Doerr Valuations would like to thank the Fine Art Insurance Reception for a fun evening with industry friends held again at the RACCLUB thanks to all for organising! Rachel still didn’t win the raffle!! Rachel Doerr, Alastair Meiklejon, Ben Hanly and Francesca Valentini were delighted to support the evening and looking forward to next year!
This week I saw a lovely collection of antique jewels, dating from the mid-19th century. Mid-19th century felt ‘relatively’ close until I realised it was getting closer to being 200 years old rather than 100… If you’re like me, the 80s was still only 20 years ago! Enough revelation on how old I am and back to this beautiful collection.
The one piece which caught my eye was an onyx mourning brooch dated 1854.
The oval onyx plaque, measuring 4cm x 4.5cm, has an overlaid border of acanthus leaf gold detail, the central glazed compartment with a lock of hair within a surround of 31 seed pearls, in closed-back setting. The reverse was engraved with ‘In Memory of Henry Thomas, Sept 14th 1854, Oct 54 years & 11 Months’.
Though its value might be relatively low, around £500 for Insurance purposes and £200 for open market value, one can immediately sense the priceless sentimental value this piece had.
When Prince Albert died on 14th December 1861 of typhoid fever, Queen Victoria entered a state of mourning and wore black for the remainder of her life.
It was then that onyx became fashionable. The court was quick to follow the new strict “dress code”. With wars and epidemics, death was everywhere. The demand for hair for mourning jewellery was such that it is said an extra 50 tonnes of human hair a year was imported to England to meet the demand.
Though a very personal jewel, the demand for mourning jewellery is constant. The below items, comprising of two mid-19th century gold and enamel mourning brooches and an 1830s gold locket, sold at Bonhams for £1,000 (including premium).
Mourning jewels are both sad and a beautiful statement of the love someone has for a departed. Whether antique or new, it is a celebration of the life that once was.
Stay tuned for next week’s jewellery pick…
It’s April, and whilst the majority of us are looking forward to spring flowers and slightly milder days, a large portion of the country are looking forward to another yearly event – The annual bonus.
But if you thought that bargains were available in the post-Christmas sales on luxury watches, you couldn’t be further from the truth – despite the huge increase in production that Rolex, Audemars Piguet and Patek Philippe managed in 2022, there are still waiting lists, still a huge grey market and in fact a reduction in production of 2% for Patek Philippe and a whopping 10% for Audemars Piguet, whilst Rolex managed to keep a flat level inventory.
March 2022 seems a long time ago now, 24 months have passed, and the view of the wristwatch world has changed completely. When the inevitable price drops started to happen in April 2023, many people were surprised, but I think the general consensus was that there was no way that prices could rise exponentially in the way they had done for the previous two years.
Between March of 2022 and 12 months later, the Bloomberg watch index showed a huge drop of £15,000 from around £45,000 to £30,000, which clearly indicated the way in which the market was moving. Looking at the figures from this, however, indicated that those figures were dictated more by six figure Audemars Piguet and Patek Philippe watches losing almost 40% of their supposed secondary market rather than the middle ground of watches in the sub £100,000 market – yes ALL watches have taken a hit, but not to the degree of the absolute top end.
There are many reasons that the realignment of prices happened, not least the crumbling of bitcoin and the fact that most people had to go back to the office after COVID, the increase in production post-COVID, but also the concern of street crime. The fact that the BBC decided to cover the problem shows just how much of an issue it has become.
Right now, things appear to be levelling off though, in fact the prices of some watches appear to be increasing with the Rolex ‘Starbucks’ 126610LV actually increasing in value by 3.2% and completely bucking the trend for six figure watches. The Patek Philippe Nautilus Chronograph 5980/1R seems to be rallying at a 2.8% increase – which even I wouldn’t have thought possible.
What is great though is that the industry hasn’t laid back and decided to just ride out the storm, more and more amazing pieces keep coming out – not least the simply stunning Piaget Polo ’79, which to my mind WILL be the watch of 2024 and over the summer, everyone will be seen wearing it. What is fascinating though is that because of this new release, it has had a huge impact on secondary values of other Piaget watches, whereas before a slightly niche jewellery brand, it is becoming the watch word, metaphorically and literally.
