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The Quiet Risk of Overinsurance

Wed, 25 Mar 2026 15:48:13 GMT

Please enjoy our latest article on Overinsurance, by Kerry Hall

When conversations turn to contents insurance, the focus is often (quite rightly) on underinsurance. However, the opposite issue of overinsurance is often more common than many realise and carries its own set of implications for brokers, insurers, and clients alike.

In simple terms, overinsurance occurs when the declared sum insured exceeds the true retail replacement cost of a client’s contents. While this may seem like a harmless or even cautious approach, it can lead to unnecessarily high premiums without delivering any additional benefit if there was ever a claim. Unlike some other classes of insurance, contents policies are not designed to pay out more simply because a higher figure has been declared. In the event of a loss, settlement is based on the cost to replace items as new at today’s prices.

How does overinsurance happen?

One common reason is estimation. Clients are often asked to provide a single figure for the total value of their contents, frequently without a clear structured approach. Unsure of how to tackle this, many clients understandably err on the side of caution and “round up.” Over time, this cautious approach can compound, particularly if the figure is never properly reviewed.

Index-linking is another contributing factor. Most insurers use it to automatically adjust client’s contents cover over time so it keeps up with inflation which is considered good practise and helps avoid underinsurance. But there’s a catch. If the original value was already set too high, index-linking can quietly push it even further off track. Over time, the insured amount keeps creeping up, even though the actual value of what clients own might not have changed much, or in some cases, might even have gone down.

Market trends also play a role. As tastes evolve and furnishing styles shift, the value of many items can decline. Categories such as antiques, furniture, certain art genres, and porcelain have all seen notable drops compared to their peak values 20–25 years ago. While rarity and quality still dictate desirability, and there are always exceptions, the general trend across many categories is one of softening values driven by changing preferences.

Lifestyle changes can have an impact too. People might downsize, pass items on to family, or just simplify what they own over time. But if their insurance isn’t updated to reflect that, those old figures can stick around long after they’ve stopped being accurate.

For brokers and insurers, overinsurance presents a subtle challenge. While it may not carry the same immediate risk exposure as underinsurance, it can impact client outcomes in other ways. Clients paying higher premiums than necessary may question value at renewal, particularly if they become aware that their cover exceeds their needs. In a market where transparency and trust are increasingly important, ensuring accuracy is key.

How can clients mitigate the risk?

As premiums rise, many clients are seeking valuations, concerned that their level of cover no longer reflects the true value of their belongings.

This is where getting a professional contents valuation really makes a difference. Instead of relying on estimates, clients get a clear, accurate figure based on what it would actually cost to replace everything today. It looks at the full picture, including everything from everyday belongings right through to high-value pieces such as artwork. Also, ensuring that contents are correctly split into their relevant categories (general contents versus fine art, antiques and collectables) can effect premiums and actually bring them down.

Just as importantly, it gives everyone peace of mind. Clients know they’re not underinsured or paying more than they need to, brokers can demonstrate due diligence, and insurers get a much clearer view of the risk.

Overinsurance is rarely intentional. It tends to build up over time through caution, small adjustments, or simply not revisiting the numbers. But left unchecked, it can easily lead to a discrepancy in premium and cover.

Making sure your cover is accurate, especially in a world where both clients and insurers want certainty, leads to a much better outcome all round.

5 Areas Your Client Could Be Underinsured

Wed, 11 Feb 2026 12:07:57 GMT

Please enjoy our latest article on Underinsurance, by Kerry Hall

When discussing contents insurance with clients, one of the biggest gaps often comes down to how value is assessed. Many clients think in terms of what they originally paid or what they could pick something up for at auction or second-hand rather than the retail replacement cost their policy is based on. In a total loss scenario, insurers are replacing items new, at today’s prices, not yesterday’s bargains. That distinction alone can create a significant shortfall, even before we look at the items most commonly overlooked.

Below are five key areas where we at Quastel Associates have noticed that underinsurance frequently creeps in and where a professional contents valuation can make a real difference.

1. Silver and Gold

Precious metals have been on a remarkable run. Gold and silver have hit near-record levels over the past few years, driven by global economic uncertainty and market demand. For example, gold prices have traded well above long-term averages, and silver has seen pronounced spikes linked to industrial demand and investor interest. Clients who last reviewed their coverage when metals were significantly cheaper may find their policies don’t reflect today’s values. Whether it’s a set of heirloom silver cutlery or a collection of gold jewellery, failure to keep values up to date can leave substantial gaps in cover.

2. Inherited Items

Inherited possessions are particularly tricky. Clients may receive items from family members with little or no understanding of their true worth. This is especially true when looking at antiques, art, jewellery, or collectables. Emotional value often overshadows financial value, and because nothing was purchased, nothing is consciously “counted.” These items are commonly either undervalued or omitted entirely from discussions about contents insurance.

3. Soft Furnishings: Curtains and Carpets

Soft furnishings are often underestimated because they’re seen as part of the home rather than its contents. Yet curtains, carpets, rugs, and blinds are typically covered under contents insurance and their replacement costs add up quickly. Bespoke curtains, fitted carpets across multiple rooms, stair runners, and high-quality underlay can represent tens of thousands of pounds in a single property, particularly in larger or higher-end homes. Clients frequently overlook the cumulative cost of renewing these items to today’s standards.

4. Clothing and Handbags

Wardrobes are another area where “it doesn’t feel like much” turns into a substantial figure. Individual items may seem reasonable, but collectively they mount up fast. Designer handbags in particular have seen notable price inflation. Famous names like Hermès, Chanel, Louis Vuitton, and Gucci now command significantly higher retail prices than in the past, and limited editions or rare pieces can appreciate further. Clients rarely step back to consider the combined value of everyday clothing, shoes, accessories and luxury handbags and yet it is precisely this total that insurers must account for.

5. Outside and Outbuilding Contents

Finally, items kept outside the main home are frequently forgotten. Statuary, garden furniture, tools, barbecues, ride-on mowers, and equipment stored in garages or sheds all fall under contents cover. Because these items are “out of sight,” they’re often out of mind during renewal conversations, despite representing a meaningful proportion of the overall contents value. High-end outdoor furniture sets, quality power tools, and garden machinery can be costly to replace and should be accounted for in a valuation.

Why Valuation Matters
For brokers and insurers, these gaps present both a risk and an opportunity. A professional contents valuation helps ensure the sum insured reflects true retail replacement costs, reduces the likelihood of underinsurance, and supports better outcomes at claim stage. Just as importantly, it builds trust, demonstrating to clients that their cover has been properly thought through, not guessed.

Underinsurance rarely comes from negligence; it comes from assumption. A professional and impartial valuation replaces assumption with clarity and that’s a win for everyone involved.

Silver Smashes Records: The Quiet Metal That’s Now Making Headlines

Tue, 20 Jan 2026 12:44:20 GMT

Please enjoy our latest article on the dramatic rise of silver value, by Kerry Hall.

Silver has long lived in the shadow of gold, often seen as the quieter, more affordable precious metal. But in recent years, silver has been steadily rewriting that story. On the 14 ^th of January (2026), silver stood at £68.31 per ounce, a record high that has captured the attention of investors, collectors, and everyday savers alike .

So what has driven this dramatic rise?

One of the biggest reasons is demand. Silver is unique because it plays two roles at once. It is both a precious metal people value for wealth protection, and an industrial metal used in everyday technology. From smartphones and laptops to solar panels and electric vehicles, silver is a vital component. As the world pushes toward greener energy and more advanced technology, the need for silver has risen.

At the same time, supply has struggled to keep up. Mining silver is becoming more expensive and more difficult. Many silver mines are older, and new large discoveries are rare. On top of that, silver is often mined as a by-product of other metals like copper and zinc, meaning production cannot easily be increased just because silver prices rise. When demand grows faster than supply, prices tend to climb and that is exactly what we are seeing now.

Another key factor is economic uncertainty. Over the past few years, people around the world have faced inflation, rising living costs, and concerns about the stability of currencies. In these times, many turn to physical assets like silver as a way to protect the value of their money. Silver feels tangible and real in a way digital numbers on a screen do not, and that psychological comfort plays a powerful role.

Silver has also benefited from being more accessible than gold. While gold prices are far higher per ounce, silver offers a lower entry point, making it attractive to a wider range of buyers. As interest in precious metals has grown, many first-time buyers have started with silver, adding further pressure to demand.

Is it time to rethink what your silver is worth?

The record price of silver has encouraged many owners and collectors to view their holdings in a new light. Victorian silver items such as coffee pots and trophies have long been sold for scrap, but increasingly it is earlier Georgian pieces, including snuffboxes and canteens, that are being melted down. In many cases, these items achieve little more at auction once seller’s fees are taken into account, making a direct sale to bullion traders a quicker and simpler option. Melting silver allows it to be recycled and reused, and at today’s prices even small quantities can amount to a meaningful sum. That said, the decision is not always a simple one. Some objects carry historical, collectible, or artistic value that may outweigh their melt price, so owners are encouraged to consider carefully before consigning silver to scrap.

Looking ahead, opinions differ on where prices will go next. Markets never move in straight lines, and silver has always been known for its ups and downs. However, what is clear is that silver is no longer being overlooked. Its combination of practical usefulness and historical value has pushed it firmly into the spotlight.

If you own silver items at home, now is an ideal time to have them professionally valued in light of today’s record prices. At Quastel Associates, we have seen significant increases in the value of our clients’ silver collections and in many cases, values have doubled. With silver at historic highs, making sure your collection is accurately insured is not just sensible, but essential.

Maqbool Fida Husain: From Film Posters to Christie’s Walls

Mon, 17 Nov 2025 12:39:41 GMT

Please find an article by Debra Stanislawski about Maqbool Fida Husain below.

Maqbool Fida Husain was born in India at a time when those growing up in poor rural communities did not keep track of birth dates. He was born into the minority Bohra Shiite Muslims and considered himself Muslim throughout his life.

He initially struggled to get work as an artist. He was commissioned for portraits and did them well. However, he was an unknown artist as he came from a less privileged background and had not yet mastered oils, which were the main medium in the 1930s.

Our senior valuer, Charles Greig writes, “Husain is considered one of the ‘Greats’ among Indian 20th century painters. He was a founding member of the Bombay Progressive Art Group - a small number of artists who sought to distance themselves from Traditionalist European art exemplified by the artists of the Bombay school of art. They sought to create a new artistic movement that reflected the ideals of post-Independence India after 1947. For all that, Husain relied on European influences - particularly Cubism - which he adapted to his own idiosyncratic narrative ideas.”

His life as an artist began when he worked alongside a well-known cinema hoarding painter. This style of painting was used as marketing for cinemas. The art, which was equivalent to today’s film posters, were handmade, and therefore, rather unique and original, comparatively speaking. Throughout his life, he remained fascinated by popular art forms, keeping photographs of the billboards (hoardings) in India. He also spent some time studying horses whilst observing a blacksmith making shoes for them. These animal forms are amongst some of his most traditionally cubist works. The birth of his daughter may have inspired his foray into wood sculpture.

Husain won several awards over the course of his lifetime despite causing upset by some of his artistic depictions. He upset several in his birth country of India, due to his depiction of religious deities as well as the state in controversial and frequently nude forms. Whether or not it was a commentary on religion, a commentary on the female form, or just art is rather unclear. However, what is certain is that it led to criminal accusations against him when the art was published in India many years after its design. Due to death threats from Hindu extremists, he decided to place himself in exile, accepted an offer of Qatari citizenship, and died and was buried in London in 2011.

For a man who started life rather simply, he enjoyed it by the end. He had some of the most expensive cars in the world: Ferraris, Jaguars, Bentleys, and Rolls-Royces. His works have sold for millions at auction. This is in line with what Quastel Associates have seen in the last few years as demand for Indian art has increased. His son remembers the words of his late father, ‘“Take things easy. Even if you don’t agree what others are saying, don’t argue. Just pick up the good things from them.”

Edward Seago: Capturing Light and Atmosphere in the British Tradition

Fri, 24 Oct 2025 14:55:14 GMT

Please find a short article about Edward Seago by Kerry Hall.

Edward Seago: Capturing Light and Atmosphere in the British Tradition

Edward Seago is one of the most beloved and consistently collected British painters of the 20th century, and his work, known for its spontaneous energy and luminous quality, is something we frequently see and value at Quastel Associates. A true master of the landscape, his canvases and watercolours offer a fresh, accessible take on subjects ranging from the windswept Norfolk coast to bustling international cityscapes. Seago's style resonates with collectors who appreciate his ability to capture the fleeting light and mood of a scene with a liquid, Impressionistic touch, a quality that keeps him perpetually popular in the modern British art market.

Seago's journey into the art world was unconventional. Born in Norwich, England, in 1910, he was largely self-taught, having been afflicted with heart problems that kept him out of school for long periods during his childhood. He spent these hours sketching what he saw from his bedroom window, an early training that instilled a lifelong devotion to observing nature. Despite his parents' wish for him to pursue business, he left home at age eighteen to join a travelling circus, an experience that led to his early work documenting the excitement of circus life and ballet. His career truly took off after his service in the Second World War, where he was commissioned to develop camouflage techniques and later painted scenes of the Italian Campaign. This wartime exposure, coupled with a growing network of influential friends, including Field Marshal Lord Alexander, helped propel him to wider recognition. By the 1950s, his annual exhibitions in London were legendary, with queues forming as collectors, including members of the British Royal Family, lined up to acquire his new paintings, cementing his reputation as an artist of immense public appeal.

At auction, Edward Seago’s market is strong, with his oil paintings commanding impressive results. While many of his works sell consistently in the mid-five figures, reaching prices well over their estimates, his best results often come from evocative landscapes and city views. For example, the oil on board painting titled Westminster from Mayfair achieved an impressive £115,250 at a major London auction. Other top sales include Morning sunlight, Honfleur, which realised £98,500, and The Quadriga, Hyde Park Corner, which fetched £91,250. These results demonstrate that pieces featuring iconic or atmospheric British and European scenes, executed with his signature fluid brushwork and mastery of light, consistently attract the most competitive bidding.

Edward Seago occupies a secure and highly desirable place in the contemporary art market. He is considered one of the most sought-after British artists at auction, valued for his Post-Impressionistic style that blends traditional subject matter with expressive technique. His enduring strength lies in his aesthetic appeal: his landscapes and seascapes are viewed as deeply traditional and yet they fit effortlessly into modern interiors. While his works may not break contemporary records, the consistent demand for his paintings - particularly those depicting his beloved East Anglian subjects - maintains strong secondary market valuations and ensures his lasting legacy.

The Golden Age of Clockmaking

Wed, 01 Oct 2025 11:59:30 GMT

Please read our newest article by Mark Smith below.

Clock Valuation by Quastel Associates

Quastel Associates are frequently required to value antique clocks within our clients’ homes. Below is an overview of some of the more important makers and the factors that determine and influence value.

In the heyday of English clockmaking, from the 17th through the 19th centuries, makers produced longcase and bracket clocks that set international standards of quality. Later, both English and French makers contributed to the development of carriage clocks, compact and portable timepieces that became highly desirable.

The longcase clock, or grandfather clock, is perhaps the most iconic English contribution to horology. Developed in the late 1600s after the introduction of the pendulum, these tall clocks were often housed in richly veneered walnut or mahogany cases. Value depends on a number of factors including maker, quality, condition size and movement. Replaced dials, altered movements, or refinished cases, however, can reduce values substantially.

Makers such as Thomas Tompion and Joseph Knibb elevated the longcase to a masterpiece of design and precision. Tompion’s longcases can command £200,000–£350,000, with rare examples in pristine condition being considerably higher. Those by Knibb often range from £80,000–£200,000 again originality being a major factor in value. Provincial or country longcases, whilst still admired, tend to be less ornate and generally cost under £5,000, depending on originality and style.

The bracket clock, smaller and spring-driven, became another hallmark of English craftsmanship. These were decorative as well as functional, designed for display on tables or mantels and their current appeal is that they can be displayed in both a traditional or modern setting. Daniel Quare’s repeat striking bracket clocks, allowing users to tell the time by sound in the dark are highly desirable, as are those by Joseph Windmills and George Graham regarded as two of the finest clockmakers of the 17th and 18th Century. Values can vary dramatically but highly prized examples by the these makers can range between £30,000-£80,000.

The carriage clock brought portability into the world of fine horology. Though English makers produced notable examples, it was the French clockmakers who perfected the form in the 19th century. Parisian houses such as Breguet, Drocourt, and Le Roy set the standard with beautifully gilded cases, enamel dials, and complex striking or repeating mechanisms. Carriage clocks vary widely in value: ordinary examples might cost £1,500–£2,500, while fine pieces with complications or signatures by leading makers can cost £20,000 or more. Rare Breguet carriage clocks, especially with original cases and documentation, may exceed £50,000.

In all cases when our valuers are appraising clocks, maker and condition are the determining factors in value. Collectors look for originality: untouched dials, authentic movements, and cases with natural patina. Sympathetic conservation that preserves character is appreciated, but invasive restoration, replaced parts, or refinished cases can halve a clock’s worth. Provenance also plays a role, with documented ownership adding significantly to desirability.

For collectors today, their appeal lies not only in artistry and rarity but in the simple fact that condition preserves authenticity—and with it, true value.

Football Memorabilia

Thu, 31 Jul 2025 08:53:27 GMT

Please enjoy this short article about Football Memorabilia by Kerry Hall:

At Quastel Associates, we’ve seen a growing number of enquiries about valuing sports memorabilia, especially football-related items. In this article, we take a closer look at the thriving collectors’ market and highlight some of the most prestigious football memorabilia ever sold.

Collecting football memorabilia is a passion driven by nostalgia, a deep love for the game, and a desire to hold onto its history. For many fans, items like signed shirts, old match tickets, or trading cards create a personal link to their favourite teams, legendary players, and unforgettable moments. But it’s not just about sentiment however; memorabilia can also be valuable investments, conversation starters, or symbols of status and pride. Whether it’s the thrill of chasing down a rare item or the joy of putting it on display, football memorabilia bring fans even closer to the sport they love.

Record breakers

At Quastel, we’ve valued all kinds of football memorabilia; from pieces worth a few hundred pounds to those that have soared into the hundreds of thousands of pounds. But when it comes to auction excitement, which items have sparked the greatest interest in this field? Let’s take a look.

