Podcasts about Bonhams

Morse code transcription: vvv vvv Women are farmers too, says Jeremy Clarksons new sidekick UKs muddy saltmarshes vital to tackle climate change report How the West is helping Russia to fund its war on Ukraine Nancy Astors diamond tiara up for auction at Bonhams Banksy reveals new artwork but location remains a mystery North Sea ship crash captain pleads not guilty Paul Doyle in court over Liverpool FC parade crash Russell Brand pleads not guilty to rape and assault Flamstead hawk finds forever home with falconer Baby among three seriously hurt in Greater Manchester dog attack

Morse code transcription: vvv vvv How the West is helping Russia to fund its war on Ukraine Russell Brand pleads not guilty to rape and assault UKs muddy saltmarshes vital to tackle climate change report Banksy reveals new artwork but location remains a mystery Flamstead hawk finds forever home with falconer Paul Doyle in court over Liverpool FC parade crash Nancy Astors diamond tiara up for auction at Bonhams Women are farmers too, says Jeremy Clarksons new sidekick Baby among three seriously hurt in Greater Manchester dog attack North Sea ship crash captain pleads not guilty

Morse code transcription: vvv vvv UKs muddy saltmarshes vital to tackle climate change report How the West is helping Russia to fund its war on Ukraine North Sea ship crash captain pleads not guilty Russell Brand pleads not guilty to rape and assault Flamstead hawk finds forever home with falconer Paul Doyle in court over Liverpool FC parade crash Baby among three seriously hurt in Greater Manchester dog attack Banksy reveals new artwork but location remains a mystery Women are farmers too, says Jeremy Clarksons new sidekick Nancy Astors diamond tiara up for auction at Bonhams

Morse code transcription: vvv vvv Paul Doyle in court over Liverpool FC parade crash UKs muddy saltmarshes vital to tackle climate change report North Sea ship crash captain pleads not guilty Nancy Astors diamond tiara up for auction at Bonhams Baby among three seriously hurt in Greater Manchester dog attack Russell Brand pleads not guilty to rape and assault How the West is helping Russia to fund its war on Ukraine Banksy reveals new artwork but location remains a mystery Flamstead hawk finds forever home with falconer Women are farmers too, says Jeremy Clarksons new sidekick

On today's show, we're chatting with Marissa, the Head of Designer Handbags & Fashion in the U.S. at Bonhams Auction House. If you've listened to the episode we did with Bonham's UK-based counterpart, Meg Randell, Bonhams is building on its success in offering handbags & fashion by introducing the category to the US market. Marissa bring twenty-years experience to this position, previously she worked at Resurrection Vintage, where she learned to source, date, and place exquisite antique and couture pieces with the world's most renowned fashion houses, museums, stylists. Then, she worked at the world's largest consignment company, The RealReal, where she specialized in authentication and valuation and had a 0% authenticity error rate. What happens when a Dior newspaper dress (yes, THAT Sex and the City dress) goes from an $800 estimate to selling for $23,000? Or when a 90-year-old yacht mechanic decides it's time to auction Jackie Kennedy's wedding dress he's kept wrapped in tissue paper since the 1960s? On this episode we talk about all this & more – the absolute treasures that fall under Marissa's specialty for auctions at Bonhams –  let's dive right in! DISCUSSED IN THE EPISODE: [2:39] A child of the 90s, Marissa grew up loving a Delia's catalog. [10:20] How she was recruited to start the Fashion & Handbags department at Bonham's U.S. division. [14:16] Why building relationships is so important in a client-driven business like vintage dealing or auctions. [14:46] Selling Jackie Kennedy's 1968 Valentino wedding dress, which had been stored on a yacht. [20:59] Inside the most impressive collection of never-worn Margiela Marissa has ever seen. [23:53] The heritage brands and couture designs Marissa works on at Bonhams, and how to value them. [27:02] - How a Sex and the City reference turned an $800 Dior dress into a $23,000 auction moment. [28:50] Working on the first-ever Carolyn Bessette-Kennedy fashion auction. [30:28] How an auction house assesses trends and demand to best time the market value. [31:25] Why it's time to pull out your Y2K Louis Vuitton and your Dior saddlebags, plus other trending items. EPISODE MENTIONS:  Bonhams @bonhams1793 @bonhamsbags Pre-Loved Podcast with Meg Randell at Bonhams Resurrection Vintage The RealReal Jacqueline Kennedy's Wedding Dress Carolyn Bessette-Kennedy auction Vintage-lovers on LV x Murakami Tom Ford Gucci beaded python print dress Gwynth Paltrow and Kate Moss wearing this Tom Ford dress LET'S CONNECT: 