Aside from the Piaget, other new releases include an ‘interesting’ collaboration between Victoria Beckham and Breitling, creating a range of Chronomat watches, that they hope will appeal to a lot of male buyers as well as ladies, which will be a tall order. Farer have released a lovely cushion shaped compressor style stainless steel wristwatch, which is as bold as they come, and in my opinion a bit of a bargain as well, and at the other end of the market the Swatch x Blancpain ‘Ocean of the Storm’ is creating a lot of waves and if you can find one for £350, I suggest snapping it up.
David Dallas, representing Art Valuers, together with the painter, Clive Wilson, the sculptor Charlie Smith, and Paul Raison, an Old Master expert from an auction house recently spoke to pupils at Eton College about pursuing a career in the commercial art world.
The evening was a great success and well attended, with 31 boys and 8 members of staff giving up their evenings to hear the talks and take part in the Q&A Session in the luxurious Jafar Gallery and Debating Chamber.
The boys asked a lot of intelligent and probing questions and seemed to be quite well acquainted with the subject already!
Dave, a past pupil himself, was delighted and honoured to be invited and to share his experiences.
For more information about Eton and the Arts, take a look at their website: https://www.etonarts.com/
There is no doubt that values in the designer jewellery field have seen uplifts in the past few years. A unique combination of the Post Pandemic luxury goods ‘boom’, an exponential rise in social media influences on buying patterns, wider inflation and bullion prices have all contributed to an incredibly buoyant and enduring atmosphere.
Similarly to the trends seen over the last couple of years in the watch market, particular designer brands saw a huge increase in popularity, visibility, and subsequent demand on the secondary market, with only a slight respite towards the end of 2023 (Reuters).
Coupled with retail prices ever increasing, the value of these ‘hot’ designer items have been pushed up on the secondary market. Value factors include condition, whether the piece has its box, and the perceived popularity or rarity of any gemstones used in the design.
Whilst Cartier’s growth in the retail sphere appeared to be easing towards the end of last year, share prices and figures released in January 2024 display a definite upward curve driven by demand in Asia. This healthy overall trajectory has filtered down to the secondary market, with Cartier items at auction demonstrating a strong sales rate and frequently exceeding estimate.
‘Love’
The last retail price increase for Cartier was implemented in early 2023, with prices rising from anywhere between 3% to over 10%. The most sought-after and iconic collections naturally increased the most, with Pursebop estimating the retail price of an 18ct white gold Love Bracelet set with four diamonds increasing 7% to £12,200.
The Cartier ‘Love’ bangle is one of the most popular items of jewellery ever designed. Created by Aldo Cipullo in 1969 and were referred to as a ‘modern love handcuff,’ only removable with the help of a mini screwdriver.
Worth noting that some designs, including Aldo Cipullo original LOVE jewels from the 1960s onwards will always command a premium for their place in the brand’s design history. Another 1960s design by Cipullo to continue to grow in retail price is the Juste Un Clou, with a ‘small’ diamond set bangle selling for £4,850, and a diamond-set choker necklace now retailing at £105,000.
Cartier Trinity
This year, to celebrate 100 years of the Trinity Collection, Cartier has released two new designs, a re-edition of the XL bracelet and an XL version of the iconic ring. Maintaining the timeless appeal and enduring relevance of this beautiful collection has seen values continue to rise over decades, resulting in a classic collection that is still coveted a century after its creation.
Another brand under the Richemont umbrella is Van Cleef & Arpels. Van Cleef & Arpels was established in 1895 following the marriage of Estelle Arpels, daughter of a dealer in precious stones, and Alfred Van Cleef, son of a lapidary. Creating masterpieces such as the ‘invisible setting,’ the minaudière, and the zip necklace, this iconic jewellery house is perhaps best known in present times for the ‘Alhambra’ collection. Indeed, according to statistics by retailer Watch Pilot, in 2023, the Van Cleef Alhambra bracelet was the most Google searched item of jewellery by category.
VCA Alhambra
Designed in 1968 by Jacques Arpels to be symbolic for luck, the Alhambra Collection is designed around a series of quatrefoil ‘four leaf clover’ panels. Varying in designs with quantity, size, and gem material, these beautifully set clover shapes are truly emblematic of the brand. Worn by royalty and celebrities to include the likes of Princess Grace of Monaco, Elizabeth Taylor, Kate Middleton and many more, the Alhambra collection possesses a truly timeless appeal.
Since 2022, the retail price for an 18ct gold Alhambra bracelet with five mother of pearl motifs has increased by 5.3% to £3,950.
At auction, the Van Cleef Alhambra pieces that well exceeded estimates were limited edition runs and unique pieces that were impossible to procure from the retail market.