1.) Back in 1997, FIFA bought the 1966 Jules Rimet Trophy replica at a Sotheby’s auction for an eye-watering £254,500 (way above the original estimate of £20,000 to £30,000). At the time, there was a lot of buzz that it might actually have been the long-lost original (which was stolen from Brazilian Football Confederation's headquarters in 1983), but experts later confirmed it was the bronze replica secretly made by George Bird for the English FA. These days, you can see it on display at the National Football Museum in Manchester, where FIFA has kindly loaned it for fans to enjoy up close.

2.) The Original FA Cup Trophy, dating back to around 1912, has had quite the journey in recent years. Back in 2005, it was snapped up at auction by Birmingham City’s chairman, David Gold, for just under half a million pounds. Fast forward to 2020, and Gold decided to sell it again but this time fetching a much higher price of £760,000. The buyer was none other than Sheikh Mansour, the owner of Manchester City, who has since loaned the trophy back to the National Football Museum in Manchester for everyone to enjoy.

3.) Diego Maradona’s 1986 “Hand of God” shirt is truly one of football’s most legendary pieces. This is the very shirt he wore during the unforgettable World Cup quarter-final against England - the game where he scored the famous “Hand of God” goal and then amazed the world with his “Goal of the Century.” When it went up for auction at Sotheby’s in London in 2022, it sold for an astonishing £7.14 million, setting a new world record for sports memorabilia. The buyer chose to remain private, but the sale really showed just how much fans and collectors treasure moments that capture the passion, drama, and controversy of the beautiful game.

 Conclusion

At the end of the day, collecting football memorabilia is all about celebrating the game. Whether it’s hunting for that rare, signed shirt, holding onto a ticket from a historic match, or simply enjoying the stories behind each piece, it’s a way for fans to feel connected to football’s rich history. Should it result in a savvy investment? Then all the better!

Limitless Zao Wou-Ki

info@quastelassociates.com (Debra Stanislawski) — Fri, 11 Jul 2025 13:48:38 GMT

Credit: Photo above by G. Starke, via Flickr

Please find a short article by Debra Stanislawski about modern artist, Zao Wou-Ki.

Recently, Quastel Associates had the opportunity to value a vibrant abstract painting by renowned Chinese French artist, Zao Wou-Ki. This article explores this influential modern artist’s life and career.

Zao Wou-Ki was unlike most artists. His art was seemingly appreciated from the start. Starting when he was only ten years old in Shanghai, China with the support of his banker father and family of intellectuals, Wou-ki took art lessons at the prestigious China Academy of Art in Hangzhou, where he learnt from artists Fang Ganmin and Wu Dayu who themselves had been trained in French artistic tradition.

It is well remarked that the artist, Wou-Ki which is translated to mean ‘No Limits’ applied this intimately in his art. It was also showcased by his decision to ensure that his wife, who he demonstrated was best suited to ensuring the artistic life of his art, was given sole proprietorship of his work. The Foundation supporting his art does not own the art and has ensured that the art is shared in museums worldwide so that it truly can be appreciated.

Zao Wou-Ki had said that he had discovered his personality in Paris, a place which was his home for many years. In fact, after having left China, it was many years before he returned and only during a period in which he was grieving the loss of his second wife.

Wou-Ki found art inspirational, drawing from the different works he saw in different periods of his life. He began to drift away from the traditional Chinese ink and calligraphy techniques he had first learnt. This shift started when he saw postcards featuring the work of Cézanne, Matisse, and Picasso—brought to him by his uncle from Paris. He also encountered Western art in American magazines that printed reproductions. It was only later in life that he returned to Chinese techniques, which he credited to his experiences in Paris.

In 1948, he travelled over a month by sea with his first wife. It was then that he surrounded himself with artists including American artists Sam Francis, Norman Bluhm and Joan Mitchell; Canadian artist Jean-Paul Riopelle, Portuguese painter Maria Helena Vieira da Silva, German painter Hans Hartung and the French painter Pierre Soulages. He used to spend quite a bit of time in the Louvre, upon moving there. Later, he visited New York and developed an appreciation for Abstract Expressionism. It was after this visit that he began painting on much larger canvases.

Frequent attention is paid to Wou-Ki’s ability to meld together Eastern and Western artistic tradition. However, was it really a melding of East and West? Perhaps it was more likely that it reflected who he was, a blend of a bit of all the places and techniques he had seen. It seems more likely the latter than the former. Yet, being appreciated by people the world over for art should not be minimised. He had an awareness and ability to shift and blend his styles to draw together people from lots of different places.

Throughout his life, he was sought out by writers and poets, and his art not only adorns museum walls throughout the world but is also found in the pages of books. These include lithographs and etchings. Not only was he proficient in his use of etchings and lithographs but he could also paint. His watercolours and oil paintings have a universality and oneness that is rare.

His works are significant as they are not only sold at major auction houses around the world, but they can also sell for several millions when they are auctioned. Wou-Ki and his wife have ensured that his art truly will be limitless for the foreseeable future.

Care and Maintenance Series – Part 2 –Storing and Cleaning Silver

Fri, 20 Jun 2025 09:08:34 GMT

Please find a short article about cleaning and storing silver by Kerry Hall below.

Storing and Cleaning Silver

In part one of our ‘Care and Maintenance Series’, we looked at displaying and storing artworks. In part two, we are now going to look at the storage and cleaning of silver. Many of our clients have silverware in their homes, be that a few treasured pieces or a full collection, and understanding how to properly care for these items is essential to preserving their beauty and value. In this article, we’ll explore best practices for storing silver to prevent tarnish and damage, as well as safe and effective methods for cleaning, so your silver can continue to shine for years to come.

Storing Your Silver

When storing silver, it is important to choose the right location: a cool, dry, and dark place that is free from moisture and direct sunlight is ideal. Once an appropriate location has been found, silver should ideally be wrapped in acid-free tissue paper and stored in an anti-tarnish bag. Anti-tarnish cloths or strips, which help neutralise tarnish-causing gases, can also be used. Including a silica gel packet can further help control humidity, as keeping silver dry is crucial to preventing corrosion. Experts also advise against storing silver in oak furniture, as oak emits acidic vapours (from tannins) that can accelerate tarnishing. If you’re storing silver in a wooden cabinet or drawer, it’s wise to confirm the type of wood and consider using a protective lining.

When it comes to storing lacquered silver, the approach differs slightly due to its protective coating. Like with unlacquered silver, these pieces should be kept in a cool, dry place away from direct sunlight, but unlike uncoated silver, they don’t require anti-tarnish bags or strips - in fact, some of these materials can damage the lacquer over time. Instead, wrap lacquered items in soft cotton cloth or acid-free tissue paper to avoid scratches. It’s best to avoid tight packing, and there’s no need to add silica gel packets, as overly dry conditions can affect the lacquer.

Cleaning Your Silver

The appearance of tarnish on silverware is very common and usually presents as a dull grey or black film caused by a chemical reaction between silver and sulphur-containing substances in the air. Sulphur-containing substances include paint, wool and certain foods found in the home as well as pollution or rotting organic matter.

If you notice your silver is tarnished, silver dip can be used to remove it. Silver dip cloth and applied carefully, often with cotton wool or a soft cloth (or even a cotton bud for smaller items), followed by thorough rinsing, drying with a soft linen tea towel or microfibre cloth, and finishing with polishing using a silver cloth. For more delicate or intricately detailed items, silver polish may be a better option, as silver dip can be difficult to rinse fully and may leave residues in crevices. Additionally, silver polish often leaves a thin protective layer on the surface, which can help delay future tarnishing.

How often you should clean your silver depends on how frequently it’s used and how it’s stored. Silverware or jewellery that’s used regularly benefits from cleaning every few weeks or after use to prevent tarnish accumulation. Items on display or used occasionally can be cleaned every three to six months, or as soon as you notice tarnish appearing. If your silver is properly stored - such as in anti-tarnish bags or if it’s lacquered - you can often wait up to a year between cleanings. The key is to clean silver gently and regularly before tarnish becomes heavy and difficult to remove.

On the other hand, while keeping silver clean is important, cleaning it too often or using harsh methods can cause damage. Frequent polishing gradually wears down the silver, which can thin delicate pieces or erode finer details. For lacquered silver, over-cleaning can remove the protective coating, leaving the silver exposed to tarnish. Using abrasive cloths or strong chemicals may also scratch or dull the surface. Additionally, some people appreciate the natural patina that develops over time, which can be lost with excessive cleaning. It’s a fine balance but overall, cleaning your silver only when necessary and gently will help it last the longest.

Conclusion

I hope you found this instalment of our ‘Care and Maintenance Series’ interesting and helpful. Taking the time to properly store and clean your silver not only preserves its beauty but also ensures it can be enjoyed for many years to come. If you have any questions on this or if you would like a valuation of your silverware, please do not hesitate to contact the team at Quastel Associates.

Indigenous Art

Mon, 12 May 2025 15:57:54 GMT

This is a short article written by Debra Stanislawski about some Indigenous artists and art.

Indigenous artists’ artwork has frequently been overlooked until recently. Whilst it has often sparked the curiosity of scientists and anthropologists, the art world did not necessarily see it in quite the same way. In the last few years; however, there has been an upward trend in interest for indigenous art. Greater representation at art exhibitions and museums, or perhaps a greater interest in nature-centric art and the use of ancient techniques could be contributing factors. Indigenous art exhibitions have been held at the Venice Biennale, across Australia (at numerous galleries), Centre Georges- Pompidou, and at Tate Modern. There has been a particular increase in a desire for art by women, including non-cis women.

Some artists to consider include:

1. Dr Esther Mahlangu

Indigenous South African, Dr Mahlangu, is an artist who learnt her art from the Ndebele women in her family and started learning it aged ten. She passes on those skills to young girls of her community to ensure that this mathematically derived art form is preserved. She was awarded an honorary doctorate for her contribution to mathematics. Like other traditional art forms, the Ndebele art has been used for storytelling. Dr Esther Mahlangu is probably best known for her painting of a Rolls-Royce which sold for over £750,000 at auction. The curator, Thato Mogotsi, said ‘She took something European and made it unapologetically African…That’s power.’

2. Aravini Art Project

This collective is an Indian group of cis and trans women that have followed in the footsteps of Dr Mahlangu, having designed a car of their own. These artists work together to create commissioned artworks. They also provide a healing space for those who have suffered as a consequence of discrimination. They use art as a therapeutic tool to transform the harm into something to be shared with others.

3. Barbara Weir

She was an Indigenous artist native to Australia who was known for painting in a traditional nature-inspired style. Initially, she began with traditional batik art and later moved into painting. Her work includes an emphasis on colour, line, and texture. She is the daughter of Minnie Pwerle and in youth was taken away from her indigenous life because she was mixed race. She was compelled to speak English and to forget all but the name of her home town 'Atnwengerrp' in her mother tongue.

4. Minnie Motorcar Pwerle

She was an Aboriginal Australian artist who only began her art when she was over eighty years old. She was known to use ochre and traditional design techniques. Minnie started art after she was reconnected with her daughter, Barbara, and her works gained the attention of gallery owners. She was known for her use of traditional designs and her use of bright colours in a contemporary way.

5. Edmonia (Wildfire) Lewis

She was the child of a Chippewa mother and black father. To study art, she used the earnings from her early works and moved to Rome, where she con tinued to learn and used Indigenous figures in her sculptures. She lived at a time when most artists were white and male. Her mother was an Indigenous North American woman who was also an artist and used traditional artistry as her source of income, selling her art to tourists.

6. Emily Kam Kngwarray

She started art later than many, commencing when she was seventy years old and made art for only eight years. In those short, eight years that she was an artist, she produced over three thousand works of art. Her work filled a gap between western abstract art and traditional art forms. Her art focus was on 'dreaming,' which is the way that Utopian Australian Indigenous people preserve their understanding of the world and the role humans have in it.

7. Yaritji Young

She is an artist painting with bright colours who uses nature themes. She spent much time focusing on the honey ant. She is an Aboriginal artist from Australia. She is also a leader in the Aboriginal legal community. She paints and teaches her grandchildren to dance so that future generations learn their culture, just as she had learnt from her own grandmother.

8. Citra Sasmita

She studied literature and physics before pursuing art. She is a self-taught artist native to Bali, Indonesia. She has re-interpreted a traditionally male Kamasan painting technique, which has been around since the fifteenth century, into a less objectifying art form. Her interpretations include women who are strong and powerful. She wanted to use the art form to demonstrate the oppression that was a part of colonialism and to counter discourses where local art was devalued next to western art.

9. Shuvinai Ashoona

She is an Inuit artist, from Baffin Island in Canada. She comes from a family of artists and sculptors. She was born the eldest in a family of fourteen children, who she helped raise. Her art was developed and acquired from her elders, and the knowledge they shared. She never formally studied art. She is humble in her self descriptions, seeing herself as a small figure in a vast world.

10. Wanda Koop

She is an artist born in Canada who is best known for being close to the Canadian indigenous community. She was not born into the indigenous community, yet has advocated for indigenous rights through her art. She mentions ‘Canada didn’t belong to us’ and has been ’concerned with how we treat Indigenous peoples and how deeply we need to listen to what they say about the environment.’ Her family fled the Russian Revolution and settled in Canada. Her art showcases loss as a theme consistent with not only those of indigenous communities but also for those fleeing persecution and other forms of oppression.

As demonstrated, Indigenous artists cover many themes with their art. Their contributions to society have started to become appreciated, not only for their ties to nature but also for their inclusivity, and their approaches to daily life.

The ever-changing market for indigenous art suggests a need for a valuation if one has not been done in some years. Should you require one, please contact the team at Quastel Associates for additional insight.

Displaying and Storing Paintings

Tue, 22 Apr 2025 09:24:48 GMT

Please find the first article about Paintings in the Care and Maintenance Series by Kerry Hall below.

Displaying and Storing Paintings

In our line of work, it’s not uncommon for our valuers to be asked the same question: what’s the best way to display or store a treasured painting? Some clients can’t wait to hang their new artwork as soon as they bring it home, while others, for any number of reasons, need to tuck it safely away for the right moment. Whether it’s going on the wall or into storage, handling art correctly is key to preserving its value and beauty. In this article, we’ll explore the best practices for displaying and storing paintings, prints, and photographs — helping you keep your collection safe from harm.

Displaying your Paintings

First and foremost, it’s important to think not just about how you hang your artwork, but where. Avoid placing pieces above radiators or fireplaces, where fluctuating temperatures can cause paintings to dry out, warp, or even crack over time. Heat can also affect the adhesives used in mounting or framing, leading to potential damage. To protect your artwork, always allow for a generous distance between any heat source and the piece itself.

It’s also wise to avoid hanging your artwork in direct sunlight, as prolonged exposure can lead to fading, discoloration, or even cracking of the paint and materials. Instead, opt for a spot with indirect light to help preserve the piece’s original vibrancy. If you're having the artwork framed, consider using UV-protective glass - such as museum glass - to add an extra layer of protection against light damage.

Once you have decided on the best spot in your home to hang your work, it is then essential to ensure you have the correct hardware. For valuable works, we recommend considering attaching the following to your artwork: D-rings, strap hangers, sawtooth hangers, metal frame hangers or even anti-theft picture hangers. You will need to ensure they are strong enough to support the weight of your artwork and that they are securely fastened to the piece and wall. In relation to the wire, make sure it has a capacity to hold at least 1-3 times the weight of the piece (thicker wire is recommended).

As Sarah Giles, Director of Sarah Giles Collection Care, recalls “My clients had a collection of porcelain on a console table which was broken because a painting’s hanging fixing snapped and it crashed on to the table, damaging the porcelain and ceramics.”

Lastly, when it comes to the aesthetics of hanging your artwork, we recommend hanging the artwork with the centre at eye level (approximately 150 cm from the floor). Using a spirit level will assist with ensuring it is straight. Avoid hanging an artwork between large windows as this makes it hard to see the art in daylight. With regards to lighting, picture lights, spotlights or angled ceiling lights work well. Picture lights should be placed around 15-18 cm above the artwork and angled to avoid glare.

 Storing your Paintings

Again, when it comes to storing artwork, it's not just about how you store it — it's also about where. The ideal storage space is cool, dry, dark, and free from excessive humidity. Avoid areas with temperature fluctuations or direct sunlight, as both can damage paintings over time, as discussed earlier.

A clean, dust-free environment with good ventilation is essential. Keep the space clear of pests and pollutants and be mindful of mold-prone areas - proper airflow can make a big difference.

While attics, basements, and garages may seem like convenient storage options, they typically have unpredictable temperatures and humidity levels that can cause significant damage to your artwork over time. Whenever possible, choose a more stable environment to preserve your pieces for the long haul.

Proper packaging is just as important as the storage environment when it comes to protecting your paintings. Start by wrapping the artwork in acid-free paper or glassine to create a barrier against dust and surface damage. For added protection, you can layer bubble wrap over the initial wrapping — but be sure it doesn’t come into direct contact with the painted surface. Use corner protectors to guard the edges, and if you're placing the painting in a box or crate, choose one that’s sturdy and just slightly larger than the piece to prevent shifting. Fill any gaps with soft padding to keep the artwork snug and secure. The goal is to cushion the painting without compressing it, giving it a safe and stable packaging that supports long-term preservation.

Whether you choose to hang your artwork or store it away for safekeeping, taking the right steps will go a long way in preserving its condition and value. A little care now means your paintings can be enjoyed and appreciated for generations to come.

Sculpting the 'Geometry of Fear'

Fri, 21 Feb 2025 16:18:53 GMT

Please find a short article about post World War II sculptors by Debra Stanislawski below.

In 1952 Henry Read wrote that the works of Post- Second World War sculptors were representing the ‘Geometry of Fear’. The label stuck.

In a time when the devastation of humans by humans and the brink of nuclear war seemed imminent, it is no surprise that this purported view had resonated. Read had imposed a meaning onto much of the art suggesting that the feelings of fear and darkness were manifested in the works of the young artists. He suggested that the emotions they developed through an all-consuming war were depicted through their art. Exhibitions in Italy and London led to purchases by high profile individuals of the works of these young artists and threw them into the spotlight, whether they wanted it or not.

These individual artists were gathered as a motley crew. Yet, their styles were sometimes different enough from each other that the label did not necessarily accurately reflect some of these artists own views of their work. This is not too dissimilar to artists’ views about how marketing is conducted rather generally. Some of the ‘Geometry of Fear’ artists did not feel that their label encompassed them.

This group of renegade artists included:

1. Elisabeth Frink

She had been offered the Presidency of the Royal Academy. She rejected it.

Whilst to date her animal sculptures sell in the tens to hundreds of thousands and are rather realistic in their depiction, her human forms could been seen to demonstrate some of the emotion Read suggested for this group.