Auctioneer and TV personality Briony (Bee) Harford joins Harry and Simon. From her early days studying art history to leading sales at Bonhams and stepping into the world of television, Bee shares how she's carved out a space in a traditionally male-dominated industry. She reflects on the differences between UK and US auction culture, the strategy behind commanding a room, and the energy that women bring to the gavel. With stories from the auction floor and insights for anyone curious about the evolving art market, Bee offers a candid look at a career driven by passion, precision, and presence.Find more from Bee belowInstagram: @bee__harford LinkedIn: www.linkedin.com/in/briony-harford-b3021274Sothebys interview link: An Auctioneer's Perspective on Art and Its True ValueBonhams page: Bonhams : Briony HarfordCONTACTthegavelandthegabble@gmail.comInstagram @thegavelandthegabbleTwitter @GavelandGabble TikTok @laughingauctioneerwww.windsorauctions.co.ukwww.lymebayauctions.co.ukABOUT THE PODCAST The Gavel and The Gabble is a podcast hosted by Harry and Simon who, together, are lucky enough to run two provincial Auction Houses in Windsor, Berkshire and Seaton, Devon.Now we know there are lots of TV shows about buying and selling antiques and collectables but we thought followers of this podcast would like to hear about what goes on behind the scenes of an actual working auction house as we go about our daily business, the characters we meet, the things we find, and the things we wished we had never found.Famed for our slightly different auctioneering style, constant chatting on the rostrum, awful jokes. Stick with us as we bunk off to record anecdotes, interview others in the industry and basically gabble on. If you enjoy the podcast, please leave us a rating. Music from LemonmusicstudioProduction by David Burd Hosted on Acast. See acast.com/privacy for more information.

This week, we're taking on a subject that affects the majority of the arts workforce— gender inequity in the industry. Women make up the backbone of the art world, but they continue to face barriers when it comes to work-life balance, pay, and career progression. So, what does the data actually tell us about the state of the industry? And, more importantly, what can be done to change things for the better? To answer those questions, we're unpacking key findings from a major survey conducted by Artnet News in collaboration with the Association of Women in the Arts (AWITA). More than 2,000 people responded to the call, with an additional 140 participating in a follow-up survey, ultimately providing an informative look at how women experience the art world—from hiring and pay to mentorship and bias. Joining Editor-In-Chief Naomi Rea, to break it all down is our News Editor Margaret Carrigan, who has been leading this project since last year. Margaret recently moderated a panel discussion on the topic in London with three industry powerhouses who shared their own experiences: gallerist Sadie Coles, India Phillips from Bonhams, and Clarrie Wallis, director of public institution Turner Contemporary. As the editor of our four-part editorial series on the findings, linked below, Margaret is perfectly positioned to break down the statistics and offer actionable advice on how the industry can do better for women, today.  

This week, we're taking on a subject that affects the majority of the arts workforce— gender inequity in the industry. Women make up the backbone of the art world, but they continue to face barriers when it comes to work-life balance, pay, and career progression. So, what does the data actually tell us about the state of the industry? And, more importantly, what can be done to change things for the better? To answer those questions, we're unpacking key findings from a major survey conducted by Artnet News in collaboration with the Association of Women in the Arts (AWITA). More than 2,000 people responded to the call, with an additional 140 participating in a follow-up survey, ultimately providing an informative look at how women experience the art world—from hiring and pay to mentorship and bias. Joining Editor-In-Chief Naomi Rea, to break it all down is our News Editor Margaret Carrigan, who has been leading this project since last year. Margaret recently moderated a panel discussion on the topic in London with three industry powerhouses who shared their own experiences: gallerist Sadie Coles, India Phillips from Bonhams, and Clarrie Wallis, director of public institution Turner Contemporary. As the editor of our four-part editorial series on the findings, linked below, Margaret is perfectly positioned to break down the statistics and offer actionable advice on how the industry can do better for women, today.  