One such example was a striking collar necklace, formed from openwork Alhambra links in 18ct yellow gold, selling at Bonhams in 2022 for £50,000 against a £12,000-15,000 estimate.
Boodle & Dunthorne was established in Liverpool in 1795, gaining a reputation as one of Britain’s finest jewellers. Rebranding to ‘Boodles’ in 2004, this coveted brand has designed several sought-after jewellery collections that continue to enjoy increases in value as the years go by. Collections such as the Velocity, Blossom, and Raindance are all designed and handcrafted in-house from Boodles’ workshops in the heart of London.
Raindance
Designed in 2000 and inspired by a trip to the Chelsea Flower Show in which Head of Design Rebecca Hawkins admired the way light played on raindrops, the Raindance Collection is seen as one of the brand’s most iconic collections. Indeed, the Victoria & Albert Museum has a Raindance ring on display as part of their ‘Best of British Design’ permanent exhibition.
Featuring a series of collet set diamonds in varying sizes and angles, these beautiful jewels are retailing from £3,400 for a single band set with three circular rubies or sapphires and a pair of brilliant cut diamonds. At the top end of the spectrum is the Raindance ‘Chelsea’ bracelet, set with over 15 carats of colourless and fancy pink diamonds at £134,400.
Celebrating its 20th anniversary in 2020, Boodles released a limited-edition ring, set in platinum and 18ct rose gold with colourless and Argyle pink diamonds. Varying in carat weights, these limited edition pieces will continue to grow in value and hold their own at auction. In 2023, one such example with approximately 2.80cts of diamonds sold at Tennants Auctioneers for £19,000. Meanwhile, a version of the design on Boodles website set with 4.25cts is available for purchase at £84,000.
To conclude, exquisitely constructed and expertly finished jewellery will always possess a value, and continue to rise according to demand, popularity and inflation over time.
Although trends and fashionable collections will alter and vary over the years, items from the premier jewellery houses, in good condition and with original boxes will retain a demand from collectors, jewellery lovers and indeed those new to the market. Pieces that possess an unusual or rare aspect, such as an early piece from the collection, limited edition runs, and unexpected gemstones can expect to exponentially increase in value over time.
With the clear discrepancy between open market value and retail replacement value, it is essential that clients are equipped with adequate cover for their items. For a specialist, informed and up to date valuation of your jewellery collection, contact our experienced, nationwide team at Doerr Dallas.
In the realm of literary works, few names conjure up the same sense of whimsy and charm as Beatrix Potter. The beloved author and illustrator has captured the hearts of readers young and old with her enchanting tales of mischievous rabbits, dapper mice, and adventurous squirrels. As a result, the quest to collect first editions of her works has become a passion for collectors worldwide, offering not only a glimpse into the history of children’s literature but also a chance to connect with the magic of Potter’s timeless stories and illustrations.
The Tale of Peter Rabbit
In September 1893 Noel Moore, the five year old son of Beatrix Potter’s friend and former governess was unwell. To cheer him up Potter wrote the now famous Peter Rabbit picture letter. “I don’t know what to write to you,” she began, “so I shall tell you a story about four little rabbits”. Noel was delighted with the letter and a few years later Beatrix decided to develop the story and turn it into a little book. Thus The Tale of Peter Rabbit was born, but it took a while for the story to make it into print.
Potter approached many publishers with her manuscript but to no avail, so she resolved to publish the story at her own expense and sent the manuscript to a London printer Strangeways & Sons. Thus is was that on the 16 December 1901 an edition of 250 privately printed copies of her book were ready to sell or distribute to friends. To keep printing costs to a minimum the book had a card cover and only one colour illustration with the other illustrations being in black and white. The size of the book was also important: Potter believed that it should be of a size that a child could hold easily in their hands and the paper should be durable, so the pages were easy to turn.
The Tale of Peter Rabbit was received with great enthusiasm by children and adults, so Potter ordered a second printing of 200 copies. The format remained the same as the first printing, but there were some minor changes to the text and the quality of the binding was improved. The colour of the boards changed from grey to olive green and the spine became rounded, rather than flat. Booksellers and collectors often describe these two privately printed editions as either ‘flat backed’ or ‘round backed’.