 2. Lynn Chadwick

He did not attend art school but followed his intuition when sculpting. He was a pilot in World War Two. He was also rather opposed to the notion that his art had any sort of political meaning, feeling rather more inspired by nature than by the ideas suggested by Read. When he was forty-two years old, he won the International Sculpture Prize. He is still the youngest sculptor to have won it.

He learnt how to weld. His family had hoped that he would become an architect, but he had decided it was not the right profession for him.

 3. Reg Butler

During the Second World War, he was a conscientious objector. He trained as an architect and became a blacksmith during the war. After he had won the ‘Unknown Political Prisoner’ competition, his career as a sculptor was sealed.

 4. Kenneth Armitage

He was born in Yorkshire and served in the army in World War Two. His best-known style was merging the bodies of groups of individuals together with bronze casts.

 5. Bernard Meadows

He was a set designer for Jean-Paul Sartre’s ‘The Flies’. In a period where refusal of awards was perhaps in line with the Existential times, Sartre also refused the Nobel Peace Prize in 1964. Meadows was Henry Moore’s assistant.

It might be suggested that taking aboard the darker side of humanity when constructing art lead the ‘Geometry of Fear’ sculptors to artistic success.

Similar themes are considered with contemporary artists. Artists such as Tracey Emin and Antony Gormley are frequently cited as two examples of artists thriving off this side of humanity and the creativity it has inspired. Some have even said that the Geometry of Fear artists were partially responsible for influencing both their works.

Medals

Mon, 27 Jan 2025 10:41:29 GMT

Please find a short article by Mark Smith below.

At Quastel Associates, we have been fortunate to value some of the most important medals ever awarded.

There are a number of specialist auction houses in the United Kingdon focusing on medals. The strength of the market is also demonstrated by the number of major auction houses offering dedicated medal sales.

So, what makes some medals worth a few pounds or others a seven-figure sum? Collecting is much the same as other collecting fields; condition, provenance and rarity playing an important part in value.

However, beyond that, there are a number of factors to consider such as the importance of the battle or campaign, the fame of the individual or event and the level of gallantry involved.

In terms of desirability and value, the Victoria Cross is arguably one of the most sought after for medal collectors because there are only 1,357 in existence. However other collectable medals include the George Cross, Distinguished Service Cross, Military Cross, Distinguished Flying Cross and Air Force Cross to name but a few.

Collectors typically focus on medals awarded by their own country with officer rank also playing a role in attraction and value. Medals are typically sold in groups, and the varied combination of decorations can add to their rarity and appeal.

Some collectors focus on miniature dress medals, produced for wear on mess dress uniforms or black-tie events. Although having less value than the full-size versions, they offer an alternative to the collector who can add medals to their collection which were previously out of reach due to rarity or value.

Collectors often focus on certain conflicts such as the Napoleonic, Crimean and Boer Wars, the Indian campaigns, followed by the two World Wars and later conflicts of the 20 ^th Century such as Afghanistan or The Falklands. Often a short conflict will mean that medals are limited and therefore sought after within the collecting sphere.

Others will concentrate on certain regiments, famous battles, single decorations or those awarded for civilian action. The vast range of options means that the medal collecting field will attract a variety of different collectors.

When we visit clients who own medals, these have often been passed down through generations of their family and their true value is unknown. It is important to check that the medals in their possession are the original versions. This is because many have been lost either in battle or over time and the replacement versions are a fraction of the value of the originals. This is why cases, paperwork and provenance all play a role in determining value.

The values of medals have been growing, especially following the increase in collecting during the Pandemic. However, it is often a link to history and the connection to the person involved in the bravery rather than a monetary value which interests family members or drives collectors. Despite this, as demand is outstripping availability, there is no doubt that medal collecting and values will continue to grow.

Photography

Mon, 25 Nov 2024 12:32:08 GMT

Please find a short article by Debra Stanislawski about Photography below.

Photography is art. It is one which vanishes rapidly with the influx of do-it-oneself mobile phone or digital photography. Most people can now be their own self-appointed photographers, often electing to default to what is immediately available rather than seeking out skills which can take years to hone.

National Geographic and BBC programmes such as those incorporating the voice of Sir David Attenborough are renowned for their imagery. It may just be those images and the skill of the photographers and videographers which draw in the viewers.

To the disappointment of purists, it might be quick fire videography and CGI, which dominate the future. The very modes of viewing made popular by the likes of TikTok, Snapchat, and Instagram fill in what used to be ‘free’ time.

Nonetheless, it is probable that those with a penchant for vintage and artistic skill will continue to seek out photography in its purest form. It is through this art form that life’s reflections will continue to find favour with our clientele as black and white photography, photojournalism, and nature shots continue to fare well at auction. Moreover, head shots, baby, and wedding photographers do appear to retain their high demand.

There are distinct types of photographic prints including chromogenic prints, silver prints, lambda, and pigment print which use different chemicals which may include some or none of the following: polyvinyl alcohol, gelatin, cellulose, and albumen in the processing of the prints. Dyes may be organic; others are not. Some methods consider the environment; others have had a clear (and often ignored) detrimental impact on the earth and even its people (where slaves collected the minerals and chemicals previously perceived necessary to develop photographs).

In any event, photography does still sell, and our clients keep them in their home and have bought them at auction. The highest valued photograph sold at auction was 'Le Violon d ‘Ingres’ in 2022, selling for £9.8 million, which was more than twice its estimate. Though with photography, the same photographer may have one shot that sells for a great sum whilst the others sell for much less. Therefore, before buying artwork, it is imperative to look out for key details such as: the number of prints, the context at the time of making, the popularity of the artist, and general trends.

It may be worth considering the following photographers who have fared well professionally in the last years prior to making a purchase.

1. Cindy Sherman

Her works can sell at auction for hundreds of thousands of pounds and her works have made it to the walls of Christie’s, a step towards prominence indeed. Untitled #94 (1981) sold for over £643,000 with buyer’s premium just this month. This was 161% more than the high end of the estimate.

2. Man Ray

'Le Violon d ‘Ingres’ was the most expensive photograph ever sold at auction at £9.8 million in 2022. It is a surrealist image of Kiki de Montparnasse with f-shaped sound holes comparable to a violin’s shape. This photograph sold at a particularly high price because it was a print made from the original negatives. Man Ray had an interest in the painter Jean-Auguste-Dominique Ingres and the photograph paid homage to the artist’s style of painting nudes and his hobby of violin playing.

3. Annie Leibovitz

She may be best known for her portraiture. What separates her from other photographers is the art that she creates in the process. It is photojournalism taken to the next level.

She photographed Queen Elizabeth II and produced the below photograph which is probably one of the more austere images of the late Queen and which sold for £28,000 at auction. She has also taken photographs of other well-known personalities including the one below of John Lennon and Yoko Ono, which was on the cover of Rolling Stone.

4. Andreas Gursky

His highest selling works are landscapes. These include – Rhine II – a photograph of the Rhine River between fields. Images detracting from the image, according to the photographer, (such as dog walkers) were removed digitally.

5. Gilbert & George

The pair show their work at Tate.

They have said that they make art ‘to confront people.’

Gobs (1988) (below) is one of their better-known works.

It sold for over £73,000 with buyer’s premium at auction this year.

6. Henri Cartier- Bresson

He was a photographer born in France who documented his travels with photography. One of his works below depicted daily life around the Berlin Wall.

7. Martin Parr

He is an English photographer.

His works tend more towards pops of bold colours such as reds, pinks, and blues.

Quastel Associates’ valuers often view photographs whilst valuing in high-net-worth clients’ homes. Each client may have a different reason for making the purchase. However, the most common reasons for such purchases consider the following three points. Firstly, they can be reasonably priced, therefore more accessible. Secondly, photography is an art form that is becomingly increasingly endangered and an art form that clients appreciate. Finally, photographs work in modern homes because they often have clean lines which suit the décor.

Should you require a valuation, please feel free to contact Quastel Associates so that we may find the best valuer for your needs.

Andy Warhol

Mon, 28 Oct 2024 10:29:30 GMT

Please find our newest article below

Andy Warhol, one of the most influential and iconic figures of 20th-century art, revolutionised the art world with his unique style and approach. Warhol began his career as a commercial illustrator before rising to prominence as a leading figure in the Pop Art movement. His work blurred the lines between high art and popular culture, often depicting everyday consumer goods and celebrities in a way that challenged traditional notions of artistic value.

Warhol's most famous works include his silkscreen prints of Campbell's Soup Cans, Marilyn Monroe, Elvis Presley, and Coca-Cola bottles. These pieces exemplify his fascination with consumerism, fame, and mass production, as well as his belief that art could be a product just like any other. Warhol's use of repetition and bright, bold colours in his artworks became his signature style, cementing his place in the pantheon of contemporary art. His studio, known as "The Factory," became a hub for artists, musicians, and celebrities in the 1960s, further enhancing his status as a cultural icon.

At Quastel Associates, we have kept a keen eye over the years on how Warhol's artworks continue to command high prices at auctions worldwide, with the British art market being no exception. His pieces often fetch substantial sums, making them some of the most sought-after works in the art world. Warhol's enduring popularity is reflected in the high prices his art achieves, both for his well-known series and for lesser-known works.

One of the most notable sales was his "Shot Sage Blue Marilyn" (1964), a silkscreen portrait of Marilyn Monroe, which sold for £158 million ($195 million) in 2022, setting a new record for the most expensive artwork by an American artist sold at auction. The work exemplifies Warhol's fascination with celebrity culture and the tragic nature of Monroe's life, immortalizing her image in a bold and iconic style.

Other significant Warhol works that have appeared in British auctions include his portraits of Elizabeth Taylor and Elvis Presley, which have sold for several million pounds each. His "Double Elvis" (1963), a striking image of Elvis Presley as a cowboy, achieved a sale price of approximately £37 million at Sotheby's London in recent years. Warhol's "Mao" series, featuring portraits of the Chinese leader Mao Zedong, has also been popular at auction, with individual pieces selling for over £8 million each.

In addition to these high-profile works, smaller Warhol pieces such as his "Flowers" series or his lesser-known drawings and prints, can also fetch hundreds of thousands of pounds at auction. We regularly value his screenprints and their values have continued to climb, especially his more sort after iconic works. These appeal to collectors who want to own a piece of Warhol's legacy without the astronomical price tags associated with his most famous paintings.

Warhol's influence on contemporary art remains undeniable, with his works continuing to resonate with new generations of art enthusiasts. His exploration of consumer culture, mass production, and the cult of celebrity paved the way for future artists to question and expand the boundaries of what art can be. Today, Warhol's artworks not only reflect the culture of their time but also stand as symbols of the evolving nature of art in the modern era, with their value in the art market serving as a testament to his lasting impact.

Should you require a valuation for your Andy Warhol artwork or similar 20th century artwork, please contact Quastel Associates and the team will be more than happy to assist.

David Hockney

Fri, 20 Sep 2024 14:07:14 GMT

Please find a short article below by Kerry Hall.

David Hockney is one of the most influential and celebrated contemporary British artists and is someone whose art Quastel Associates is lucky enough to come across on a regular basis. Known for his vibrant use of colour, study of space, and consistent experimentation with new media, Hockney has produced a vast and varied body of work spanning painting, photography, drawing, and digital art. His career, which began in the 1960s, has been marked by both commercial success and critical acclaim, and he remains active in today’s art world.

Hockney first made his name as part of the Pop Art movement in the 1960s. His early works often featured homoerotic themes, which were groundbreaking at the time. However, it was his series of Californian swimming pool paintings, such as A Bigger Splash (1967), that cemented his reputation as a leading figure in contemporary art. These paintings, characterised by their clean lines, bright colours, and sun-drenched atmospheres, captured the fascination of American suburban life. His style in these works was a blend of realism and abstraction, with a focus on light, space, and perspective.

Throughout his career, Hockney has continually pushed the boundaries of artistic expression. In the 1980s, he began experimenting with photography, and in the 21st century, Hockney embraced digital technology, using the iPad as a tool for creating intricate drawings and even large-scale works. His openness to new media has allowed him to remain relevant and to continue to attract new generations of fans.

Recent auction sales of Hockney’s works demonstrate his enduring appeal and market value. In November 2018, his painting Portrait of an Artist (Pool with Two Figures) (1972) was sold at a Christie’s auction in New York for £70.1 million ($90.3 million), setting a record at the time for the highest price ever paid for a work by a living artist. Though surpassed since by works from artists like Jeff Koons and Beeple, this sale highlighted the immense demand for Hockney's works, particularly those from his pool series.

In June 2021, Hockney’s work Garrowby Hill (2017), a colourful landscape of the British countryside, sold for £6.6 million at a Sotheby’s auction in London. Similarly, his piece The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven), part of a series inspired by his native Yorkshire, sold for £4.8 million in December 2022.

Despite these staggering auction prices, Hockney himself has remained grounded in his approach to art. He once remarked, “I’m interested in pictures, I mean that’s the only thing. The world is very beautiful, but human beings are rather ugly.” His focus on capturing the beauty of the world—whether it be in the sun-drenched pools of California, the rolling hills of Yorkshire, or his experiments with technology—continues to captivate audiences globally.

In addition to his auction success, Hockney’s work is frequently exhibited in major museums and galleries across the world. In 2020, the Royal Academy in London hosted a major retrospective of his work, which included his iPad drawings and immersive, large-scale digital landscapes.

At 87 years old, David Hockney continues to work and create, defying the traditional boundaries of age, media, and style. His legacy as one of Britain’s greatest living artists remains unquestionable.

Brooches

Fri, 13 Sep 2024 10:25:18 GMT

Please enjoy this short article about brooches by Debra Stanislawski.

Brooches

Brooches are a bit of a mystery. Their values can range significantly depending upon their age, the type and number of stones, and their condition. The better the quality of the materials used and the more limited the release, the higher the price it will fetch. Moreover, brooches from the Victorian, Edwardian, and Renaissance periods (like properties) tend to collect higher value than those of other historical periods.

Brooches vary in popularity with fashion trends. Sometimes they are worn in the hair, to attach scarves, or to the front of jackets.

Most recently, fob watch brooches sold at Bonhams for a considerable sum. A Cartier fob watch brooch sold at auction for £44,800 with buyer’s premium. It contained diamonds and onyx, was Persian inspired, and came from the Art Deco period which increased its value.

Celtic Brooches

Celtic brooches were used by women and men as cloak fasteners and were worn by Celts and Vikings. The first Celtic brooches were seen in the Early Medieval period in Ireland and Britain and feature a long pin attached to a ring. The pin moves around the ring which prevents damage to the garment.

Famous Brooch Wearers

Lady Justice Hale was renowned for wearing brooches when she sat at the House of Lords (now Supreme Court) with a spider brooch being particularly noted. It was one which was worn on the day of the prorogation judgment and insisted that her choice of brooch was not indicative of any political statement whatsoever. She stated that she began wearing them when receiving the first as a gift from her husband and to spruce up her predominantly dark attire for court. She insists that her reason for wearing them was completely unlike the strategic approach used by Madeline Albright, US Secretary of State, and diplomat. Lady Hale also said that she would wear colourful scarfs into the courtroom to remind the predominantly male justices that women were now present.

Queen Elizabeth II was another who had an affinity for brooches.

Her daytime style was to wear a brooch on the lapel of her jacket or dress and to use it to fix a sash in the evening. The Prince Albert brooch was one she wore often and was a wedding gift designed by Gerrard and Prince Albert to give to Queen Elizabeth II’s great grandmother the night before the wedding.

Should you require a jewellery valuation, please contact Quastel Associates and the team will find the most appropriate valuer for your requirements.

Instagram and the Art World

Thu, 15 Aug 2024 09:59:33 GMT

Please find a short article by Greg Mullin below.

Instagram has opened a whole new world in relation to art enthusiasts and for consumers looking to collect art to enjoy and for investment.

It is an ideal and easily accessible platform to view art from a new generation of young, diverse and emerging artists from around the world. Many of the people looking to collect and invest in this art are excited by these up-and-coming artists who have the same background and influences that they have and therefore the art resonates with them even more. This means that the art audience has expanded as those who may not have previously viewed and collected art, now have the opportunity to easily purchase a piece that they enjoy.

Traditionally, the art world has been seen as hard to break into unless you had the right connections, or you had the right background or studied at the right college. It could now be argued that Instagram has levelled the playing field and an artist’s work has a much better chance to be seen and enjoyed by a large audience.

On Instagram, as well as enjoying access to the art, we can also engage with the artist, ask them questions and learn about their process behind the artwork and of their inspiration and influences. This engagement no doubt helps the artist sell their work, but there is also the chance for them to provide lessons and participate in live sessions for their followers.

The good news for galleries is that they need not be left behind whilst we witness this current evolution and accessibility of online art.

They can and currently are also benefitting from and utilising Instagram. They are creating reels and various creative content to showcase new upcoming artists and exhibitions, reaching a large audience of like-minded creative people.

Galleries will, however, have to adapt to the idea of artists on Instagram being able to reach their audience in a more direct and immediate way. Much like the artists themselves, whilst galleries continue to utilise Instagram in a similar way, to advertise and promote artists and events and create engaging content, there is no reason why they can’t co-exist. Especially as they can use the platform to reach out to new artists and vice versa creating a collaborative experience.

As with social media in general, there is a downside to this, or at least something on which to contemplate.

The ability of artists to take a note of what is ‘trending’ and popular on the platform and copying or emulating similar work to make sales and to try and become more popular. This could be creating a more homogenous art platform, with less individuality.

The idea of selling out is obviously nothing new in the art world. It is important to note however, that we should not always take too much notice of what has ‘likes’ or an artist’s popularity (much like in the real art world) to determine whether a piece of art is worth considering, whether as an art enthusiast, collector or investor.

The Rise of 20th Century Furniture: Icons and Licensing

Wed, 29 May 2024 15:02:19 GMT

Please find a short article by Mark Smith, Managing Director, below.

In recent years, there has been a noticeable shift in the tastes of modern homeowners, moving away from traditional antique furnishings and towards the sleek, innovative designs of the 20th century.

This change reflects a growing appreciation for the clean lines, functionality, and timeless appeal of mid-century modern pieces. As technology evolved, so too did interior design, leading to the emergence of groundbreaking designers who revolutionised the furniture industry. This article explores the contributions of some of the key figures such as Charles and Ray Eames, Marcel Breuer, and Ludwig Mies van der Rohe among others, and the importance of licensing their designs correctly.