Dans cet épisode, notre invité du jour Fadi, présente ThePrestige, une plateforme innovante qui vise à révolutionner le marché de l'art en ligne en combinant art physique et digital via la tokenisation.The Prestige se compose de deux volets principaux :* Une marketplace dédiée à l'achat, la vente et l'investissement dans des œuvres d'art physiques fractionnables via des tokens. Cette marketplace permettra aux acheteurs d'acquérir des fractions d'œuvres et de les échanger facilement. Le lancement est prévu pour le Q2 2025.* Un studio de création et d'accompagnement qui travaille directement avec des artistes Web2 pour les aider à entrer dans le Web3. Un premier projet avec l'artiste Gully est en préparation, mêlant art physique et numérique avec des collaborations Web3 (notamment avec la collection Meebit).Partenariats clés :* Bonhams, la prestigieuse maison d'enchères collaborera avec The Prestige pour sa première vente liée aux NFTs.* Plus de 300 à 400 partenaires incluant des galeries et des artistes de renom.Token et financement :ThePrestige prévoit également le lancement de son propre token, avec une levée de fonds de 3,5 millions de dollars prévue dans ce cadre.Un Prestige Pass a d'ores et déjà été lancé en août 2024, offrant des avantages exclusifs dans l'écosystème The Prestige.Liens utiles* The Prestige sur Twitter : @ThePrestige_Art * Compte Twitter de Fadi* Profil LinkedIn de Fadi* Gully sur Twitter : @Gully_Art* Prestige Pass sur Magic Eden : Lien vers Magic Eden (pour suivre les opportunités liées au pass)Découvrez ici le replay vidéo de l'épisode: This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.nftmorning.com

Will collector car value continue to decline in 2025?  Join Greg Stanley as he reviews, and makes some educated guesses, about significant cars coming to auction during the Arizona Car Week.  He will review offering from RM Sotheby's, Barrett Jackson and Bonhams. Please support our sponsors: www.RMSothebys.com and www.EuroClassix.com. Follow The Collector Car Podcast: Website, Instagram, Facebook, YouTube or communicate with Greg directly via Email. Join RM Sotheby's Car Specialist Greg Stanley as he applies over 25 years of insight and analytical experience to the collector car market. Greg interviews the experts, reviews market trends and even has some fun. Podcasts are posted every Thursday and available on Apple Podcast, GooglePlay, Spotify and wherever podcasts are found. See more at www.TheCollectorCarPodcast.com or contact Greg directly at Greg@TheCollectorCarPodcast.com. Are you looking to consign at one of RM Sotheby's auctions? Email Greg at GStanley@RMSothebys.com.

The first days of January are for rest and recuperation but also new ideas, resolutions and, above all, dreams. This month we’re at London auction house Bonhams for a conversation that reflects on jewellery design and human emotion with expert Kate Flitcroft. We’ll meet British artist and stage designer Es Devlin and discuss her incredible show at Somerset House, ‘Face to Face: 50 Encounters with Strangers’, and speak to writer and biographer Justine Picardie about Dior’s incredible journey to Scotland for its 2025 cruise collection. So take up a pen to scribble your own ambitions while hearing our tips, thoughts and ideas for the year ahead.See omnystudio.com/listener for privacy information.

Welcome back to Print Market News, your weekly roundup of everything happening in the print world - fast and focused!   This week on The Week in Prints, we bring you the latest on Banksy's disappearing London Zoo mural and a surprise Andy Warhol discovery on Antiques Roadshow. We celebrate Tracey Emin's inclusion in the BBC's 100 Most Influential Women of 2024 and explore exhibitions featuring the celebrity collections of Swizz Beatz & Alicia Keys, as well as KAWS' personal art collection. Bonhams' final print sale of the year takes centre stage with Warhol and Banksy highlights, while MyArtBroker's new report guides sellers on how to navigate today's dynamic art market.

Welcome back to Print Market News, your weekly roundup of everything happening in the print world - fast and focused!   This week on The Week in Prints, we delve into record-breaking auction results for Roy Lichtenstein and Andy Warhol, with Warhol's Endangered Species set selling for an astounding $4.3 million. Upcoming auctions from Sotheby's and Bonhams promise exciting opportunities for collectors, while new releases include a Keith Haring USPS stamp and KAWS' luxury watch collaboration with Audemars Piguet. Plus, we explore global exhibitions featuring art legends like Banksy, Warhol, Hockney, and Basquiat, with highlights from New York's Luna Luna and California's largest-ever Hockney print survey.  

