of the most famous items of jewellery the Princess of Wales has come to possess, is the “Royal Blue” sapphire engagement ring, which belonged to her mother-in-law, the late Princess Diana. It is probably the most famous sapphire, weighing 12 carats and set within a surround of brilliant-cut diamonds.

In 1981, chosen by the then Prince Charles, for Diana, from the official royal jewellers Garrard, the sapphire ring cost £50,000. Because of the provenance and history of the ring, it has become a priceless piece of jewellery, but one could estimate its current price to be around £500,000.

The world’s most expensive sapphire to sell at auction was sold at Sotheby’s Hong Kong on the 7th October 2015. It weighed 27.68 carats of natural Kashmir origin and made $6,702,564, $242,415 per carat.

For her wedding, Queen Elizabeth II lent the Cartier Halo Tiara to the Duchess. It was made in 1936 and comprises of 739 brilliant-cut diamonds and 149 baguette-cut diamonds, and it was purchased by King George VI (then still Duke of York) for his wife, Elizabeth (who we all know better as the Queen Mother), which she wore to a charity ball at Claridge’s in London, their first gala outing since the official ending of the lengthy court mourning period for the late King George V.

To match Catherine’s engagement ring, the Duke of Cambridge gifted a pair of sapphire and diamond cluster earrings from his mother’s personal collection. The Princess simply had them altered to be drops rather than clips.

The Princess is often seen combining her engagement ring with a classic 33mm Cartier Ballon Bleu wristwatch. Mounted in stainless steel, it is decorated with Roman numerals, fluted crown with a synthetic spinel cabochon, silvered guilloché opaline dial, blued-steel sword-shaped hands, sapphire crystal and steel bracelet. It currently retails for £5,400.

When Catherine gave birth to Prince George, Prince William gifted her the Eclipse diamond ring by Annoushka. It is set with 0.23ct total of diamonds and retails at £1,500.

She wears it in combination with her engagement ring.

For the arrival of Princess Charlotte, the then Duke of Cambridge this time choose another designer, Kiki McDonough, and gifted the Duchess a pair of green tourmaline and green amethyst drop earrings.

She was first spotted wearing these during the couple’s tour of India in 2016. Though these were made-to-order for the Princess, you can currently get a pair of similar earrings (below) from the designer for £3,700. These are green amethyst and diamond earrings, mounted in yellow gold.

The Princess owns several pieces by the designer: 18 pairs of earrings and three necklace to date.

Here are some examples:

The Princess has jewellery for every occasion, as can be expected. Her everyday jewels include the above by designer jewellers, but Catherine also favours high street jewellery, such as the below by Accesorize.

These are no longer available but can be found on eBay ranging from £48 to a whopping £96.96 (plus £10.77 for postage!).

It was rumoured that when Prince Louis was born, the Prince gave Catherine a citrine ring, but it was discovered by fans that the Princess had previously worn it in 2008 while celebrating her birthday.

The ring is beautiful and has meaning for the Princess. She was also seen wearing it for the premiere of the last James Bond film, No Time to Die, to match the golden sequinned gown by Jenny Packham.

Perhaps my favourite dress worn by the Princess.

When the Princess is not at a red carpet event or formal gala, the mother of three has been seen to wear a necklace by Spells of Love retailing for £85, suspending three medallions with the initial of each child.

Catherine also wears a Merci Maman necklace gifted to her by her sister, Pippa, after the birth of Prince George in 2014.

For more formal wear, the Princess has been seen wearing brooches, tiaras and exceptional necklaces, such as the four-row pearl chocker, created using a collection of cultured pearls gifted to the Queen by the Japanese government which Catherine wore to Prince Philip’s funeral in April, 2021. In mourning, the Royals don’t wear colour, so pearls are pure, white, and unflashy. This tradition comes from Queen Victoria, who did not want to wear any colour following the death of her husband Prince Albert.

The late Princess Diana also wore it to a state banquet in the Netherlands.

A very sombre then Duchess of Cambridge wore the historical chocker for the Queen’s funeral earlier this year.

The Princess combined the tiara worn by the late Princess Diana (above) with her engagement ring of course but also the Royal Family Order brooch, representing the late Monarch within a diamond surround.

The tiara, called the Lover’s Knot tiara, was lent to Diana as seen below, then went back to the Queen, and upon her passing, is now worn exclusively by Princess Catherine.

Several of Queen Elizabeth’s II jewels will have been passed down to the Queen Consort and several to Catherine.

Recently, the Princess wowed us with this stunning emerald and diamond choker. She stepped out at the Earthshot Prize Awards in Boston in a bright green gown by Solace London, paired with an emerald-and-diamond choker, once owned by Princess Diana. The choker itself was first owned by Queen Mary in 1911, and later presented to Diana as a wedding gift to Prince Charles in 1981.