Charles and Ray Eames

Charles and Ray Eames, an American husband-and-wife team, are synonymous with mid-century modern design. Their work combined practicality with an elegant simplicity, epitomised by the iconic Eames Lounge Chair and Ottoman. Introduced in 1956, this chair is celebrated for its comfort and sophisticated aesthetic, combining moulded plywood with luxurious leather. The Eames duo also pioneered the use of new materials, such as fibreglass and plastic, in furniture design, making stylish yet affordable pieces accessible to the masses.

Marcel Breuer

Marcel Breuer, a Hungarian-born architect and designer, was a prominent figure in the Bauhaus movement. His work, particularly the Wassily Chair, transformed furniture design by incorporating tubular steel. Created in 1925, the Wassily Chair's use of lightweight, durable steel was groundbreaking. Breuer’s designs were not only aesthetically pleasing but also practical, embodying the Bauhaus principle of combining form and function.

Hans Wegner

Danish designer Hans Wegner was a key proponent of the Scandinavian modern movement. Known for his precise craftsmanship and attention to detail, Wegner’s designs often featured natural materials and organic forms. His iconic Wishbone Chair (CH24), designed in 1949, illustrates his philosophy of creating functional yet beautiful furniture.

Ludwig Mies van der Rohe

Ludwig Mies van der Rohe, a German-American architect, was one of the pioneers of modern architecture and design. His Barcelona Chair, designed in 1929 for the German Pavilion at the International Exposition in Barcelona, remains a symbol of modernist elegance. The chair’s clean lines, premium materials, and impeccable craftsmanship embody Mies’s philosophy of “less is more,” blending functionality with a minimalist appeal.

Arne Jacobsen

Arne Jacobsen, a Danish architect and designer, made significant contributions to modern furniture design with his innovative use of materials and forms. His Egg Chair and Swan Chair are celebrated for their sculptural, organic shapes and comfort. Jacobsen’s work blends functionality with artistic expression, making his designs enduring symbols of modernist taste. His approach often involved a holistic integration of architecture and interior design, ensuring that his furniture pieces complemented and enhanced the spaces they occupied.

Le Corbusier

Le Corbusier, a Swiss-French architect, designer, and urban planner, was a giant of modern architecture and furniture design. His LC2 and LC4 chairs, designed in the late 1920s with Pierre Jeanneret and Charlotte Perriand, are iconic for their minimalist, industrial aesthetic. Utilising chrome-plated steel and luxurious leather, these pieces exemplify Le Corbusier’s belief in creating functional, comfortable furniture for modern living spaces.

The Importance of Licensing

The designs of these key names in 20th Century furniture have become iconic, often imitated but rarely matched in quality and integrity. Correct licensing is crucial to preserve the authenticity and legacy of such designs. Licensed pieces ensure that the original vision and specifications of the designers are upheld, maintaining the high standards of craftsmanship and material quality. Moreover, licensing protects the intellectual property rights of the designers and their estates, ensuring they receive due recognition and financial compensation.

In recent years, there has been a surge in demand for authentic mid-century modern furniture. Licensed pieces not only guarantee authenticity but also provide buyers with a sense of owning a piece of design history. They are often seen as investments, retaining or even appreciating in value over time. Unlicensed replicas, while cheaper, can lack the durability and precise detailing of the originals, ultimately diminishing the design’s integrity.

Conclusion

The 20th century brought forth a new era in furniture design, led by visionary designers like Eames, Breuer, Wegner, van der Rohe, Le Corbusier and Jacobsen. Their contributions have left an enduring mark on the design world, blending form and function in ways that continue to inspire. Ensuring these designs are correctly licensed is essential for preserving their legacy and maintaining the high standards they established. For enthusiasts and collectors, owning a licensed piece of 20th-century furniture is not just about style; it’s about honouring the craftsmanship and innovation that defined an era and prices for original pieces will only continue to rise.

Pearls

Fri, 03 May 2024 13:39:25 GMT

Please find an article by Debra Stanislawski below. Photo credits to Clare Blatherwick, jewellery valuer.

There are many types of pearls, which can be categorised into: natural and cultured pearls, and imitation pearls.

The difference between natural and cultured pearls lies in the formation. Both types are considered gemstones. A cultured pearl is formed due to human intervention. In essence, humans deliberately irritate the oyster or mollusc, which tend to be specifically raised for such purposes.

Our jewellery valuer (and talented photographer, credited below), Clare Blatherwick, tells us:

‘We are seeing significant price increases in the cultured pearl market as availability of stock is restricted due to very high Chinese demand. Conversely, the natural pearl market, which has been incredibly buoyant for over a decade, seems to be softening for those under 5mm.’

There are different types of cultured pearls, including: Akoya, South Sea, Tahitian, and Freshwater. Akoya are the white or cream coloured variety preferred by the West, produced in Japan and China. South Sea are mostly produced in Australia, Indonesia, and the Philippines and range from white to silver or gold in colour. Tahitian are found in French Polynesia and are the most varied in colour from grey, black, or brown with pink, purple, or green overtones. Freshwater pearls are the most common, renowned for their availability, range of sizes, shapes, and their (frequently) lower comparable market price. They are produced in China.

As with other gemstones, size, colour, and quality matter. The dangers for both sea divers and sea creatures are mitigated through the purchase of cultured pearls. Supply, demand, and cost are the primary drivers of this market and as with anything, these are subject to fluctuations.

Should you require a jewellery valuation, please contact us.

Retro Resurgence: Arcade & Video Game Collecting Unveiled

Fri, 12 Apr 2024 10:10:40 GMT

Please find our short article by Mark Smith below.

In the realm of gaming, the nostalgia of arcade and video games holds a special place in the hearts of many enthusiasts. From the iconic cabinets of Pac-Man to the revolutionary consoles like the Nintendo Entertainment System (NES), these relics of the past have not only retained their charm but have also become highly sought-after collectables. In recent years, the fascination with vintage gaming has surged, driving both interest and prices at auctions to new heights. This article explores the trends seen in the auction market for collectable arcade and video games, alongside the evolving demographics of collectors.

Auction Trends:

Auctions have become a prominent platform for enthusiasts and collectors to acquire rare and coveted arcade and video games. The demand for these items has grown significantly, leading to fierce bidding wars and record-breaking prices. One notable trend is the increasing value of mint-condition, original arcade cabinets and cartridges.

The all-time record for a vintage game is a staggering £1.6 million paid in 2021 for a 1985 Super Mario Bros cartridge. This remarkable sale highlighted the allure of preserving gaming history in its purest form. Similarly, arcade cabinets featuring classic titles such as "Donkey Kong," "Pac-Man," and "Space Invaders" have fetched substantial sums, often reaching tens of thousands of pounds.

Moreover, the emergence of retro gaming conventions and dedicated online marketplaces has facilitated the exchange of rare gaming memorabilia, further driving the demand for collectables.

The various consoles such as Atari, Sega and Nintendo are highly desirable for collectors, as are the various early 1980s hand-held electronic games and the later portable Atari Lynx and Gameboy consoles. Again, condition is a key factor in determining value as of course is the allure of the rarer more sought-after games.

Changing Demographics:

Traditionally, collectors of arcade and video games were often individuals who grew up during the golden age of gaming in the 1980s and 1990s. However, there has been a noticeable shift in demographics, with younger generations increasingly joining the ranks of collectors.

Millennials and Generation Z, in particular, have embraced retro gaming culture, drawn to the simplicity and nostalgia of classic titles. The rise of social media platforms like Instagram and YouTube has provided a platform for enthusiasts to showcase their collections and connect with like-minded individuals worldwide.

Conclusion:

Collectable arcade and video games have transcended their original purpose as mere forms of entertainment to become treasured relics of gaming history. The auction market reflects the increasing value placed on these items, with record-breaking sales and heightened interest from collectors worldwide.

As demographics shift, a new generation of enthusiasts is embracing retro gaming culture, ensuring that the legacy of classic arcade and video games will continue to thrive for years to come. Whether it's reliving childhood memories or discovering the roots of modern gaming, the appeal of collectable arcade and video games remains as strong as ever.

Should you require a valuation for your collectables, antiques, art, or jewellery, please contact Quastel Associates and the team will be more than happy to assist.

Sneaker Collection

Sun, 17 Mar 2024 09:08:28 GMT

Please enjoy this short article on Sneakers by Debra Stanislawski.

Frequently, our valuers visit clients who have collections. These range from David Hockney collections to Patek Philippe

watch collections, or even to humble sneakers (or trainers, as known by Brits). Some argue that like fine wine and Classic Cars, sneakers

have created their own luxury market. With some sneakers selling at auction for hundreds of thousands of pounds, this may be an

argument worth making. What makes a pair of sneakers valuable? As with art and other valuables, there are factors to consider, namely:

Were the sneakers made for or with celebrities?
Were they worn at a particularly significant sports match?
Is there something which makes them particularly unique?

As with general market trends and the economy, the value of sneakers increases in relation to:

Demand
Rarity
Quality

Some companies collaborate with street artists, musicians or celebrities which makes their value increase.

One such example is the Nike Air Jordan as it is a status symbol and not just a shoe with a purpose.

Top Sellers

Some of the brands which tend to see higher figures are those that have name recognition, such as Nike. Other brands such as Vans,

Adidas, New Balance, and Converse are iconic not only because of their original links to sport but also for their practicality and useability.

Converse All Stars got their start as basketball shoes. Adidas Sambas started as football sneakers. Similarly, the Nike Oregon Waffle

became famous as its prototype’s sole was created with a waffle iron. Other Adidas shoes were initially designed for basketball and for

tennis. Other more eco-conscious brands also become more popular.

Nike has one of the highest grossing figures for sneakers of all time, perhaps due to the extensive sums they have spent on celebrity

advertisements to consistently promote their goods. In 2019, Christie’s sold a pair of sneakers for over £361,000. This pair was Nike’s 1972

“Moon” sneakers, which were a pair of running shoes. They were in fact, Nike’s first pair and were used in the 1972 Olympic Trials.

The original Nike sneaker fell short of the one promoted by Michael Jordan and which was sold at auction. Michael Jordan’s Air Jordans

sold for £86,600 paid in 2013 in his 1997 “flu game” – where he destroyed rivals Utah Jazz despite being violently ill.

Nike’s Michael Jordan 1998 NBA Finals ‘The Last Dance’ Game Worn and Signed Air Jordan XIIIs sold for over £1,700,000 in 2023.

This is quite a sum for a pair of shoes.

Michael Jordan not only made the usual brand for which he was paid to market, Nike, popular. He even made Converse popular when he

wore them in his 1984 Olympic debut, which sold for £150,000 in 2017. Another sportsperson whose shoes are high value was Muhammad Ali's whose set of boxing boots sold for £82,700 in 2015. Even if someone doesn’t have the sums mentioned above to buy these coveted collectable sneakers, it is still possible to invest wisely.

One Bristolian, Richard Hastings, featured on BBC, knows all too well the value of sneakers. He invested time and money to get the most

highly valued of sneakers. This had included waiting for several days to queue for one pair. He believed that his investment had been

worth it as he bought one pair for £80 when he was a student, and that pair is now valued at between £10,000-£20,000. With 500 pairs of

shoes (and growing) it becomes a substantial sum especially as they are both to wear and for collection. Those that he has not worn will

likely increase in value in the long term.

Should you require a valuation of your collectibles, reach out to the team at Quastel Associates who will put you in contact with the most

appropriate valuer for your needs.

Contemporary Art

Thu, 08 Feb 2024 13:53:29 GMT

Please enjoy this short article on Contemporary Art by Debra Stanislawski and James Weedon at Quastel Associates;

Contemporary Art

Contemporary art is, at its simplest, the art of the modern day. It tends to include artwork from the latter part of the 20 ^th Century and the 21 ^st Century and may use traditional techniques with novel, innovative, and sometimes even avant-garde approaches to art.

According to one of our senior art and furniture valuers, James Weedon, “Contemporary art is an ever-changing market. Top artists such as Peter Doig, Yayoi Kusama, Jenny Saville, Banksy and Cecily Brown's work are consistently breaking records at auction. Saville’s ‘Propped’ became the world’s most expensive work by a female artist selling for £10 million. Her work entitled ‘Shift’ jumped from £5.9 million in 2016 to £7.5 million in 2023. Doig’s ‘Swamped’ (1990) sold for £15 million in 2015 and then reappeared on the market 6 years later. There, it sold for a record £25.5 million, the highest ever for the artist. Cecily Brown’s ‘Suddenly Last Summer’ sold in 2009 for £360,000, one year later for £605,000 and then again in 2018 for £4.2 million. These are just a few examples of the spectacular rises in value for certain artists, particularly contemporary, that require re-assessment on a regular basis.”

Given the fluctuations in the market, it can be useful for clients to have an insight into some of these contemporary artists.

Artists to Watch

One of the artists to continue to watch is Jadé Fadojutimi. Whilst Jadé is British, her influences frequently stem from Japan and an interest in anime and colour. On one of our recent valuations, James describes his experience of valuing one such work: ‘Upon attendance at one of our client’s homes, I inspected one of Jadé Fadojutimi’s paintings, ‘Reclining Nude.’ Shortly after her graduation from the Royal College of Art in 2018, this painting sold for £15,000. Five years later, her similar works sold well over £500,000 and several sold for over £1 million. Her work is very much in the forefront of the contemporary art market.”

Yayoi Kusama is another artist who continues to be of interest. She was born in Japan and her work is known to have influenced Andy Warhol, amongst others. She began her art studies in the traditional Japanese form referred to as ‘nihonga’ and melded this form with American abstract impressionism, said to have inspired her. Her pumpkin sculptures tend to be one of her most recognised works, which she had started drawing when she was still in school.

Jenny Saville is an artist who rose to fame through her depictions of the human body. Surprising some with her potentially body dysmorphic perspective, ‘Propped’ set her apart from many other artists. She does not shy away from themes which can provoke some, using her images of nudes to provoke thought and represent what is natural rather than the often-idealised view of humanity portrayed in media.

Cecily Brown is another artist on the list of those whose works are appreciating. Her works are also described as shifting between abstract and figurative art. The paint in her paintings is described as transforming on the paper.

Peter Doig is a Scottish born artist who moved to Trinidad. He completed his art studies in London. He was inspired by artists such as Edvard Munch . He frequently paints landscapes reminiscent of his childhood.

David Hockney is another popular artist. His art frequently sells for several millions. He has a varied background in art, which has included theatre set design as well as photography.

James Weedon describes one recent valuation and one of the works he was able to value whilst there. Through his research he discovered that “A lithograph by David Hockney, ‘Pool (made with Paper & Blue Ink)’ was released as an edition of 1000 copies with an accompanying book. Our client purchased it for £100 in 1980 from the Royal Academy Art Exhibition. Copies of this work are now selling for more than £50,000 with a top price of £82,000 in 2023. The market for this work, originally produced with multiple copies gives an interesting indication of price fluctuations over time. In 1990, The work sold for £4,000; £12,000 in 2007; and then the market dipped slightly between 2010-2015. Prices after 2017 were regularly around £20,000 and today these same works are reaching over £50,000.”

These contemporary artists are not the only ones whose work has been appreciating. Even the works of contemporary artists which were released as limited prints, (much like Hockney’s) have appreciated. As such, it is well worth considering whether the works of art you or your clients possess are worth valuing to avoid being over or under insured.

The Impact of AI on Art and Antique Valuations

Fri, 19 Jan 2024 15:03:32 GMT

The Impact of AI on Art and Antique Valuations

In the ever-evolving landscape of the art and antique market, the integration of artificial intelligence (AI) has emerged as a transformative force, reshaping the way valuations are conducted. AI technologies, with their ability to analyse vast datasets, identify patterns, and make data-driven predictions, are revolutionising the traditionally subjective world of art valuation.

Since the Pandemic, the continued shift in confidence in online investing in art has increased with rapid growth in online auction and gallery sales. With this increase in available data, machine learning algorithms can process massive amounts of historical sales data, exhibition records, and market trends, enabling a more systematic and quantitative approach to valuation.

AI-powered valuation tools offer the potential to minimise human bias and errors, providing a more consistent and reliable valuation process. Traditional appraisals often involve a degree of subjectivity influenced by personal preferences, art market trends, or even the reputation of the artist. AI, on the other hand, relies on empirical data and statistical models, reducing the impact of individual biases and ensuring a more objective appraisal.

While the integration of AI in art valuations offers numerous benefits, it is not without its challenges and ethical considerations. One of the primary concerns is the potential oversimplification of the valuation process. AI algorithms, while powerful, may struggle to capture the nuanced qualities that make certain artworks truly exceptional. The subjective and emotional aspects of art appreciation, which often contribute to an artwork's value, may be overlooked by purely data-driven models.

Another challenge lies in the inherent bias within historical datasets. If these datasets predominantly feature artworks from specific regions, styles, or artists, the AI models may inadvertently perpetuate existing biases, hindering the diversity and inclusivity of art valuations.

Despite the challenges, many experts argue that the most promising future lies in a collaborative approach where AI augments human expertise rather than replacing it. AI can handle the heavy lifting of data analysis, leaving valuers more time to focus on the nuanced aspects of art assessment.

This would mean that physically examining the artwork is still vitally import as it allows condition, subject matter and unrecorded data or provenance to be taken into consideration when attributing value. This collaborative model ensures that the unique qualities of each artwork are considered alongside the quantitative data, striking a balance between objectivity and subjectivity.

Conclusion

Art valuation has long been a complex and nuanced process, relying heavily on the expertise of seasoned valuers and their subjective interpretations. However, AI has introduced a new era of objectivity and efficiency. As technology continues to advance, the art market and valuers must adapt to harness the full potential of AI while preserving the essence of human expertise and appreciation.

The integration of AI into the world of art and antique valuations represents a significant paradigm shift. While challenges and ethical considerations persist, the potential benefits in terms of accuracy, efficiency, and objectivity are too compelling to ignore.

This article was written by Mark Smith, Managing Director at Quastel Associates with the assistance of AI.

UNDERSTANDING METAL: GOLD & SILVER OR BRONZE SCULPTURES?

info@quastelassociates.com (Debra Stanislawski) — Mon, 11 Dec 2023 13:21:09 GMT

Please enjoy this short article on understanding metals by Debra Stanislawski at Quastel Associates.

When challenging times hit, the safe investment tends to be metal. Most often, this is in the form of gold and silver bars, coins, or jewellery which often keep value. Yet, sculpture can also fetch surprisingly good returns and has been appreciated for its artistic character and has been for many years. For those seeking a new creative activity to end 2023, perhaps consider bronze sculpting?