The first Trade Printing
In December 1901 Beatrix Potter received a letter from the publisher Frederick Warne which read: ‘Dear Miss Potter, I must apologise for not having written to you earlier with reference to the “Bunny Book”’. Warne offered to print the story in an edition of 5,000 copies, on the condition that Potter supplied all the drawings in colour. They suggested a royalty of 1d (one pence) per book, rising to 3d (three pence) per book should there be any subsequent editions. Warne cautioned that: “we cannot tell whether the work is likely to run to a second edition or not, and therefore we fear it might not provide a reasonable remuneration for you.”
Following some negotiations a contract was agreed and Potter set to work producing the illustrations in colour. So it was that in October 1902 the first published edition of The Tale of Peter Rabbit was offered for sale in book shops in Britain. Potter wanted the book to be affordable so there were different editions available: the book was available to buy in either brown or grey paper boards, retailing at 1/- (one shilling) or in pale green cloth, retailing at 1/6 (one shilling and sixpence). Warne suggested that brighter colours might sell better, but Potter was adamant that the colours of the boards needed to be in keeping with the natural colours of her animal world.
Warne’s publication of The Tale of Peter Rabbit, launched Potter’s career as a children’s author and has remained in print ever since. Subsequent titles, including The Tale of Squirrel Nutkin (1903) and The Tale of Benjamin Bunny, (1904) followed in quick succession, each adding to Potter’s growing legacy.
The Appeal of Beatrix Potter First Editions
What makes collecting Beatrix Potter first editions so appealing? At its core, it’s a journey into the past, a way to trace the evolution of Potter’s writing and illustration style, and to appreciate the craftsmanship of these hand-sized publications. Each first edition holds a unique story, from the initial print run to the hands that have cherished it over the decades. For many collectors, owning a piece of literary history is a way to pay tribute to an author whose work continues to captivate generations.
Navigating the World of Beatrix Potter First Editions
For those embarking on the quest to collect Beatrix Potter first editions, understanding the nuances of the market is essential. Identifying true first editions can be a challenge, as publishers often made subtle changes to subsequent printings. Key indicators of a first edition include the presence of the phrase ‘All rights reserved’ on the title page, as well as the absence of later printings listed on the verso.
Additionally, examining the colour and condition of the dust jacket, if present, can provide further clues to a book’s authenticity. Potter’s books are notoriously difficult to date as the publisher Warne used a dating process which is not easily decipherable for novice collectors. In most instances Beatrix Potter first editions state the publisher as ‘F. Warne & Co.’ before Warne became incorporated in 1919 and the imprint changes to ‘F. Warne & Co. Ltd’.
The Rarity and Value of Beatrix Potter First Editions
While some of Potter’s works were printed in large quantities, others had more limited runs, adding to their rarity and value. For example, The Tale of Peter Rabbit had an initial print run of just 250 copies, making first editions of this iconic book highly sought after. Similarly, titles such as The Tale of Mr. Jeremy Fisher (1906) and The Tale of Jemima Puddle -Duck (1908) are prized for their scarcity and charm.
In recent years, the market for Beatrix Potter first editions has experienced steady growth, with rare and pristine copies commanding high prices at auction. Collectors are willing to pay a premium for books in excellent condition, with original dust jackets or glassine wrappers, and minimal signs of wear. However, even well-loved copies with some wear and tear can hold significant value, particularly if they possess unique provenance or inscription by the author.
The value of a first edition can vary significantly, with pristine copies fetching five-figure sums, while worn copies without a dust jacket may be worth in the hundreds of pounds. While some early editions may hold value, the sheer number of subsequent printings means most are worth only a few pounds.
Preserving a Literary Legacy
Beyond the thrill of acquisition, collecting Beatrix Potter first editions is also a means of preserving her literary legacy for future generations. By safeguarding these rare and cherished books, collectors play a vital role in ensuring that Potter’s timeless tales continue to enchant readers for years to come. Whether displayed on a bookshelf or carefully tucked away in a protective sleeve, each first edition serves as a tangible reminder of the enduring magic of Beatrix Potter’s imagination.
In the end, collecting Beatrix Potter first editions is about more than just acquiring rare books – it’s a journey of discovery, connection, and appreciation for one of the most beloved authors in children’s literature. With each new addition to their collection, enthusiasts pay tribute to Potter’s legacy and celebrate the enduring power of storytelling to ignite the imagination and inspire wonder in readers of all ages.
On 26 March, Renovation Underwriting delighted us all with an amazing evening full of over 80 industry guests at the Victorian Bath House in London.
Rachel Doerr, our Managing Director, was delighted to attend the exclusive “RTC” launch event, revealed as Renovating the Classics.