Ep.218 Ibrahim Mahama was born in 1987 in Tamale, Ghana. He lives and works in Accra, Kumasi, and Tamale. Solo exhibitions include Fruitmarket Gallery, Edinburgh (2024); Barbican Centre, London (2024); Kunsthalle Osnabrück, Germany (2023); Oude Kerk, Amsterdam (2022); Frac des Pays de la Loire, France (2022); The High Line, New York (2021); University of Michigan Museum of Art (2020); The Whitworth, The University of Manchester, UK (2019); Norval Foundation, Cape Town (2019); Tel Aviv Art Museum, Israel (2016); and KNUST Museum, Kumasi, Ghana (2013). He has participated in numerous group exhibitions including Desert X AlUla, Saudi Arabia (2024); Sharjah Biennial 15, UAE (2023); 18th International Venice Architecture Biennale, Italy (2023); the 35th Bienal de São Paulo, Brazil (2023); Museum of Fine Arts, Houston, Texas (2021); Centre Pompidou, Paris (2020); 22nd Biennale of Sydney, Australia (2020); Stellenbosch Triennale, South Africa (2020); 6th Lubumbashi Biennale, Democratic Republic of the Congo (2019); Ghana Pavilion, 58th Venice Biennale, Italy (2019); Documenta 14, Athens and Kassel, Germany (2017); Broad Art Museum, Michigan State University (2016); Kunsthal Charlottenborg, Copenhagen and Holbæk, Denmark (2016); 56th Venice Biennale, Italy (2015); and Artist's Rooms, K21, Düsseldorf, Germany (2015). Mahama was also appointed Artistic Director of the 35th Ljubljana Biennale of Graphic Arts, Ljubljana (2023). In 2024, Mahama was selected for the inaugural Sam Gilliam award by the Dia Art Foundation and the Sam Gilliam Foundation, which includes the presentation of a public program at Dia in fall 2024. Photo credit: Carlos Idun-Tawiah White Cube https://www.whitecube.com/artists/ibrahim-mahama Sam Gilliam Award https://www.diaart.org/about/sam-gilliam-award Dia Art Foundation https://www.diaart.org/program/calendar/sam-gilliam-award-program-ibrahim-mahama-dia-talks-11212024/period/2024-11-02 Fruitmarket https://www.fruitmarket.co.uk/about-us/ Stedelijk Museum Amsterdam https://www.stedelijk.nl/en/events/artist-talk-ibrahim-mahama-en Ghana Remembers https://ghanaremembers.com/stories/people/ibrahim-maham-the-first-ghanaian-artist-to-win-the-inaugural-sam-gilliam-award-in-2024.html#google_vignette Barbican https://www.barbican.org.uk/whats-on/2024/event/ibrahim-mahama-purple-hibiscus Observer https://observer.com/2024/09/interview-ibrahim-mahama-artist-white-cube-exhibition/ Vennice Biennale https://www.labiennale.org/en/architecture/2023/force-majeure/ibrahim-mahama Institute for Humanity Activities https://www.humanactivities.org/en/iha-blank/sculpture-workshop-with-ibrahim-mahama/ Edinburgh Art Festival https://www.edinburghartfestival.com/event/ibrahim-mahamasongs-about-roses/ Wallpaper https://www.wallpaper.com/art/exhibitions-shows/ibrahim-mahama-tells-us-why-he-has-covered-the-barbican-in-pink-fabric Reiter Galleries https://www.reitergalleries.com/en/artists/ibrahim-mahama/ NYTimes https://www.nytimes.com/2024/09/19/arts/design/ibrahim-mahama-artist-ghana-white-cube.html The Brooklyn Rail https://brooklynrail.org/2024/10/artseen/ibrahim-mahama-a-spell-of-good-things/ Bonhams https://www.bonhams.com/press_release/38679/ Burlington Contemporary https://contemporary.burlington.org.uk/reviews/reviews/ibrahim-mahama-songs-about-roses The Highline https://www.thehighline.org/art/projects/ibrahim-mahama/ Desert X AlUla https://desertx.org/dx/dx24-alula/ibrahim-mahama C& https://whitewall.art/whitewaller/best-of-new-york-exhibitions-ibrahim-mahama-janaina-tschape-and-more/ artnet https://news.artnet.com/art-world/ibrahim-mahamas-stunning-textile-installation-blankets-the-barbican-in-london-2476760 BBC https://www.bbc.com/news/world-africa-68846770 The Art Newspaper https://www.theartnewspaper.com/2024/08/23/saatchi-collection-ibrahim-mahama-auction-bonhams Whitewall https://whitewall.art/whitewaller/best-of-new-york-exhibitions-ibrahim-mahama-janaina-tschape-and-more/