How to Make a Bronze Sculpture

First, create a model.
Then, create a mould and melt the wax through it prior to adding the liquid bronze. Bronze will melt at about 1300 degrees Celsius. The bronze sculpture inside the mould will be left to cool for several hours. After removing the mould, the solid bronze sculpture is left. Polish, sand and finish the bronze to match the original model.
Then, to prevent the bronze sculpture from oxidation add patina and let it dry, possibly weeks. Then, the casting number and year are inscribed, the founder stamp is added. and the artist adds her signature.

Our clients often choose bronze statutes over other media. The Meiji period Japanese bronze sculptures could be a mere 15 by 13 centimetres in size and sell for a rather decent figure, with some valued for tens of thousands.

Who are the big names in Bronze?

Famous sculptors are often men. Slowly this changes, the most famous bronze sculptors include:

1. Louise Bourgeois

She was a prolific sculptor. She began her academic career studying mathematics at the Sorbonne and at the age of 84 rapped ‘Otte’. Nonetheless, despite her clear talent as a sculptor, she was rejected by the male dominated Surrealist group.

She is probably best known for her bronze spider sculptures, transforming something feared into something positive. For her, the spider was a positive depiction of motherhood, conveying powerful traits such as intelligence, protectiveness, and strength. Using art to overcome her own traumas including disenchantment with her father for his womanising and the early death of her mother, Louise said “art is the guarantee of sanity.” Whilst depicting themes seemingly of a feminist nature, she stated “I am a woman, so I don’t need to be a feminist,” probably more indicative of her own experiences and a more informed understanding of the issues impacting woman than she cared admit or because of a lack of desire to be labelled and boxed, as also depicted in some of her work. In 2023, her Nature Study #2 made £327,058 at auction with buyer premium.

Other famous sculptors include:

2. Dame Elisabeth Frink

She was a British sculptor who grew up during World War II. She even had to duck behind a hedgerow once to avoid German fighter plane machine gun fire. These experiences inspired her art. Her highest selling pieces recently are her bronze sculptures, including 'Leonardo's Dog II' which sold for £170,000, which was above estimate.

3. Barbara Hepworth

She studied art at the Leeds College of Art. She was a friend of Henry Moore and was part of the St Ives' Group, working in Cornwall. Her museum and sculpture garden can be found there today.

4. Albert-Ernest Carrier-Belleuse

He was a French sculptor who died in 1887. During his life, he was known by the range of works he was able to create. Sometimes his depiction of people led to heated debates. His pupil was Auguste Rodin.

5. Auguste Rodin

He was one of the more famous sculptors and continues to have his own museum in Paris, bequeathed to the French state for the education of workers and artists. He also included his intellectual property, his moulds, and models in the gifts he provided to the State which has encouraged the museum to continue to produce his works and self-fund for the benefit of society.

6. Henry Moore

His works are Quastel favourites, often featuring in our brochures and on our website. Like Leonardo, the human form was important for his inspiration. He said, ‘Bones are the inside structure that nature uses for both lightness and strength’.

7. Alberto Giacometti

He was a Swiss sculptor who died in 1966. His works have a very distinct look. They are often figures of rather tall and elongated people. His Femme de Venise VIII sold at auction for over £8 million in 2023.

8. Antony Gormley

He is a British born sculptor and is best known for making his moulds using his own body as a model. He has also placed his sculptures outdoors, sometimes creating a level of sensationalism when people fear that the sculptures are actual human beings. For 6 Times, for instance, he placed six figures on the Water of Leith, Edinburgh, partially submerged in water.

These are examples of the types of bronze sculpture that our valuers regularly see. Should you require a valuation of your fine art, antiques, or jewellery, please contact the Quastel Associates’ team and we would be happy to put you in contact with the most suitable valuer for your needs.

SCOTTISH COLOURISTS

Mon, 27 Nov 2023 10:20:02 GMT

Please enjoy this short article on the Scottish Colourists by Kerry Hall at Quastel Associates;

Following a recent visit to a client’s property, where they had an impressive and extensive Scottish Colourist collection, we thought it would be a great time to shine a light on these four prominent artists and their lasting appeal in the art market.

The Scottish Colourists consist of Samuel John Peploe, Francis Campbell Boileau Cadell, George Leslie Hunter and John Duncan Fergusson. Although not a tight artistic group, they were all born in Scotland in the 1870’s and they all travelled to France where they were immensely influenced by artists such as Manet, Cezanne, Matisse and groups like the Impressionists and the Fauves. While in France they adopted the French style of using bold colour and a loose brushstroke to capture light, shade, and atmosphere. They are credited with bringing this vibrant colour and style back to Britain in the 1920’s.

Although they only exhibited together on 3 occasions, the group were officially linked by an art historian in the 1950’s due to their similar styles and influence. Initially Peploe, Hunter and Cadell were labelled the ‘Three Scottish Colourists’ with Fergusson later being associated with the group in the 1980’s. Cadell and Peploe did have a close friendship however and clearly inspired one another while living close by in Edinburgh in the 1920’s.

The Scottish Colourists favoured landscapes, still lifes and interior scenes as their subject matter, the former being painted en plain air to capture the ever-changing light across the landscape. Both Peploe and Cadell travelled to the French island of Cassis and the Scottish island of Iona and works of these locations are prominent in their catalogues. Perhaps the Colourists most famous subject is their still lifes, however and these works often command the highest hammer prices at auction. Peploe was always striving to create the perfect still life and would often spend countless hours (or days) arranging the ideal composition before painting the scene in one sitting.

As the artists painted continually throughout their lives, their artworks are in plentiful supply meaning that they frequently come up at auction, sometimes being the focus of the auction. Looking at auctions in the last few years, it is the still lifes which have stolen the show. In 2021, Bonhams sold Peploe’s ‘ Still Life with Tureen and Fruit ’ for £225,000 (incl. premium) which was almost double its estimate. Fast forward 2 years and in June this year, Lyon and Turnbull sold Cadell’s ‘Still Life with Tulips’ for £320,000 when it had been estimated to sell for £100,000-£150,000. In fact, the Lyon and Turnbull Scottish Colourist auction saw a 60% increase on its equivalent the year before. This shows that demand is not only there but also increasing.

It is worth noting that not all Scottish Colourist works have increased or exceeded estimate, however. The more desirable works with better compositions and use of colour tend to have success whereas less desirable works can fall short of their predictions. This highlights that it is not simply having a Scottish Colourist that counts, it is having one of their exemplary and sought after works. With their modern, fresh, and colourful takes on landscapes or still lifes, it is easy to see why they still fit in the modern home.

UNDERSTANDING RUG VALUATIONS

Mon, 30 Oct 2023 12:13:41 GMT

Please enjoy this short article on understanding rug valuations by Debra Stanislawski at Quastel Associates;

According to our rug specialist, Andrew Middleton, ‘The value of a rug or carpet is dependent on current fashions as they do come and go. Uşak (Oushak) carpets are currently very fashionable hence command higher prices.’

Uşak carpets are high quality hand knotted carpets made by artisans in Afghanistan or Turkey. The original origin was in the city, Uşak, in the west of Turkey, near the Aegean Sea. The rugs became popular during the Ottoman Empire in the 15th Century and were reserved for aristocrats and royalty. The techniques applied to this ongoing tradition stem from ancient weaving techniques.

They often have muted tones and soft colours. Some, however, contain deep reds. The designs are often nature inspired with floral patterns, geometric designs, and vines. These rugs are traditionally passed down as heirlooms. These rugs are valued not only for their workmanship but also as art.

Historically, these carpets symbolised a space for worship for Muslim communities. Often the rugs would entirely cover the mosque floor, creating a warmer environment for prayer. Anthropological studies have shown that most carpets in mosques in Turkey were rugs from the Oushak region.

Oushak rugs remain expensive and yet, they are known to hold their value (depending upon their size, quality, and age). Modern Uşak carpets still retain the ancient traditions whilst also adding new designs for the modern market. Rug specialist, Andrew Middleton added, “Rugs from the late 19th Century usually show signs of wear and so if the rug is too pristine, it can possibly be a fake (from [the] late 20th century). [It could] possibly [have been] made in the same area but without the age/history.”

Other rugs which retain value include Persian rugs such as ‘the Holy Carpet’ which is presently at the Victoria and Albert Museum in London and was made in the 16th century.

Another Persian rug, ‘The Kirman Vase’ rug has its own story. The owner had had it valued incorrectly by an auctioneer for a mere £900. It was a blue Persian wavy rug and sold for €20,000 at auction. In a second auction, where the true value of the rug had been found by an anonymous bidder from the Middle East, it eventually sold for over €7.5 million. The rug repeatedly changed hands. It went from a Parisian art connoisseur to her estate then to a rug specialist auctioneer at a Monaco auction and then to his staff before being inherited by the woman (owner) who had it valued for £900. The owner went to court declining an €85,000 compensation offer from the auction house and lost her case. The auctioneer did not have to pay costs as no one at the auction house had been able to correctly appreciate its value. Consequently, an anonymous person in the Middle East now owns the most valuable carpet in the world.

As demonstrated, it is important to find experts when getting valuations and Quastel Associates has a reputation for having some of the top valuers in the United Kingdom. Should you require a valuation, reach out to the team, who would be more than happy to assist. Additional articles can be found on our website .

Please feel free to contact us should your valuables need a valuation for insurance or other purposes.

UNDERSTANDING HOW TIME TRAVELS

Wed, 20 Sep 2023 15:30:14 GMT

Please enjoy this short article on Understanding how Time Flies by Debra Stanislawski at Quastel Associates;

From Rip Van Winkle to Alice in Wonderland to Back to the Future, time and time travel have captivated the imaginations of many storytellers. Clockmakers were the ones who brought the unimaginable to life. Dating back to the late 16th Century in England, foreign clockmakers were obliged to join guilds to ensure the quality and consistency of their work. In the 17th Century and to maintain the high calibre of the craft, the Clockmaker’s Company became a trade guild and was given a Royal Charter.

It may have been during this ‘Golden’ Age, that clocks made were at peak quality in London.

One might argue that this was a time like the present day in that the tradespeople who were the most knowledgeable of their craft were limited in number and similarly, so was their knowledge. This made the craft more limited and now, similarly, more desirable.

According to valuer, Daniel Edmonds, if one were to purchase a clock which would withstand the capriciousness of the valuation market, one may wish to “choose a clock from the 17th or 18th Century” as the quality of their carcasses (cases) were of a better quality.

A few of the most prominent clockmakers of the time include Thomas Tompion (1639–1713), whose work was unsurpassed and whose patrons included King William III; Joseph Knibb (1640–1711), the most accomplished of the notable Knibb family of clockmakers; and Daniel Quare (1647/8–1724).

After the Plague and the Great London Fire, the number of qualified clockmakers was even further reduced. Despite this reduction in skilled crafts people, science increased demand for clocks and watches especially post-pendulum and spring development, respectively. It was also at this time that sailors used time to determine their location, an incredibly necessary tool. At noon, they would assess where the sun was located compared with the horizon to find out their north south latitude.

Mark Smith, Quastel Associates’ Managing Director and Daniel Edmonds, specialist fine art and antiques valuer collaborate in their respective areas of expertise to provide clients with an extraordinary service and solutions to issues of concern. They both agree that longcase (grandmother and grandfather clocks) have fallen out of favour with the markets due to their size and the difficulty in finding suitable spaces for them in homes. Consequently, their value has depreciated.

Nonetheless, other types of clocks do still retain value and appreciate. Daniel Edmonds advises that most clients prefer to have mantle clocks or carriage clocks which are smaller and tend to fit with modern décor. He suggests that for mantle/table/bracket clocks, 30-day movement is better than 8-day movement so that they do not have to be wound every week. He also states that “like furniture, originality is key. Additionally, when determining which clock to choose, make sure it is not overly restored. Check to ensure the clock is original to the carcass as carcasses were made specific to the clock.”

Also of note, carriage clocks were not only travelling timepieces but may also be considered the forerunners to the alarm clock with their chimes. Furthermore, Daniel Edmonds recommends that ‘‘If you’re a clock collector, originality and rarity are imperative and whilst everyone would appreciate having a clock worth a quarter of a million by one of the top clock makers, everyone needs to work within their budgets.”

Should you require a valuation for your fine art, antiques or jewellery, please contact us .

BARBIE AND FRIENDS: VINTAGE TOYS WORTH COLLECTING

Fri, 11 Aug 2023 09:22:33 GMT

BARBIE and Friends

Which vintage toys have been worth collecting?

2023 Context

With the popularity of the new Barbie film, it only seems fitting to include an article about vintage toys. Vintage toys get their value predominantly based on how well they have been kept which is a rather interesting conundrum for a child, isn’t it?

For those children who a re ‘in the know’ at an early age, they may be made aware that their toys are more valuable when untouched. How does that compare with the alternative which is doing as children do and playing with them? The conclusion for a collector is a clear one: less play contributes to higher value. Untouched means boxed. Popular is good and yet so popular to have been mass produced is not so good. The more limited in number, the higher the value is likely to be.

When does a toy become more valuable?

It is claimed that most vintage toys become valuable 25 years after they were popular for the first time. The suggestion is that this is approximately the time when adults start becoming nostalgic about their childhood toys or for some, when they have children of their own.

The highest values for toys range and profit can be in the thousands for mint condition, still packaged rare toys.

"When it comes to the value of collectable toys, it is all about rarity, condition and often original packaging. It is interestingly often the toys that were unpopular when released (so they are produced in small numbers) that are now more valuable" states Quastel Associates' Managing Director, Mark Smith.

Children tend to not necessarily mind which toys belong with which other toys. If your child is like those we have met, sometimes Barbie will be friends with Thundercats and other times with Logo sets or even Star Wars figures.

Fortunately, or unfortunately, the market tends to be dominated by those who have the greater purchasing power. Namely, adults. This is shown when looking at the highest sellers in each of the categories below.

Which toys are valuable?

The toys which are valuable vary over time. Some toys popular when released are still valuable years later.

1. BARBIE

The highest selling Barbie was a Stefano Canturi designed Barbie, which sold for £300,000 and had real diamonds. It was a special edition Barbie and was sold to raise money for cancer.

Barbies tend to be more valuable when they are mint, untouched, still in their box and in limited quantities or special edition.

2. STAR WARS

The original Jawa was released with a vinyl cape which received complaints for being of a poorer quality. They then re-released it with a fabric cape. This rare Vinyl Cape Java sold for £21,000.

The British version was made by Palitoy of Coalville and there were only about twelve of these made which included an unpunched card showing that they toys were gifted from Palitoy to Marvel as promotional materials.

This £21,000 toy beat out the top auction sale of £11,000 in May 2023 for Anakin Skywalker.

3. LEGO

Lego has been popular for years and often due to their versatility. Frequently, children (and adults) enjoy constructing ideas they have in their imaginations whilst others like to copy the instructions, they find on the boxes to prove their construction or engineering skills.

Whilst arguably not the most impressive of the Lego sets, The Moulding Machine was released in 2011 and only 68 were made. They were replicas of the actual process that the Lego factory uses to manufacture the Lego bricks and were gifts to those on the Lego Inside tour. This Lego set is one of the highest sold, selling for £3,913.

4. THUNDERCATS

This cartoon series was arguably advanced for its time, demonstrating a world run by animal space creatures when their own planets were destroyed. It was a favourite of those born in the 1980s as it combined the ideas of protecting animals along with space themes.

Pumyra was the highest selling Thundercat from the mid-80s, selling at just slightly less than the top Lego set for £3,281 in mint condition whilst still in the unopened box. She was one of the few refugees of the destroyed planet of Thundera and had had the ability to leap great distances and heights as one must do to stay on top of the toy industry.

Fortunately, at Quastel Associates, our valuers are the best in the UK and are renowned for their skill, professionalism and knowledge.

Please feel free to contact us should your valuables need a valuation for insurance or other purposes.

UNDERSTANDING JEWELLERY VALUATIONS

Fri, 30 Jun 2023 09:46:22 GMT

Please enjoy this short article on Understanding Jewellery Valuations by Debra Stanislawski at Quastel Associates;

What makes a jewellery valuation different from fine art and antiques valuations?

The answer is that there is a significant level of difference. Historically, the same person managed jewellery valuations and fine art and antiques valuations. This is no longer the case. Jewellery valuers go through extensive training to assess competence, effectively vetting them in advance of any valuation.

Jewellery may go missing from the home. Stones, clasps, and settings can be intricate. Quastel’s specialist expert jewellery valuers conduct jewellery valuations and are members of the Institute of Registered Valuers (IRV), regulated by the National Association of Jewellers (NAJ) or by the Jewellery Valuers Association (JVA). Their training, skills and professionalism match the expectations and needs of clients.

What do the abbreviations after our valuers’ names mean?

FJVA Fellow of the Jewellery Valuers Association

FGA Fellow of the Gemmological Association

DGA Diamond Diploma of the Gemmological Association

FIRV Fellow of the Institute of Registered Valuers

FNAJ Fellow of the National Association of Jewellers

These qualifications require studying and passing both theoretical and practical examinations.

Once valuers attain these qualifications, NAJ valuers must meet certain requirements to keep certification with the regulator. Valuers who work with Quastel Associates are the best in their field and have much experience. All IRV Members and Fellows must commit to the Code of Practice for IRVs and ongoing continual professional development as well as undertake a professional review every five years. JVA members and fellows are also regulated by their independent regulatory body. Their specialist knowledge requires that they remain up to date with current industry trends and any changes to the watch market, synthetic jewels, and hallmarking law.

Our jewellery valuers are known for their ability to assess thoroughly and in detail the elements required by the regulators.

This includes assessing each stone for colour, clarity and cut. It also requires looking at each setting and clasp. Where a specific gold/silversmith engaged in the process, it may require researching signatures and cross referencing with vintage jewellery pieces to verify whether jewellery is an original.

It also requires looking at clasps, to check for functionality as well as authenticity.

This process of gathering all the requisite details protects not only the valuer but also the person having items valued. It is therefore incredibly important for these items to be viewed in person. As anyone who has done online shopping might agree, it is unusual for the photographs online which are two-dimensional to be identical to the final three-dimensional product received. This is why Quastel Associates insists upon having in person jewellery valuations.

The basis for any jewellery valuation will always be stated on the front of the report. Valuation is based on the most appropriate markets for replacing each individual piece, and these markets will vary according to the age, design, and workmanship of the jewellery amongst other factors.