The evening brought a tongue-in cheek approach to famous artworks with screenprints, bringing a difference and a twist! The evening started with a passionate and thought-provoking speech by Douglas Brown, inviting creativity within the industry and working together to overcome problems while building closer connections, trust, and collaboration.
It was a lovely evening, and we want to thank Douglas and James Guthrie for the invite – we look forward to the next one!
After extensive, but not wholly onerous research, I have found that the must have luxury chocolate Easter egg for 2024 is the Grande Easter Egg from Betty’s in Yorkshire. Your £375 will allow you to acquire over five kilos of Grand Cru Swiss chocolate made from Venezuelan criollo cocoa beans. Your egg will be applied with iced Spring flowers including narcissi, primroses, pansies and lily of the valley all with hand piped stems. Betty’s have been producing these hand crafted edible masterpieces for over a hundred years.
However, the history of eggs at Easter goes back many centuries. In the 1290 household accounts of Edward I ‘one shilling and sixpence for the decoration and distribution of pace eggs.’ ( Pace being a dialectical term for pashe or pascal.) These were hens’ eggs which had been dyed or coloured and were distributed to members of the Royal household. These eggs would have been wrapped in onion skins and then boiled, when the onion skin was removed the eggs looked as though they had a mottled gilding. The Scandinavians had a similar tradition also using flowers and leaves to produce a pattern.
Throughout Europe eggs were dyed and painted; and eggs were in plentiful supply. Although Shrove Tuesday saw the using up of eggs to make pancakes prior to Lent, no-one told the chickens that eggs were off the menu for the next forty days, so they continued to produce them, resulting in a glut of eggs by Easter. Throughout Europe and beyond the decorating and distributing of eggs has been part of Easter celebrations for hundreds of years.
The White House has a traditional Easter Egg Roll. In 1878 the President Rutherford B Hayes allowed the White House Grounds to be opened on Easter Monday and children were allowed to bring along Easter eggs and roll them on the lawn with a long handled spoon. Today it is a huge event and children can enter a public ballot to attend.
The ultimate Easter egg tradition is that of the Fabergé eggs. Jewelled eggs had been gifted at Easter before 1885. However, Grand Duke Vladimir Alexandrovich, brother to Tsar Alexander III suggested that Peter Carl Fabergé be commissioned to create a Royal egg. The egg, known as the ‘Hen Egg’ was given to the Tsarina, who was thrilled with it. It opened to reveal a golden hen sitting on golden straw and inside the hen was a replica of the Imperial Crown and a ruby pendant. Fabergé had triumphed and Alexander named him ‘goldsmith by special appointment to the Imperial Crown’, placing an order for another egg the following year. The eggs became more ornate and elaborate year after year. The designs did not have to have Royal approval, the only prerequisites were that each should be unique and contain a surprise. The eggs made for the Russian Royal family are known as the Imperial eggs.
A few notable figures, including the Rothschilds commissioned eggs of their own, but these were not numerous. The revolution in 1918, inevitably saw an end to this tradition, although Fabergé in its more recent incarnation still produces egg themed jewellery. Should you wish to purchase your own Fabergé egg pendant this Easter, the 18 carat gold, diamond and enamel Palais Tsarkoye Selo turquoise egg containing an enamel and diamond locket, can be yours for £12,000.
The popularity of gold and silver eggs with novelty surprises may have begun with Fabergé but has been taken up by others. In the 1960’s and 70’s the English silversmith Stuart Devlin acquired a large following for his eggs. They are still popular today and one sold at auction recently with Dreweatts at a hammer price of £1,100.
A longchain suspending numerous French, Austrian and Hungarian egg pendants sold in 2022, as seen in the adjacent images. The finesse of the manufacture, the frequent use of colourful guilloché enamel and the cute novelty surprises inside, helped Bonhams reach a hammer price of £28,000.
If this all seem a little overwhelming perhaps it’s time to consider the more modest Cadbury’s creme egg. Initially sold as the Frys’s creme egg, it became part of the Cadbury family in 1971. They are still only available from New Year’s Day until Easter Sunday and in recent YouGov poll they were ranked as the UK’s most famous confectionery.
We hope that the Easter bunny will bring you your egg of choice and Doerr Dallas wishes you a very happy Easter.
Since ancient times silver and gold have been highly regarded for their natural beauty, as well as their intrinsic value but why is there such a discrepancy in their values?