Welcome back to Print Market News, your weekly roundup of everything happening in the print world—fast and focused!    The art market is gaining momentum this September with a surge in print sales. As online auctions from Christie's, Sotheby's, and Bonhams, including a Banksy-Only sale continue to attract bids, Phillips has set the tone with two live sales: their 3rd annual David Hockney auction and the Evening & Day Editions sale. These events mark a strong kickoff for the second half of the print market season, showcasing robust demand and renewed interest among collectors.   Hosted by Sheena Carrington, Market Editor at MyArtBroker.

Claire Tole-Moir is Head of Popular Culture at Bonhams, the world-famous auction house in London. On a daily basis, she is in direct contact with some of the most iconic and culturally impactful works of modern art, sculpture, photography, film and artist memorabilia of the last century.  So if you fancy a Man Ray photograph; a golden ticket from the original Charlie and The Chocolate Factory film; if you've got your eye on John Lennon's mosaic swimming pool; or maybe Roger Moore's silver Dupont cigar lighter, Claire and her team can make that happen for you. All you have to do is submit the winning bid.  And then, there are the guitars… Let me tell you about the guitars! We're talking serious instruments owned by iconic musicians: The Beatles, Jimi Hendrix, Eric Clapton, Joy Division, Radiohead, Judas Priest, Jeff Beck, Slash, Peter Green...the list is ever-growing.  Which to my mind begs the question: What's it like, being responsible for the sale of guitars that have changed the history of modern music and impacted our global culture on a seismic level?  Well, there's only one way to find out!  I met up with Claire Tole-Moir at Bonhams in Knightsbridge London. There was a palpable sense of excitement as it had recently been made public that Bonhams is about to handle the sale of one of the most immediately recognizable guitars on earth, Rory Gallagher's extraordinary Fender Stratocaster! Yes, THAT STRAT! I think you'll agree that's pretty awesome. So join us now at Bonhams in the heart of London to find out more.  This episode is sponsored by Guitar Tech Courses - an online treasure trove of information created by British luthier James Collins which will guide you through the set up and maintenance of your beautiful instruments. Follow the affiliate link here and you can also support the podcast. https://www.guitartechcourses-academy.com/p/guitar-pro-setup/?affcode=1348382_dohdjpdf Speaking of which - thank you to everyone who has used the Tip-Jar link to make a donation. Life On The Fretboard is a one-man show: I do literally everything and your support is as encouraging as it is appreciated. If, and only if, you have enjoyed this episode then please do consider making a donation via this link https://michaelwattsguitar.com/tip-jars/4745 You can see more about this and future auctions at Bonhams right here:  Bonhams Popular Culture https://www.bonhams.com/department/COL-ENT/popular-culture/ Bonhams Popular Culture Instagram https://www.instagram.com/bonhamspopularculture/ Claire Tole-More Instagram https://www.instagram.com/claire.tole.moir/ Michael Watts:  YouTube https://www.youtube.com/user/michaelwattsguitar Instagram https://www.instagram.com/michael.watts.guitar/ Website https://michaelwattsguitar.com  

Episode 13: The gang crash Car Week and live to tell about it! Motorlux, Avants' Pit Stop, The Quail, the Bonhams and Gooding auctions, the Gordon Murray Automotive private reception, Porsche's Edith movie premiere and *the* Porsche party! Join us as we live our best lives for one week in August. This is just the (first) half of it! Stay tuned for part two!