The values represent the valuer's professional opinion of the approximate replacement value within these stated markets. Also, as diamonds and precious metals are generally traded in dollars, the rates used for gold and the dollar price is always stated on the front of the report.

Furthermore, over the last few years, the value of both gold jewellery and coloured stones has increased significantly. This means ensuring that items have the correct values is even more significant. Our specialist jewellery valuer, Clare Blatherwick notes, “I regularly see clients who have not updated their valuation for lengthy periods, and they are surprised to see the uplift in respect of a replacement figure for those pieces (not to mention shocked when they realise how underinsured they have been). This is particularly evident in clients whose collections include pieces set with coloured gems. Many people are unaware of the significant growth that market has seen over the last few years.”

Should you require a jewellery valuation, please contact Quastel Associates on 0207 253 1710 or by clicking here .

UNDERSTANDING ART & ANTIQUE VALUATIONS

Tue, 30 May 2023 10:00:14 GMT

Please enjoy this article on Understanding Art & Antique Valuations written by Kerry Hall here at Quastel Associates;

When one of our art, antiques and general valuers examines and values an item, there are several different values which they can attribute. This can be confusing to those not familiar with the valuation process and so we thought it would be useful to outline the different values which can be applied in this short article.

Firstly, let’s look at insurance valuations as these make up most of our valuations. Items valued for insurance are valued at “retail replacement”. By this we mean that if the item was stolen or damaged, what would it cost to go straight out and buy the same (or equivalent) item. For general contents, this can be straightforward as most known brands or shops will have similar items for sale. When it comes to artworks, this would mean a gallery price. Even if the artwork was initially purchased at auction, the item would be insured at a retail (gallery) replacement as that is where the item or comparable item can be purchased. Retail replacement can also include replacing items within the second-hand market as items such as pieces of antique furniture cannot be replaced like for like with a new piece.

Secondly, let’s examine auction valuations as this is another request from clients who wish to know the sale value or “open market” value of their items. This type of valuation gives the client a clear indication of what their items would achieve if sold at auction. What is important to note is that auction values are notably less than insurance values. When we refer to auction values, this means the hammer price plus the fees. The fees are usually 25% - 30% of the hammer price and consist of VAT, commission (auctioneers), artist resale rights (if applicable) and online bidding charges (if applicable). Sometimes a client will ask for the values to be given at mid or high auction estimate depending on their requirement for the valuation.

Lastly, lets discuss probate valuations. This is where a valuation is carried out when a person has passed away and the value of their contents needs to be provided to HMRC (for taxation purposes). Probate values follow the auction values discussed above and are the likely hammer price on the date of death. Again, the values are a fraction of that of an insurance valuation and importantly, the values must be applicable to the date of death to ensure the correct tax is paid. HMRC ask for items to be specified if they have a value of £1,500 or more and then the remaining items can then be grouped together. On probate valuations, items with no resale value will usually be included but stating NCV (No Commercial Value). This tells HMRC that the items existed but that they hold no value.

These are the most common three valuations that we carry out here at Quastel Associates. Of course, there can be slight variations and unusual cases but overall, the values attributed will fall into one of the above categories. On occasion clients request both an insurance and an auction (or “open market”) valuation to be carried out at the same time offering two reports; one to provide to their insurer to ensure they are correctly insured and one to keep on file for family distribution or the potential of selling certain pieces. Whatever the requirement for the valuation, our specialist valuers can assist.

To find out more about a valuation with Quastel Associates, please call 0207 253 1710 or click here .

PREPARING FOR A VALUATION

Tue, 25 Apr 2023 10:05:00 GMT

Please enjoy this article on 'Preparing for a Valuation' written by Kerry Hall;

Here at Quastel Associates, we are often asked by our clients what they need to do ahead of their valuation. While we outline this in our confirmation paperwork, we thought it would be beneficial to delve into this in a bit more detail to offer insight to why we ask for certain things.

For all valuations, whether that is contents or jewellery, we always ask for any relevant paperwork to be made available. By this, we mean any documentation that will assist our valuers come to the most accurate value possible. Paperwork can offer some incredibly important information which may otherwise be missed.

When it comes to artworks for example, paperwork (such as an invoice or a receipt) might provide the work’s provenance which can affect the overall value. It may also provide a title to the work – titles are often missed or forgotten over time, especially for abstract pieces where the subject is not as evident. Knowing a work’s title allows our valuers to research relevant auction sales etc with far more accuracy. With limited edition prints, paperwork can advise the number and again, assist with applying the correct value.

Regarding jewellery and watches, paperwork becomes even more essential. We ask our clients to have boxes, receipts, and guarantees for their watches ready for our valuer to examine. Sometimes a watch’s serial number is hidden within the watch and our valuers are not going to open a watch to find this and so they rely on the paperwork to match the details. With regards to diamonds, a GIA certificate can really assist. Our valuers examine stones very meticulously but that said, they are in a domestic setting rather than a laboratory and so lighting and conditions are not as ideal, and the certificate allows them to compare their findings and reach the correct conclusions.

Invoices, receipts, and certificates aside, we also ask that if the client has had a previous valuation that our valuer has access to it. Our valuers still value items afresh of course but having the details of the items in one place can aid consistency and continuity through the years as new valuations are carried out.

Moving on from paperwork, another point we like to highlight ahead of a valuation is making our valuers aware of certain items. For example, if there are valuable items in the loft, tucked away in a cupboard or in storage in the garage, we ask that these are displayed where possible or pointed out to the valuer where not. It can be so easy to forget key items if they are out of sight. Often placing items on the dining table, such as silverware, is a nice simple solution. This also applies to jewellery and watches; if these are laid out on a surface for easy viewing, it makes for a more efficient valuation. If valuers must rummage through boxes or bags or even untangle items, it can take time and focus away from the actual valuing.

Lastly, as touched on earlier, our jewellery and watches valuers are examining stones in detail. For this they need good lighting and upright seating (i.e., a dining table) as crouching over is difficult not to mention uncomfortable for hours at a time! They also require a plug socket for their equipment and Wi-Fi access allows them to cross reference details online as they go.

Having a valuation can be a thoroughly enjoyable experience and we hope that this advice helps make for the smoothest, most professional, and fun valuation.

To book your valuation, please contact Quastel Associates on 0207 253 1710 or click here .

UNDERSTANDING HANDBAGS

Mon, 27 Mar 2023 10:13:31 GMT

Please enjoy this short article by Kerry Hall on 'Understanding Handbags';

Handbags are big business. Long gone are the days of designer handbags being a niche or overlooked collectors’ item. Nowadays, handbags are bought as a serious investment with prices rocketing for well cared for bags, making them a savvier investment than some of the more traditional categories. The most famous brands are well aware of this significant shift, bringing out ever more exclusive, unique and unusual handbags which collectors are fighting over at auction.

In addition to the contemporary view of handbags as major collectors’ pieces, there have been two further significant changes in more recent years. Firstly, the rise of the second-hand and vintage markets has meant that items from decades past are now seeing big prices at auction as collectors want to get hold of timeless pieces which are no longer available. This trend has been furthermore elevated with celebrities such as Rihanna publicly adorning themselves with vintage bags. As well as this trend for second-hand items, is the concern for the climate and a move towards sustainability which increases the demand for items already made and on the market. Secondly, with the growth of androgynous fashion, there is a widening demand for handbags as men join the market too. Once seen as a female-only accessory, the handbag now has a universal appeal.

As we have ascertained, handbags are a significant market to watch. But which handbag brands are the most likely to appreciate in value? This would be Hermès (looking at the ‘Birkin’ and the ‘Kelly’ in particular) and Chanel (with focus on the Classic Flap Bag).

For several collectors, a custom-made Hermès bag is the pinnacle of fashion. These are known as an HSS (Horseshoe Stamp) as each custom order is foil-stamped with an iconic horseshoe motif. But these bespoke items are extremely hard to come by with waitlists years long and often only offered to a very exclusive clientele. Hermès often customise the ‘Birkin’ and the ‘Kelly’ and these are highly sought after at auction. For example, in June 2022, a custom matt pink 5P and gris perle alligator Birkin 25 went for just shy of $190,000 at a Christie’s sale in New York. This was three times the estimate. In addition, a rare custom Hermès matte black alligator and rouge vif swift leather Quelle Idole with palladium hardware achieved over $200,000 at a Christie’s auction in Hong Kong. But topping even these was a Hermès Kelly from the Himalaya series (said to resemble the snow-capped mountains of the Himalaya with its graduating colour of white to grey) which holds the record for most valuable bag sold at auction. Being made from Niloticus crocodile hide with 18k white gold and diamond hardware, it fetched over £418,000.

While not quite achieving the numbers of the Hermès handbags mentioned above, Chanel is still a brand to be admired and coveted. The appeal is twofold; on the one hand there is the timelessness of founder Coco Chanel’s aesthetic of quilted bags in lambskin or caviar leather and on the other hand is Karl Lagerfield (who took over the brand in 1983) and his bold, statement runway pieces in materials like plexiglass which were made in limited quantities and were quick to sell out. The passing of Karl Lagerfield in 2019 has further heightened the demand for Chanel. For example, Lagerfeld’s personal Chanel croc-embossed lambskin tote sold for comfortably over $100,000 making it the most expensive Chanel bag to be sold at auction.

These two brands are only the tip of the iceberg, however. Luis Vuitton, Prada and Gucci have all created bags which are high on collector’s wish-lists and offer great returns on investment. The appeal of handbags as collectors’ items and investment pieces is showing no sign of slowing down and so ensuring these items are adequately and correctly insured is paramount. Whether or not you choose to wear your statement bag or keep is securely and safely wrapped and protected is another question…

To book your valuation, please contact Quastel Associates on 0207 253 1710 or click here .

HISTORICAL MANUSCRIPTS & LITERATURE

Fri, 24 Feb 2023 15:20:50 GMT

Please enjoy this short article on historical manuscripts and literature written by Debra Stanislawski here at Quastel Associates;

The right to freedom of expression is often at stake for those who write the truth. Christie’s Auction House celebrated the value of the art of the written word and the lives of those who most frequently seek to preserve it last summer. They hosted a successful charity sale of special first edition books and manuscripts raising over half a million pounds to support English PEN, a charity supporting at risk writers. Not only are writers frequently at risk but also for many years, the written word has been considered an art form.

Like other art forms, the value of the written word depends upon several factors including: the edition, the year of printing, the condition of the work, the historical context at the time of writing, the relative rarity of the writing, the wrapping of the book (the dust jacket), the author’s signature and the popularity of the work or author and whether there is relevant paperwork denoting its originality (provenance).

The works of Shakespeare, the First Folio sold for £4,156,947. It was significant as it was the first collection of William Shakespeare’s plays. A Shelley 1822 first edition in paper wrappers sold for £3,200. A letter from a never again seen passenger on the Titanic sold for £144,700. The first book ever printed and bound in Antarctica sold for £80,000. Sylvia Plath’s, The Colossus, sold for £75,000 despite being a bit brown and spotted by the residue of a dried flower which was seen by the purchaser to add charm. The complete first edition scientific Atlas sold for £882,000.

These and other books remind collectors of art as it intertwines with history.

Whilst much becomes digital, the interest and the desire to have books, especially those of historical or artistic significance, cannot be underestimated.

To book your valuation, please contact Quastel Associates on 0207 253 1710 or click here .

NEVER JUDGE A BOOK BY ITS COVER

Mon, 20 Feb 2023 15:32:42 GMT

Please enjoy this short article on book value written by Kerry Hall at Quastel Associates;

Most homes in the UK have a book collection. For some it is a few shelves of dog-eared favourite reads or food-splattered recipes books but for others it can be an entire library full of 1st editions, rare publications, or an extensive collection of antique books. But how do you know if there is value to any of your individual books or collections?

Rarity is key. The definition of a rare book is one where the demand exceeds the supply, and this is normally down to several factors which will be discussed in this article. If there are many comparable copies of your book on the market, then that is going to directly impact its value.

Condition and Dust Jacket

Condition makes all the difference and a book kept in pristine condition will appeal to collectors throughout the world. No one wants a damaged or scruffy book. In addition to the condition of the book, the presence of a well-kept dust jacket is also very important as our specialist books and manuscript valuer Michael Elston reveals:

“Take H.G. Wells ‘The First Men in the Moon’, 1901, one of the earliest books published with a dust jacket. An exceptionally fine first edition will retail for around £2,000 but with the rare dust jacket you can expect to pay upwards of £60,000.”

An excellent snippet of expertise worth noting for all book collectors out there.

Scarcity

Scarcity also has a major impact on the value of a book. Knowing the number of copies that were printed and how many have survived (and in good condition) is crucial. Some books are only published in small numbers making them instantly rare. These are usually limited edition and may be signed by the author too. If 500 copies or less of a book is printed, then the potential for this to be rare is high.

The first printings of the hardcover first edition of ‘Harry Potter and the Philosopher's Stone’ (UK edition) by JK Rowling are one such example. Only 500 were published and 300 went to libraries. The library editions are likely to be well worn and damaged making the other 200 rarer and even more valuable.

ISBN

Check out the ISBN (International Standard Book Number) to determine a book's edition, publisher, and physical properties like trim size, page count, and binding type. This number, introduced in 1972, is a way to check if your copy is a first edition and not a reprint or later printing. Generally, if the “1” is present, the book is a first edition (first edition, first printing). For the second printing, the “1” is removed, so the “2” is the lowest number present.

In addition to the factors mentioned above, there are several additional elements that effect a book’s value such as age, binding, subject matter and aesthetic properties. If you think you may have a collection that requires more attention and a specialist opinion, please do contact Quastel Associates on 0207 253 1710 or by clicking here .

THE BRITISH STUDIO POTTERY MOVEMENT

Fri, 23 Dec 2022 16:10:13 GMT

Please enjoy this article on the British studio pottery movement written by Kerry Hall here at Quastel Associates;

From the widely celebrated Lucie Rie and the auction record-breaking Hans Coper to the globally influential Bernard Leach, the British studio pottery movement of the 20th century is both exciting and relevant in today’s valuation world. These three influential ceramics artists have elevated pottery to fine art and as a result, their works are continuing to rise in value. Their pieces fit perfectly into a modern contemporary home and so it's little wonder they are trending. This article delves a little deeper into each of these key figures and their place in the global market.

Bernard Leach is referred to as the “Father of British Studio Pottery”. A keen traveller who was heavily influenced by the Japanese aesthetic, he set up Leach Pottery in St Ives, Cornwall with Japanese potter Shoji Hamada. Many prominent apprentices attended the pottery studio and spread Leach’s style and philosophies across the globe. His highly regarded works frequently come up at auction and can range in price from a few hundred pounds for a small pot or vase up to a hefty £97,000 for a Charger (plate) with ‘Tree of Life’ design. Items which best showcase his drawing have proved the most popular in recent years.

Lucie Rie fled Nazi persecution in Austria in 1938 to arrive in London where she would go on to become one of the most celebrated potters of the 20th Century. Thanks to her technical knowledge and innovative experimentation with clays and glazes, she offered an alternative to traditional pottery with works showcasing a Modernist and “urban” aesthetic. She had a keen eye for talent and her assistant and apprentice Hans Coper who she worked closely with for several years would go on to break ceramic auction records. It is possible to pick up a Lucie Rie sugar bowl or small vase for around £1,500 to £2,000 but her larger bowls or bottle vases have been known to fetch a significant £130,000 - £140,000 at auction.

As already mentioned, Hans Coper initially worked under Lucie Rie but the German-born artist, who also fled Nazi persecution to arrive in the UK, has become the record breaker for studio pottery at auction. His tall bottle vase with disc was sold at Bonhams for a colossal £655,500, after an estimate of just £80,000-£120,000. With his own distinctive style, Coper favours sculptural form over function and has become widely appreciated for his abstracted ceramics. In the last couple of years, you would be hard pushed to find one of his works for less than £10,000 regardless of size.

In addition to these three leading potters, there are of course many more well-known names in the British studio pottery movement whose works are also enjoying auction success. It is important to understand which ceramic artists are currently trending and to ensure your ceramic collection is adequately insured to cover any loss, damage, or theft.

To find out more about our valuation services, please call us on 0207 253 1710 or contact us here .

EXTERNAL FACTORS ON THE HIGH NET WORTH COLLECTING MARKETS

Thu, 10 Nov 2022 16:17:20 GMT

Please enjoy this article on 'External Factors on the High Net Worth Collecting Markets' written by Quastel Associates' Managing Director Mark Smith;

It would be fair to say that the United Kingdom (along with the rest of the world) has seen several major events over the last few years. The Covid 19 Pandemic, the war in Ukraine and here in the UK; Brexit. It is important to see how these events are impacting the values for fine art, antiques, collections and jewellery and watches for High-Net-Worth clients.

The pandemic meant opportunities to view and buy art in person were rare. Auctions and galleries moved online and the shift towards online sales saw huge increases.

The buyer demographic across online sales also saw a sea change with new and younger buyers confident and eager to expand their investing portfolios. Wealthy clients had more time and disposable income and so invested in artworks, raising their value, particularly in 20th century and contemporary works.

Clients also diversified their collecting habits and invested in art, coins, watches, wine, and whisky. There have therefore been large increases in many of these sectors, meaning clients who have not had recent valuations could risk being grossly underinsured.

During unprecedented times of economic and political uncertainty, clients often shy away from more riskier investments such as shares and property and turn towards safer commodities.

Gold is one such commodity. Gold values have doubled since 2015 and are near their all-time high and this will ultimately have an impact on jewellery values. Therefore, if valuations are not kept updated, this could quickly lead to under insurance.

Gold, platinum, diamonds, and gemstones are also traded in US dollars. The weak pound has meant the cost of purchasing the raw materials of jewellery has increased dramatically and this is causing volatility in these markets.

Diamonds are also affected by the war in Ukraine. Russia used to supply around 30-35% of the world’s rough diamonds and sanctions have affected the availability within the market. This is particularly seen in larger stones where supply has dropped well below demand and prices have increased dramatically.

It is not just the art or jewellery markets where external factors are driving up prices. With supply chains affected by both Brexit and the war in Ukraine, inflation is pushing the cost of luxury items such as handbags and watches to unseen levels. Whilst luxury brands are undoubtedly happy to create waiting lists to enhance the desirability of their products, there is also no doubt that exchange rates, production costs and supply chains are also having an effect. Whenever demand continues to increase and supply is kept low, then prices will continue to rise.