In this year’s Christmas pictures, the Princess wears a pair of ruby and diamond cluster earrings, made by Soru in Turkey, and retail for £145.

Whatever the occasion, Princess Catherine never disappoints with her exquisite outfits and matching jewellery. And on this special occasion, I wish her a very Happy Birthday.

The Imperial State Crown

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If one wants a glimpse of The Imperial State Crown, it is on display in the Jewel House at the Tower of London, as it has been for the last 600 years. But on the 19th September 2022, this most unique and priceless item of jewellery laid on her Majesty The Queen Elizabeth II’s coffin for her final farewell.

Imperial State Crown

During her reign, Queen Elizabeth II would wear it annually for the State Opening of Parliament, sharing in 2018 that “You can’t look down to read the speech, you have to take the speech up, because if you did your neck would break”. The crown weighs 1.06kgs.

Queen Elizabeth wearing the Imperial State Crown

Monarchs wear the Imperial State Crown when departing from the Abbey after the coronation, and for all other occasions requiring crown-wearing thereafter.

Originally made by Rundell and Bridge in 1838 for the coronation of Queen Victoria. It was commissioned for the coronation of the Queen’s father, King George VI in 1937 from Garrard & Co.

The crown is set with historical gems with nearly 3,000 stones – including 2,868 diamonds, 273 pearls, 17 sapphires, 11 emeralds, and five rubies.

The Culinan II, or Second Star of Africa, weighs 317.4 carats, with 66 facets.

Cullinan produced 9 major stones of 1,055.89 carats in total, including the Cullinan II, plus 96 smaller brilliant and some unpolished fragments weighing 19.5 carats. The Cullinan diamond was found in 1905 in South Africa’s Premier Mine at Cullinan, named after Sir Thomas Cullinan, who opened the mine in 1902. It is believed the diamond surfaced 1.18 billion years ago. Originally thought to be some priceless crystal, the mine’s manager did not give another look when the miner found it. He persevered, and it then became the largest diamond to be found.

It was sent to London in a plain box via registered post and presented to King Edward VII. It remained unsold until 1907.

The Transvaal Colony government bought the diamond on 17 October 1907 for £150,000, the equivalent of £18 million. It was presented to the King on his 66th birthday at Sandringham House.

He accepted the gift “for myself and my successors” and ensured that “this great and unique diamond be kept and preserved among the historic jewels which form the heirlooms of the Crown”

The king chose Joseph Asscher & Co. of Amsterdam to cleave and polish the rough stone into brilliant gems of various cuts and sizes.

Cutters here in Amsterdam plan how the stone should be cut. It took 8 ½ months to cleave and cut.

The images above show Joseph Asscher cleaving the Cullinan.

On the first blow, Asscher’s hammer blew off. It was on the second attempt that the diamond shattered into 9 pieces.

Cullinan I is set in the sceptre, which also laid on the Queen’s coffin.

The Black Prince’s ruby, in its prominent place on the crown, is in fact a spinel. It was only in 1783 that spinels were differentiated from rubies. They share many chemical properties, such as aluminium, oxygen, and chromium but spinels also have magnesium.

This “ruby” is said to have been in English royal hands since the 1360s.

It was probably discovered in the Himalayan mountains of central Asia, in the Badakhshan (Balascia) region that was famed for its spinels. It drilled at some point to be worn as a pendant. The hole was later filled with a smaller cabochon ruby edged in gold.

It was supposedly worn by King Henry V at the Battle of Agincourt in 1415 and saved him from an axe blow to the head, struck by the Duke of Alençon. Henry survived, as did the ruby, and the English were victorious.

The Stuart Sapphire is set at the back of the crown and weighs approximately 104 carats.

In Youngblood and Davenport “The Crown Jewels of England”, they describe the stone as follows: “oval in shape, about one and a half inches in length, by one inch in breadth, and is set in a gold brooch. It has one or two blemishes, but is of good colour, and was evidently deemed of high value by the Stuarts. At one end has been drilled a hole, probably to introduce some attachment by which the stone could be worn as a pendant.”

Queen Victoria, was the first monarch to have the sapphire set in her state crown. During Victoria’s reign, the sapphire was set at the front of the crown, just below the Black Prince’s Ruby.

After the discovery of the Cullinan diamond, the sapphire was relocated to the back. There is still some mystery as to whether the Stuart sapphire in The Imperial State Crown has been the same gem since it was first used in royal jewels in 1660 but it certainly has been in the collection for over two centuries.

These priceless gems, the Cullinan II, the Black Prince’s Ruby and the Stuart Sapphire are a reminder of majesty, sovereignty and tradition embodied in the institution. Following tradition, King Charles III will wear the St Edward’s Crown for his coronation, but will put on the Imperial State Crown to leave Westminster Abbey at the end of the ceremony.

God Save the Queen, Long Live the King.