This week, we meet Cynthia Shanmugalingam, the founder of Sri Lankan Tamil restaurant Rambutan in London's Borough Market to find out how she brings her memories and voice to the kitchen. Also in the programme, Monocle's Petri Burtsoff takes to the streets of Helsinki to sample some of the city's best culinary offerings and we sit down with Amayès Aouli, the head of Wine and Spirits at Bonhams auction house.  See omnystudio.com/listener for privacy information.

When it comes to the world of British art, few names are more widely recognised than David Messum. From extolling the virtues of the English Impressionists to resurrecting interest in the Newlyn School, David has spent more than 60 years reminding us all that English art is as good as any across the world.Listen to Country Life podcast on Apple PodcastsListen to Country Life podcast on SpotifyListen to Country Life podcast on AudibleWe were very lucky that when we asked him to join us on the Country Life Podcast he said yes. Not everyone says yes. We started off talking about his early career in the art world — from what inspired him to get into art, to his early days working at Christie's and Bonhams — before moving on to the establishment of his eponymous business, which has been championing British art since 1963.What inspired him to revisit the late 19th/early 20th-century West Country painters known as the Newlyn School? Who are some of his favourite artists working today? What's his favourite painting? What would he do if he could change one thing about the art world? All these questions and more are answered.And it's not for us to shout from the rooftops, but we are pretty sure this is a Country Life exclusive, as David tells us it's the first time he's been on a podcast. Listening to his whimsical tales of his life as a collector and dealer, it's unlikely to be his last. Tune in below, or wherever you get your podcasts.Episode creditsHost: James FisherGuest: David MessumEditor and producer: Toby KeelMusic: JuliusH via PixabaySpecial Thanks: Adam Wilbourn Hosted on Acast. See acast.com/privacy for more information.

Pre-Loved Podcast is a weekly vintage fashion interview show, with guests you'll want to go thrifting with! For more Pre-Loved Podcast, subscribe to our Patreon! On today's show, we're chatting with Meg Meg Randell, Head of Designer Handbags and Fashion at Bonham's auction house. Bonham's is one of the world's oldest and largest auctioneers of fine art and antiques, and Meg joined in 2020, to launch their fashion and handbags department.  On today's episode, we chat about the wild world of auctions, and some of Meg's most famed auction sales, including a Birkin bag that belonged to Jane Birkin herself, and the costumes from the TV Show, The Crown. Meg has such interesting stories to share, and much expertise in rare handbags, particularly Hermès and Chanel, and we get into all of that on today's show, so dive right into it!  DISCUSSED IN THE EPISODE: [3:27] Meg's background in the history of art, and how she got her start working in auction houses. [6:41] Meg's transition into the fashion segment of the auction house.  [13:30] The booming demand for handbags within the auction space.  [18:48] The auction process 101 – all the steps and terminology you may not know if this is your first auction. [22:09] When the bid runs much higher than the estimated price. [26:07] Selling one of Jane Birkin's very-own Birkin bags at auction. [31:26] Some of the incredible vintage Chanel bags Meg has sold over the years. [39:45] The massive Bonhams auction of all the costumes and props from The Crown. [48:45] Meg's dream piece to find for auction one day. EPISODE MENTIONS:  Bonhams Bonhams (@bonhams1793) Jane Birkin's Birkin bag, which Meg sold at auction V&A Museum handbag exhibition V&A showing the vintage Chanel suit and hat V&A Chanel exhibition (on now!) Classic Coco The Bonhams Crown Auction Louis Vuitton by Marc Jacobs Tribute Patchwork Tote LET'S CONNECT: 

Bonhams Bathrobe Auction by 92.9 KISM

Welcome to my seven part end of year series! New episodes will be released each weekday between Dec 13-21. Inspired by the Black radical tradition of the harmony between the lyrical and visual, I am joined by friends (artists, dancers, musicians and in today's episode an art specialist) to explore the musical influences that inspire their work. We also look to the people, real and imagined, familial and ancestral who guide them. Get ready to be inspired!Helene is Head of Sale and a specialist in Modern and Contemporary African art at Bonhams. She travels to Ghana regularly and specializes on art from that region. Her expertise also extends to 20th century Africa. Our conversation reveals just how knowledgeable Helene also is on African music and she recommends some excellent tunes from the continent that inspire her. We start our conversation hearing about a moment where she was talking with her SOAS tutor eight years ago, which led her on the journey to her current role at Bonhams. Stay tuned until the end to hear Helene's fantastic music recommendations!Please share this series and review! Thank you!ENJOY! Follow us:Shade Podcast Spotify Playlist (updated daily)Shade Art Review Shade Art Review Christmas offer codeShade Podcast InstagramAfrican Art History InstagramBonhamsThis series was produced and hosted by Lou MensahMusic King Henry IV for Shade Podcast by Brian JacksonMixing by Tess Davidson Become a member at https://plus.acast.com/s/shadepodcast. Hosted on Acast. See acast.com/privacy for more information.