Whilst taste, rarity, desirability, and fashion often dictate value, it is obvious that there are external factors which help to shape the value of high-net-worth investments. In this incredibly volatile and unpredictable period, it is more important than ever that brokers and insurers are helping and advising their clients on how best to protect and insure their investments and assets.

To find out more about a valuation of your contents with Quastel Associates, please click here or call 0207 253 1710 to speak to one of our team.

UNDERSTANDING THE IVORY BAN

Tue, 27 Sep 2022 15:25:09 GMT

Please enjoy this article on the ivory ban written by Kerry Hall here at Quastel Associates;

It seems many clients have ivory pieces in their collection and now, considering the ivory ban, they are unsure what to do with them and what their actual value now is. This article attempts to shine a light on this controversial topic which is causing quite a bit of confusion in the art and antique world.

The Ivory Act which was passed by UK parliament in 2018 came into force on the 6th of June this year. It means it is now illegal to buy, sell or hire ivory or import or export ivory for sale or hire. Currently, ivory refers to ivory taken from the tusk or tooth of an elephant (however other species may be added to this later). Should you break the law, there are hefty penalties of up to 5 years in jail or a fine of up to £250,000.

If your client has an ivory item or collection at home, they can continue to enjoy the piece or pieces and if they wish to gift or bequeath them for personal use then that is fine. However, when it comes to buying or selling ivory items, there are only a few exceptions to allow you to do so. The current exemptions are as follows:

Musical instruments made prior to 1975 which have less than 20% of ivory in them
Antiques (items made prior to 1947) with less than 10% of ivory
Portrait miniatures which are at least 100 years old and are a maximum of 320cm squared
Museum quality objects
Items deemed the ‘rarest and most important items of their type’ which are at least 100 years old.

These are very tight restrictions (among the strictest in Europe) and limited items fall into these exemptions. For items to be considered “museum quality” or the “rarest and most important items of their type”, they would need to be registered online and if approved would be eligible for sale or purchase.

In light of the above, it is vital that brokers are speaking with their clients about this new act and how it affects their insurance cover. It appears to be too early for general policies on ivory items and most insurers are dealing with it on a case-by-case basis but clarification on if and how your client’s items are covered is key at this point. Baring the above exemptions in mind, most ivory items no longer have a retail replacement value and so ensuring your client is aware of their insurers current guidelines will safeguard against any loss, damage, or theft.

For further information on The Ivory Act, please see the following link: https://www.gov.uk/guidance/dealing-in-items-containing-ivory-or-made-of-ivory

To find out more about a valuation of your contents with Quastel Associates, please call 0207 253 1710 or click here .

UNDERSTANDING LABORATORY GROWN DIAMONDS

Tue, 13 Sep 2022 15:31:44 GMT

Please enjoy this article on Laboratory Grown Diamonds written by Kerry Hall here at Quastel Associates;

Firstly, lets clear one thing up; laboratory grown diamonds are real. They have the same physical and chemical properties as natural diamonds and come with a diamond certificate, as you would expect when purchasing a natural diamond. They can be as durable and as dazzling and to the naked eye, a high-quality lab grown diamond can prove very difficult to differentiate. This is because both natural and lab grown diamonds are created under very similar conditions but just in a vastly different timescale. Where mined diamonds are created under the earth’s pressure over millions of years, lab grown diamonds are created in a lab/factory in a couple of months. Once produced/mined, both are cut and polished ready for market.

So, are there any differences at all? Well that all depends on the quality and production of the lab grown diamonds. There are some excellent lab grown diamonds in the market but you’ll also come across some which do not pass the test to the more discerning or expert eye. The presence of nitrogen in the stone is said to be an indicator that it is a natural diamond. This is not an exact science however as conversely there are lab grown diamonds with evidence of nitrogen and indeed natural diamonds with very low traces. Another potential tell-tale is the microscopic laser inscription found on diamonds and which matches the number on the corresponding certificate. A lab grown diamond’s inscription would start with ‘LG’ or ‘Lab Grown’ – a sure sign that it is not natural. This said, not all diamonds have the inscription leaving plenty room for doubt.

So, why buy a synthetic diamond? Well, the most compelling argument might be the price. Buying lab grown can save you some serious cash with costs about one third of that of a natural diamond. There is also the important question of the ethical and environmental impact of mining diamonds. Considerations such as working conditions, slavery, and child labour and the impact of mining the earth is also huge. There is the fuels, electricity, and hydrocarbons used to operate the mines and the soil erosion, deforestation, and ecosystem destruction as a result of the mines. These reasons are encouraging the younger generations, with looming debts and climate awareness to consider the lab grown option.

But where does that leave the romantic and timeless natural diamond in the industry? Financially this is still the safest option when it comes to resale as natural diamonds hold their value better because there is a finite supply. The resale of lab grown diamonds is still an unknown. The question of lab grown diamonds being the ethical choice is also up for debate as the labs use huge amounts of energy when creating diamonds. Diamond industry experts also argue that over 80% of diamonds are now traceable and so avoiding conflict diamonds has never been easier, allowing buyers to make an ethical choice when purchasing their natural diamond. Added to this is the fact that many communities heavily rely on diamond mining to survive and so cutting the cord on their income could also come with huge humanitarian impacts.

Whether to purchase a laboratory grown diamond or not is a personal choice and it certainly looks like the industry is here to stay. What that means for the future of natural diamonds is undetermined but currently the value of natural diamonds is being pushed up as the lab alternative floods the market. It will certainly be interesting to see how the industry changes over the coming years.

To find out more about a jewellery and watches valuation with Quastel Associates, please call 0207 253 1710 or click here .

FLORA YUKHNOVICH: THE BREAKTHROUGH YEAR

Wed, 03 Nov 2021 16:42:41 GMT

Please enjoy this short article on Flora Yukhnovich written by Kerry Hall here at Quastel Associates;

2021 has been an extraordinary year for young visual artist Flora Yukhnovich. The 31-year-old’s paintings, which put a contemporary spin on the Rococo movement of the late 17th and early 18th century, have seen an explosion in demand and the auction results say it all. In the first half of 2021, you may have been able to pick up a Yukhnovich work on paper for as little as £16,500 or an oil on linen (her media of choice) for £120,000 but fast forward just a few months and records are being broken. Her ‘I’ll Have What She’s Having’ was recently at auction at Sothebys with an estimate of £60,000-£80,000 but sold for a record-breaking £2.2 million! Another work titled ‘Puits d'amour (Wells of Love)’ sold for over £900,000 and as it was much smaller in size, demonstrates that the record breaking Sothebys result was not a one-off. This begs the question; who is Flora Yukhnovich and how has she soared to such popularity, seemingly over night?

Yukhnovich was born in Norwich in 1990. Basing herself in London, she went on to study Portraiture at The Heatherley School of Fine Art followed by getting an MA in Fine Art at City & Guilds of London Art School. She formed her own style by drawing from Rococo artists such as François Boucher and Jean-Honoré Fragonard but expressing them in a freer, more abstracted way. The femininity, use of vibrant and alluring colour and liberal brushwork of her works has proved very popular with buyers. Since graduating art school, Yukhnovich has exhibited at Parafin (London), GASK (the Gallery of the Central Bohemian Region in the Czech Republic) the Jerwood Gallery (Hastings), Blenheim Walk Gallery and Leeds Arts University. Add the recent signing with Victoria Miro, an esteemed contemporary art gallery in London, and it seems that the stars have aligned for this young artist.

The incredible journey of Flora Yukhnovich was brought to the attention of Quastel Associates after a client got in touch to have a painting by her valued. The client, having followed the dramatic increases in value of Yukhnovich’s work, thought it was prudent that they updated their insurance. It is a very good job that they did as they purchased the work in 2018 for just £1,500 and now it is going to be insured for a staggering £1.5 million. A very good acquisition made purely for the love of the painting which has now turned into a very sound investment indeed.

To find out more about an art valuation with Quastel Associates, please call 0207 253 1710 or click here .

STREET ART (THAT ISN'T BANKSY!)

Tue, 18 May 2021 15:52:30 GMT

Please enjoy this article on contemporary street art written by Kerry Hall here at Quastel Associates;

Such is the power of Banksy’s work and current fame; it can prove difficult to move past this phenomenon and shine a light on the other talented street artists creating a stir in the art world. There are certainly plenty of them and their work varies greatly, offering exciting new takes on the world around us. Not only this but sales of their works are climbing steadily, and certain names are fetching some astounding prices at auction. Here we look at some of the most influential and valuable contemporary street artists on the scene.

Stik: This British street artist from London is known for his stick-figure people. Famous throughout the globe, his murals can now be found in Europe, Asia and America. His style is simplistic, distinctive and is proving very popular at auction. Christie’s sold an acrylic on board piece of his ‘Untitled' (2010) for £125,000 earlier this year and a maquette titled ‘Holding Hands’ recently went for an impressive £287,500.

Shepard Fairey: An American graphic artist and social activist, Fairey uses prints, murals and posters to make social comment on the world around him. The artist is most famous for his ‘Hope’ series featuring an image of Barack Obama which came to be a widely recognised symbol for Obama’s election campaign in 2008. Limited edition lithographs of the image can fetch between £30,000 to £40,000. A bigger splash was made with the artist’s ‘Afrocentric’ however. The mixed media collage on paper sold for nearly £70,000.

Invader: This French street artist is famous for his ceramic tile mosaics depicting pixelated images from video games from the 1980’s such the aliens from ‘Space Invaders’ (where he took his pseudonym from). His works can be found in cities all over the world. At auction, works such as ‘LA_80’ or ‘Small retinal invasion 2’ comfortably fetch £50,000 hammer price but on occasion this can double with ‘Alias HK_43’ going for over £100,000 in 2020. These pale in comparison to Artcurial’s sale of his large-scale mosaic ‘Vienna (2008)’ however. The 7-foot, 2-panel work took over £300,000 breaking the artist’s auction record.

Kaws: This American artist and designer has had a varied and interesting career. Starting off as a graffiti artist reworking advertisements on billboards in the 1990’s, he went on to work in animation for Disney and has since worked designing toys and also in collaboration with clothing brands. His most iconic work includes repeated use of a cast of figurative characters and motifs. At auction, a screen-print can go for around £60,000 whereas his hand painted resin figurine ‘KAWS ASTRO BOY’ took nearly £300,000 and an acrylic on canvas titled ‘KAWSBOB’ surpassed this going for just over £300,000.

This is just a selection of the street artists making a name for themselves in the world of art. What it goes to show however is that street art can be extremely valuable and so a limited edition print bought years ago may have seen an incredible increase in price in recent years.

To find out more about an art valuation with Quastel Associates, please call 0207 253 1710 or click here .

SILVER: SHINING STRONG

Thu, 11 Feb 2021 17:08:49 GMT

Please enjoy this article on silver written by Kerry Hall here at Quastel Associates;

Silver has long been established as the manufacturing choice for decorative objects and it has been delighting collectors for centuries. With its enticing sheen and outstanding workmanship, it appeals to many collectors from all over the world and can fetch some staggering premiums at auction.

If you are lucky enough to be holding onto an item by one of the key British or European silversmiths, such as Paul Storr, Nicolas Besnier or Paul de Lamerie, you could be talking millions of pounds! More regularly however, dinner pieces have been wowing collectors by selling for tens of thousands under the hammer.

Recently, we have seen a pair of Paul Storr wine coolers (1821) sell for £50,000 at auction. A rare silver mazarine and cover with a decorative feature of birds feeding on a bunch of berries (1937) sold for £37,000 up in the Scottish Highlands and a sculptural group depicting King John signing the Magna Carta (1880) went for £56,000. All of these items far exceeded their auction estimates indicating a resurgence in the demand for silver.

While these examples are obviously very impressive, it is not uncommon for pieces that have been picked up for a few hundred pounds to now be valued at a few thousand. So what are you looking for?

Firstly, the hallmark; tiny stamped initials and designs usually found on the underneath or back of the item of silver. The practice of hallmarking has been established for over 700 years in Britain, allowing buyers to be confident that the item of silver being purchased is of a professional standard of quality. Hallmarks also reveal an item’s maker, date and Assay Office (an institution authorised to award hallmarks) and as mentioned previously, this can make a huge difference to the value. If you have found the hallmark but can’t read it, gently removing the surface tarnish with a cotton bud can allow it to show up more clearly.

Secondly, the condition of the silver item is extremely important. You really don’t want the item to have had any sizeable repairs. You also want to ensure that there hasn’t been any over polishing as this can often wear away decorative details or remove monograms or other important details that add value to the piece.

Lastly, establishing whether the piece is sterling silver or silverplate. Sterling silver (made up of 92.5% sold silver and 7.5% other metals) can retain its shape for centuries. If the item is from the 19th or 20th century, you’ll find it clearly marked with the word “sterling” or “925”. You may also find an image of a lion known as the "lion passant". Silver-plated items, on the other hand, have a base metal with a thin layer of silver over the top and can be identified with the words “silverplate”, “electroplate” or the initials “EPNS”. If the item has no identifying marks, it is likely to be silverplate but to check for definite you can place a magnet up to it. If there is a strong magnetic pull, it is likely coming from other metals such as iron or nickel underneath revealing it as silverplate. Silver, like most other precious metals, is nonmagnetic. Alternatively, if you have keen sense of smell, you can check for an odour. Sterling silver is odourless and so any notable smells suggest it is plated.

If you have examined the piece or pieces and feel they may have some substantial value, speaking with an expert valuer will give you a definitive answer and allow you to insure the piece/s accordingly.

To find out more about a silverware valuation with Quastel Associates please call 0207 253 1710 or click here .

WHISKY PRICES SOAR

Thu, 12 Nov 2020 17:13:46 GMT

Please enjoy this article on collectable whisky written by Kerry Hall here at Quastel Associates;

The image of sitting by an open fire sipping a fine single malt whisky can conjure up feelings of warmth and contentment for those fans of the Scottish spirit. But did you know that it could also conjure up the image of serious pound signs in recent years? Whisky prices over the last ten years have soared (in some cases by up to 600%), especially when you delve into the sales of rarer bottles made by some of the most well-known distilleries in Scotland (think Macallan and Laphroig).

This dramatic rise is primarily driven by the Asian market (China, India and Singapore being the main buyers) and despite the current pandemic, this increase shows little sign of slowing down any time soon. In fact, the pandemic suggests that collectors potentially have more time to peruse the online world of whisky auctions while investors are staying clear of the stock markets, which have been decimated by the current crisis and are turning to alternative areas to invest their money. You could also argue that 2020 has offered the perfect excuse to lift one’s spirits!

At a recent auction, ‘The Red Collection’ of six Macallan mature aged single malt whiskies sold for over £750,000. The collection included bottles aged for 40, 50, 60, 71, 74 and 78 years making the latter the oldest bottle ever released from The Macallan Distillery. The only other set of this collection will remain in the archives of the distillery making this purchase, by an Asian private collector, one of a kind. While this is an extreme case, all those whisky collectors out there would be wise to have a browse of their collection as bottles purchased in the 1970’s have been fetching between £1,000 and £1,600 at recent auctions. Some sales of bottles from this decade have also seen miniatures fetch as much as £240! If your collection spans the decades, you could be sitting on some rare and valuable bottles.

To find out more about a whisky or wine and spirits valuation with Quastel Associates, please call 0207 253 1710 or click here .

BANKSY: STREET ARTIST

Fri, 11 Sep 2020 16:20:46 GMT

Please enjoy this article on artist Banksy written by Kerry Hall here at Quastel Associates;

You would be hard pushed to find someone in this country who is not familiar with the work of anonymous street artist Banksy. In fact, his distinctive stenciling graffiti is so well known that not only was one of his works (Girl with Balloon) named as the UK’s best loved work of art but Time magazine also selected him as one of the world’s 100 most influential people in 2010. From an outlaw spray-painting the streets of his hometown of Bristol in the 1990’s to a world famous political and social commentator and activist in 2020, it’s been quite the journey.

With this in mind, imagine that it is 2008 and you’ve just admired the work ‘Nola, White Rain’ (see image below) by the relatively unknown (at the time) Banksy in a gallery and have decided to purchase it for your wall for the grand total of £400… This is exactly what happened to one of our clients here at Quastel Associates. To quote our client:

“For me personally I have always enjoyed art and what it represents, the Banksy Nola piece that I was lucky to buy from Pictures on Walls POW in 2008, has always been up on the wall and enjoyed by friends and family.”

His purchase of this particular work, bought for the simple and admirable reason of enjoying what he saw, was a very good investment. Recently realising that it was probably worth insuring for more than the £60,000 he had it on his policy for, he contacted Quastel Associates for an updated valuation. It is now insured for £100,000. In 12 years, that is quite a significant jump! He said:

“More recently Banksy has gained a lot of interest by investors and this has seen the value of his work go up year on year. We have recognised the need for it to be properly insured and Mark and his team at Quastel have been working with our insurer to maintain our cover as the value of the art increases.”

‘Nola’ first appeared on a wall in New Orleans during Banksy’s visit to the city in 2008. When asked about the piece, the artist said that it represents how the things that are there to protect us can also cause us harm. This was just a few years after Hurricane Katrina devastated the city and the work poignantly pointed out the lack of political intervention to help the city in the wake of the flood. It is arguably one of Banksy’s most famous works and the signed print our client purchased is one of 289 made. The work also comes in four different colour variations (with the rain appearing as a different colour), this piece obviously featuring white rain.

Thankfully all the relevant paperwork of purchase and authenticity for the work of our client's has been kept safely, ensuring the work is recognised for the genuine article it is. He says:

“I would recommend that anyone who buys art recognises the need to keep all the paperwork for provenance as this will make the process of insuring the item much easier and don’t forget to keep an eye on the value of sold similar pieces by the same artist.”

It just goes to show that a love for art can pay dividends, not only in the pleasure it offers the viewer but also financially as this piece perfectly demonstrates.

To find out more about an art valuation with Quastel Associates, please call 0207 253 1710 or click here .

SACHA JAFRI: MAGICAL REALIST PAINTER

Thu, 13 Aug 2020 16:27:25 GMT

Please enjoy this short article on Sacha Jafri written by Kerry Hall here at Quastel Associates;

After recently valuing an artwork by the world leading 'Magical Realist' painter and increasingly in demand British artist Sacha Jafri, we were encouraged to investigate this exciting young painter as he continues to take the art world by storm.

It is not every day you come across a living and working artist who's artworks have sold for as high as nearly £3 million and at the young age of 42 years old, this is especially incredible. Sacha Jafri is this artist and his large scale, high energy and colourful abstracts have been grabbing the attention of some of the world’s biggest names. Barack Obama, George Clooney, Bill Gates, Madonna and Leonardo DiCaprio are just some of the famous names to have purchased his paintings. He certainly appears to be hanging out in the right circles and rubbing shoulders with the right people.