Status – Gold has always been seen as a display of wealth, as far back as ancient Greece and Rome the homes of the nobility held impressive collections and women were adorned with exquisite jewellery. A fine example is the pendant below, discovered in Crete in 1930.
Rarity – For every eight ounces of silver that is mined only one ounce of gold is extracted.
The mining of gold is hugely challenging, as well as expensive. Expertise in many areas is needed, including geology and engineering. In fact, less than 0.1% of prospected sites will lead to success with often a wait of up to twenty years before a discovered mine will produce material for bullion.
Investment – The spike in the price of gold during the Coronavirus pandemic of 2020 wouldn’t have come as a surprise to many, in times of economic crisis and catastrophic world events the investment in bullion can be viewed as a ‘safe haven’.
This small 18ct gold case sold at auction for £5,437 in February 2020, working out at £787 per ounce.
As the year progressed and the pandemic hit, gold prices peaked at £1,555 per ounce in August. Had this sold that summer it may have achieved over £10,000.
Also sold in early 2020 was this fantastic Victorian silver table bell achieving £5,062. At only 16cm long this shows how unusual items of vertu are sought after by collectors. Highly celebrated makers like Paul de Lamerie will always be popular but fashions have changed over the past twenty years. Mass produced items like tea services and salvers sell at scrap price, whereas areas such as mid-century and Danish silver continue to rise.
Gold will continue to be the favourite for investment due to the potential for high gain. Investment in silver can be prudent if only you can predict the fashions of the future!
At the time of writing this article the gold price was approximately £1,600 per ounce, silver £18 per ounce.
One knows that a true sign of an endearing artist is that of the moniker – we have seen it recently with Banksy, and throughout the past few decades with musicians such as Ringo and Prince, but perhaps one of the trendsetters in this field was actually a Victorian woodworker from Yorkshire, called Robert Thompson.
Born in 1876 in the small town of Kilburn in North Yorkshire, he inherited his father passion and skills for working with wood and specifically oak, starting with the family business creating doors, gates and kitchen cabinets amongst many other run of the mill items, then in 1895 the range of furniture that he is best known for began to take shape.
The gothic style mixed with the very current Arts & Crafts movement gave Robert Thompson the artistic freedom to develop some of the most popular designs for furniture of the 20th Century. Encompassing traditional techniques of manufacture such as mortise and tenon joints, dovetailing and pegging, the unique quality fighting against what was a tide of massed produced utility style furniture.
Working initially with churches and schools, Thompson designed many pews and benches, and one day whilst almost playing an ‘in-joke’ upon himself, he carved a small rodent into one of the ecclesiastical pieces supports – in his mind the colloquial phrase “Poor as a Church mouse”.
Following this moment of inspiration, the desire for his work and style moved on from just churches and schools to reach the homes of the fashion conscious furniture seekers of the 1920s and 1930s, and these without doubt are the pieces to look for when it comes to collecting. By this point ‘Mouseman’ or ‘Mousey’ had trademarked the cheeky chap whom now adorned all of his pieces, and not as a joke, but as a sign of quality.
The dresser detailed below is one of the many bigger pieces made by Mousey in the peak of his career, and whilst it made £35,000 at auction back in 2018, one would expect a retail price for it in 2024 to be over £50,000.
The Blanket box, with a fantastically 17th Century influence – even with a cheeky nod having the date of manufacture in a moulded plaque to the front, indicates that it was made in 1920, the start of the pinnacle of his career – commanded a price of £12,000 in 2022 at auction, which identifies it as being one of the most desirable medium sized pieces.
The last two items show the creative side of Mouseman, combining a mantel clock flanked by a pair of elephants, which without Thompsons influence would be virtually valueless, and perhaps one of my favourites, a sculpture of a mouse with apron and tools, even entitled ‘The Mouseman of Kilburn’. Funnily, this title indicates the humility of the artist that he could laugh at his own fortune. These items making £10,000 in 2023 and £13,000 in 2021 respectively indicates the rarity and demand for such individual pieces.
The Mouseman legend has lived on for decades following Mousey’s death in the 1950s, with his family still at the helm of the business creating quality oak furniture in North Yorkshire to this day, with many of the original designs still available, and whilst it is not uncommon to see Mouseman pieces at auction, the rarer items are still a treat to see, and still make the kind of prices that befit a man of such character and celebrity. Call us today to enquire about an appointment on 01883 722736 or email enquiries@doerrvaluations.