However, there is another side to Sacha Jafri. Not only has he won the ‘British Painters Prize’, been awarded ‘Young Artist of the Year’ in New York and offered a museum-based 10 year Retrospective World Tour (making him the youngest artist in history to achieve this) but he’s also been recognised for his humanitarian work. A generous 10-20% of his takings are donated to charity making his current total of charity donations well into the tens of millions. The charities he donates to are focused on the welfare of children; those with mental health issues or special needs and orphaned refugees.

It was in fact at a charity auction that our client purchased his Jafri painting. Not only did our client make a generous donation to charity but he also ended up with a very sound investment. The painting has now been valued at over ten times what it was purchased for. Jafri does not have an agent or dealer and likes to be the person who handles his works and so he delivered the piece to our clients house himself. Jafri’s reputation would not have been as high profile as it has become in recent years however that is still a wonderful way to receive your new painting.

To find out more about an art valuation with Quastel Associates, please call 0207 253 1710 or click here .

THE JEWELS OF RENÉ LALIQUE

Thu, 02 Jul 2020 16:33:04 GMT

Please enjoy this fascinating article on René Lalique written by one of our Senior Jewellery Valuers here at Quastel Associates; Steven Jordan FGA DGA FIRV FJVA

Introduction: The name "Lalique" conjures up images of opalescent glassware decorated with flowing organic lines, highlighted with birds, cherubs and the female form.

However, René Lalique was also a leading designer of art nouveau jewellery, producing some of the finest pieces of the twentieth century. He aligned symbolist and art nouveau themes, using such diverse materials as baroque pearls, horn, ivory, amber, tortoiseshell and glass, combined with fine plique a jour enamelwork.

Designing for such prestigious houses as Cartier and Boucheron his reputation grew. He attracted an influential clientele, notably the diminutive tragic actress Sarah Bernhardt, for whom he produced a series of jewellery from 1891 to 1894.

This article will give an overview of his life, relating specifically to his jewellery work, key design features, marks used and auction values. René (Jules) Lalique (1860-1945):

During the years 1895 to 1912, Lalique had been commissioned by the Armenian banker Calouste Gulbenkian to create a series of fine jewels, over one hundred and forty of which are presently owned by the Gulkenkian Foundation, Lisbon.

The fall and rise:

Between the wars, there was a move towards more geometric lines and a favour for more mass produced items.

During the 1920’s and 1930’s, sadly, many of Lalique’s jewels were broken up or remodelled. Even as recently as 1969, when a diamond set fern leaf tiara only fetched £250 at auction, Lalique’s designs were still not appreciated.

In recent decades, perhaps due to such fine exhibitions as the one held at the Goldsmiths’ Hall London in 1987, Lalique’s designs gradually became popular again. For example, in 1989, a late 19th century winged female form pendant sold at auction for £42,000.

A fine art nouveau jewellery collection was auctioned by Sothebys Geneva in November, 1995. The collection had been put together by a Joseph R Pitman and the sale included thirty-three Lalique jewels, many of which were of such importance to have been previously illustrated in noted academic works.

The star lot was a ‘water nymph and dragonfly brooch cloak clasp’ circa 1904-05. The design is comprised of two opposed dragonflies flanking a triangular glass intaglio. It commanded on the day 190,000 swiss francs against an initial estimate 60,000-100,000 swiss francs.

Key features:

His jewellery often employed plique a jour (open to daylight) enamelwork, the finest depicting a human female form having butterfly or dragonfly wings.

Using organic lines on bracelets, necklaces, pendants, haircombs, rings etc. combined with classical art nouveau motifs such as peacocks and serpents with blossoms, orchids, lily-of-the-valley, chrysantheum, poppies, as well as ferns and vines.

The theatrical jewels commissioned for Sarah Bernhardt allowed Lalique to develop his dramatic style, some of which were designed in the Egyptian taste. It was perhaps this association, more than any other, that propelled Lalique’s designs to the fore as they attracted wide publicity in the art magazines of the day.

Lalique’s avant-garde designs, his dramatic use of the female form, secured his reputation as one of the most innovative and influential jewellery designers of the art nouveau period.

Marks:

René Lalique used a variety of marks, sometimes impressed into the material rather than stamped in order not to cause any damage to the finely-made jewellery.

Generally, one finds a variation of his signature (R.LALIQUE or LALIQUE) in block. His initials RL are sometimes incorporated in the French maker’s mark, known as a poincon de fabricant, flanking a drawn sword within a lozenge surround.

Other marks may be observed. For example, there may be an eagle’s head representing 18ct gold, the winged head of Mercury on items intended for export and the French silver standard mark of a boar’s head.

Auction values:

It would be impossible to suggest auction values, as can be gleaned from the example of the ‘water nymph’ brooch mentioned above. Each piece is an individual artistic creation and would be assessed on its own merit.

To find out more about an expert jewellery valuation with Quastel Associates, , please call 0207 253 1710 or click here .

FURNITURE: QUALITY OVER QUANTITY

Mon, 01 Jun 2020 16:41:44 GMT

Please enjoy this insight to the antique furniture market by one of our fine art and antiques valuers here at Quastel Associates; James Weedon

The English furniture market has, for some time now, suffered from a decrease in both demand and value. The 1990s saw unprecedented sales, the salerooms were packed to the gunnels with 18th and 19th century furniture and dealers were moving stock at a rate almost unimaginable today. Prices were constant and the number of un-sold lots on an auctioneers book were few.

From the beginning of the 21st century, as the market began to decline it became ever more selective. Lifestyles, living spaces and tastes were changing and with them demand for Georgian and Victorian interiors.

It is easy to cast a sweeping statement that brown furniture is worthless. Everything has a value but the fate of the unfashionable, impractical and unexceptional has seen an implacable decline.

It is however not all bad news, there are still some high market prices achieved and there are pieces that will still provide an investment opportunity and, perhaps more importantly, enjoyment for their owners. It is a buyers market and the value now, at least for the middle market, is in practicality and quality.

There is no set formula for the art of valuation, it is, as often quoted, an imprecise science, but there are certain factors that ensure interest. The key is to understand how a piece of furniture was made. If we focus on the middle years of the 18th century we begin to see furniture techniques in construction and decoration explode with innovation and design.

London workshops were competing with ever wealthy upper class patrons, each endeavouring to out do the other. Craftsmen, new techniques and materials from Europe and Asia were arriving on our shores, literally by the boat load, and the industry was thriving.

The legacies left by these great craftsman are objects of art which have survived the test of time. Furniture made using the finest materials available and the latest techniques and tools. Proportion, functionality and quality are as important now as they were then. For today’s market just add originality, rarity and traceable provenance to the mix and you will have a piece worth treasuring.

To find out more about an art and antiques valuation with Quastel Associates, please call us on 0207 253 1710 or click here .

ORIENTAL WORKS OF ART

Fri, 22 May 2020 16:46:25 GMT

Please enjoy this insight to the growing market for Oriental works by one of our fine art and antiques valuers here at Quastel Associates; Ben Gamble.

"Combining exquisite craftsmanship and motifs from eastern culture, Oriental antiques and artworks have long been sought after by collectors and enthusiasts for both their intricacy and decorative qualities. In recent years, with China’s rapid economic growth, there has been resurgence in overseas interest in Oriental art works; with many wealthy Chinese looking to buy back their artistic treasures, and the Japanese equally keen to bring home pieces of historic and artistic importance.

As such, we have seen a considerable rise in interest in Oriental pieces over the past five or six years – in fact, in the early years of this resurgence auction rooms across the country saw such items go for way above the estimated sale prices. This is driven by a combination of new wealthy generation keen to have a stake in their artistic heritage and the rise of live online bidding – meaning it’s easier than ever for bidders to participate in ‘real time’ in a sale regardless of where they are in the world.

When it comes to what sells especially well, as with the antiques market in general, it all comes down to quality first. Items of high quality and in good condition are in huge demand, with common items or those mass-produced for the tourism trade the least likely to perform.

And it’s not just the Eastern market that is driving up sales of furniture in particular – as the European market continues to favour modern interior décor, the clean lines typical of even antique Oriental furniture make them popular purchases as a show-stopping feature for sleek, modern interiors. Also, Korean and Japanese ceramics are selling well as buyers develop an interest in more of the Eastern cultures, so we anticipate further growth in these markets in the future.

When it comes to telling whether you have a Chinese ceramic piece that might be worth something, expert advice is essential. Chinese ceramics are categorised based on the dynastic period during which they were created. Particularly good examples from any of the periods will always remain popular, but perhaps the best-known periods remain the Ming dynasty (1368-1644), the Kangxi dynasty (1662-1722) and the Qianlong dynasty (1736-1795). However, granny’s ‘Ming vase’ might not be all it seems – there are many copies out there, a lot of which are antiques in their own right and may have some value, but nowhere near that of the ‘real deal’. In such a tricky market, seeking the advice of an expert valuer is key.

While ceramics, furniture and other decorative works remain buoyant, one area that is seeing a complete reversal in its fortunes is that of ivory artworks. Where once figurines and other items intricately carved out of the controversial material attracted a strong following of collectors and could see lots sell for thousands, the forthcoming introduction of a strict ban on the sale of ivory in the UK will see the bottom pretty much drop out of the market and make most ivory items fundamentally of no value. There are a few exceptions – in the form of the very rarest and best examples of ivory artwork, which must be proven to be over 100 years old and dependently assessed for their importance by specialist institutions such as the UK’s most prestigious museums before exemption permits are issued."

To find out more about an art and antiques valuation with Quastel Associates, please call us on 0207 253 1710 or click here .

JET JEWELLERY: HISTORY & OVERVIEW

Fri, 15 May 2020 16:51:42 GMT

Please enjoy this fascinating article on jet jewellery written by one of our Senior Jewellery Valuers here at Quastel Associates; Steven Jordan FGA DGA FIRV FJVA

Jet has been used in jewellery for at least fourteen thousand years. It was formed in the Jurassic period, about 180 million years ago, when trees, similar to our present-day monkey puzzle tree, perished and fell into swamps and rivers.

The waterlogged trunks and branches eventually sank and were compressed under further detritus. The resulting pressure and chemical change altered the wood to jet. Pieces formed in freshwater became soft jet, in saltwater hard jet.

It was jet’s ability to take a high polish that led to its use in jewellery. Hard jet that was found on the North Yorkshire coast led to the thriving jet industry in the Whitby area. Initially it was the Romans who exploited the resources of the region and by the third century AD they were producing all manner of jewellery and trinkets.

Throughout the Dark Ages and Medieval period jet was used for talismans and religious items such as rosaries, crosses and objects that would help ward off the evil eye. The industry continued during the Elizabethan period, dying down until about 1800. It was the introduction of the lathe and the growth of the railway in England that led to the industry being reborn out of the desire for cheap holiday souvenirs. The jet industry’s heyday was between 1809 and 1875 when hundreds of men, women and children were employed, reaching a figure in excess of fifteen hundred in 1872. Today barely a handful of skilled craftsmen continue working in Whitby.

Fashion:

As fashion moved away from the light materials of the Regency period and towards the heavier Victorian garments jewellery had to accommodate the trend. Jet was an ideal material for the production of large brooches due to its lightness.

The 1851 Great Exhibition brought attention from the continent, culminating in orders from such dignitaries as the Empress of France and the Queen of Bavaria.

It was the death of Prince Albert in 1861, which caused Queen Victoria to engage in a long period of mourning, that led to jet being the only form of jewellery that could be worn at court. Most commoners followed the practise in their own bereavements and many mourning brooches were produced.

The craftsmen:

Hard jet when skilfully carved was an expensive item. In the third quarter of the nineteenth century a skilled jet worker could earn up to œ4.00 a week, a considerable sum at the time. As it was always considered that a craftsman’s work could be recognised by the style of a piece very few were signed.

When you start to collect Whitby jet jewellery you’ll admire the craftmanship in the carving but will probably be amazed at the quantity of brooches with misspelt names. The majority of the workmen were illiterate. Sometimes they would run out of space and leave letters out. See the image for a good example. Bower in 1873 wrote, “I saw workmen, one of the best hands in a large shop in Whitby, able to cut the most elaborate monograms, the most accurate portraits, the most elaborate foliage, but quite unable to sign his name”.

Notable Victorian jet workers were the Speedy family, George Tyson, John Wray, James Ainsley, William Stonehouse, Matthew Snowdon and the workshops of Charles Bryan and that of E H Greenbury.

One mark that was used was that of a ‘Star of David’ being a quality mark on findings, i.e. jewellery fittings such as brooch pin plates.

Jet and its imitations:

Jet is a fairly light material, (specific gravity approximately 1.3), has a conchoidal fracture (shell-like) and burns with the smell of burning coal. It is hand carved, its imitations are generally moulded, shows a woody structure under magnification and leaves a brown streak on ‘crocus’ paper or unglazed porcelain plate.

Vulcanite , an early form of hardened rubber, is also fairly light, (specific gravity approximately 1.15-1.20), fades to a khaki colour in daylight, also produces a brown streak but gives off a smell of burning rubber when touched by a hot needle. As items were mass-produced they show moulding lines, rounded edges and repeated design elements such as graduated beaded edges. A useful tip when looking at a locket is to check behind the photograph area. A jet locket is left rough inside, a vulcanite one has a smooth interior.

Bakelite , although not invented until 1909, can be deceptive. However, it gives a black streak and will emit a smell of carbolic acid when applied with a hot needle. Another clue is that many of its fittings are stamped ‘patent’.

French jet is a manufactured glass, as is an English version known as Vauxhall glass. Cold to touch and heavier than true jet, (s g approximately 2.20), it cannot be scratched with a pin nor will a hot needle have any affect. It should be noted that a very small amount of true French jet has been produced.

Irish Bog Oak was never meant to imitate but can be confused with jet. It has a distinct visible wood structure, is dark brown in colour and is generally carved in Irish themes such as harps, shamrocks and castles.

Cannel Coal is carved into ornaments rather than jewellery and gives a black streak. There are other materials, such as onyx and obsidian, that could be mistaken for jet but their heaviness and cold touch make them easily differentiated from the warmer, lighter jet."

To find out more about an expert jewellery valuation with Quastel Associates, please call us on 0207 253 1710 or click here .

quastel

The Quiet Risk of Overinsurance

Please enjoy our latest article on Overinsurance, by Kerry Hall

How does overinsurance happen?

5 Areas Your Client Could Be Underinsured

Please enjoy our latest article on Underinsurance, by Kerry Hall

Below are five key areas where we at Quastel Associates have noticed that underinsurance frequently creeps in and where a professional contents valuation can make a real difference.

Silver Smashes Records: The Quiet Metal That’s Now Making Headlines

Please enjoy our latest article on the dramatic rise of silver value, by Kerry Hall.

Is it time to rethink what your silver is worth?

Maqbool Fida Husain: From Film Posters to Christie’s Walls

Please find an article by Debra Stanislawski about Maqbool Fida Husain below.

Maqbool Fida Husain was born in India at a time when those growing up in poor rural communities did not keep track of birth dates. He was born into the minority Bohra Shiite Muslims and considered himself Muslim throughout his life.

He initially struggled to get work as an artist. He was commissioned for portraits and did them well. However, he was an unknown artist as he came from a less privileged background and had not yet mastered oils, which were the main medium in the 1930s.

Edward Seago: Capturing Light and Atmosphere in the British Tradition

Please find a short article about Edward Seago by Kerry Hall.

Edward Seago: Capturing Light and Atmosphere in the British Tradition

The Golden Age of Clockmaking

Please read our newest article by Mark Smith below.

Clock Valuation by Quastel Associates

Football Memorabilia

Please enjoy this short article about Football Memorabilia by Kerry Hall:

Limitless Zao Wou-Ki

Please find a short article by Debra Stanislawski about modern artist, Zao Wou-Ki.

Care and Maintenance Series – Part 2 –Storing and Cleaning Silver

Please find a short article about cleaning and storing silver by Kerry Hall below.

Indigenous Art

This is a short article written by Debra Stanislawski about some Indigenous artists and art.

Displaying and Storing Paintings

Please find the first article about Paintings in the Care and Maintenance Series by Kerry Hall below.

Sculpting the 'Geometry of Fear'

Please find a short article about post World War II sculptors by Debra Stanislawski below.

Medals

Please find a short article by Mark Smith below.

Photography

Please find a short article by Debra Stanislawski about Photography below.

Andy Warhol

Please find our newest article below

David Hockney

Please find a short article below by Kerry Hall.

Brooches

Please enjoy this short article about brooches by Debra Stanislawski.

Instagram and the Art World

Please find a short article by Greg Mullin below.

The Rise of 20th Century Furniture: Icons and Licensing

Please find a short article by Mark Smith, Managing Director, below.

Pearls

Please find an article by Debra Stanislawski below. Photo credits to Clare Blatherwick, jewellery valuer.

Retro Resurgence: Arcade & Video Game Collecting Unveiled

Please find our short article by Mark Smith below. ﻿

Sneaker Collection

Please enjoy this short article on Sneakers by Debra Stanislawski.

Contemporary Art

Please enjoy this short article on Contemporary Art by Debra Stanislawski and James Weedon at Quastel Associates;

The Impact of AI on Art and Antique Valuations

The Impact of AI on Art and Antique Valuations

UNDERSTANDING METAL: GOLD & SILVER OR BRONZE SCULPTURES?

Please enjoy this short article on understanding metals by Debra Stanislawski at Quastel Associates.

SCOTTISH COLOURISTS

UNDERSTANDING RUG VALUATIONS

UNDERSTANDING HOW TIME TRAVELS

BARBIE AND FRIENDS: VINTAGE TOYS WORTH COLLECTING

BARBIE and Friends

Which vintage toys have been worth collecting?

2023 Context

When does a toy become more valuable?

Which toys are valuable?

1. BARBIE

2. STAR WARS

3. LEGO

4. THUNDERCATS

UNDERSTANDING JEWELLERY VALUATIONS

UNDERSTANDING ART & ANTIQUE VALUATIONS

PREPARING FOR A VALUATION

UNDERSTANDING HANDBAGS

HISTORICAL MANUSCRIPTS & LITERATURE

NEVER JUDGE A BOOK BY ITS COVER

Scarcity

ISBN

THE BRITISH STUDIO POTTERY MOVEMENT

Please find our short article by Mark Smith below.