We talk about what Toyota is doing and why it will affect Porsche's decision's in the long term. The sister car of the 964 RSR in The White Collection was auctioned off and may give a glimpse on the numbers for the one going to RM. Will the Sport Turismo become collectable since there will be no more wagons in the new generation Panamera? Then we discuss a few more topics on Patreon for our Pcar Club members. If you want to get more then head on over to Patreon.com/Pcartalk to become a member then click play to hear the longer version of the show. 

If we asked you to list ten people specialising in selling the most exciting road and racing cars, we'd suspect that Max Girardo would be on that list.Girardo and Co. is a name that has become synonymous with buying, selling, and storing (for a lucky few) some of the most notable cars. For this week's podcast episode, John Marcar and Miles Lacey visit Max at his home and business in Oxfordshire, where they have a full tour of the facilities before sitting down for a chat.Max's career has seen him selling for globally renowned auctioneers such as Bonhams and RM and working with other famous specialists such as Simon Kidston. Max shares the details of his unorthodox career and explains how and why he's fluent in 4 languages and the importance of all things Italian.The Driven Chat podcast is brought to you by Paramex Digital. It is available to stream on all the usual podcast platforms, including Apple Podcasts, Spotify, Google Podcasts, Amazon, Audible and more. For more information on Driven, visit www.driven.siteContact the show via email: podcast@drivenchat.comGet involved;WATCH >> Driven on YouTubeFOLLOW >> Driven on InstagramDISCUSS >> Driven on FacebookONLINE >> Driven.Site Hosted on Acast. See acast.com/privacy for more information.

Brett and Mark welcome special guest Eric Minoff, Vice President and Senior Specialist Director of Bonhams Los Angeles Motoring Department to discuss growing up in the Chicago car scene, his unique taste in automobiles, rebranding Bonhams Cars, and what he sees for the future of collector cars. This and more on this week's Driven Radio Show! Hosted on Acast. See acast.com/privacy for more information.

Pop Art Painter Jamie Roxx (www.JamieRoxx.us) welcomes David Lancaster, Filmmaker (Speed Is Expensive: Philip Vincent and the Million Dollar Motorcycle; Doc, History) to the Show!  (Click to go there) ● WEB: speedisexpensive.com ● IMDB: www.imdb.com/title/tt21430266 ● AZ (preorder): www.amazon.com/Speed-Expensive-Vincent-Million-Motorcycle/dp/B0C9TG4NTK ● FB: www.facebook.com/profile.php?id=100064669810911 ● IG: @speed_is_expensive ● X: @DavidCLancaster When the hammer came down on a Vincent Black Lightning motorbike at a Bonhams auction in 2018, an Australian collector paid $1.2 million to own the machine – making it the most expensive motorcycle ever sold. And now an award-winning documentary, narrated by Ewan McGregor, tells the inside story of the motorcycle maverick behind the bikes, designer Philip Vincent. Vincent motorcycles set more records during the 1940s and 50s than any other manufacturer.The bikes were years ahead of their time, and Philip Vincent pioneered what is now known as ‘guerrilla marketing' – sponsoring LA racers, in secret, to compete in illegal back-street duels to promote his motorcycles.   Owners include Brad Pitt and Ryan Reynolds. ● Media Inquiries: October Coast PR www.octobercoastpr.com

This 73 R7 was classified as a prototype so it had to race against the big boys versus the class they would normally. For a little more background the description is  The Ex-works team, Ex-Herbert Müller/Gijs van Lennep 4th place at Le Mans, Ex-Peter Gregg/Hurley Haywood, Ex-Hector Rebaque 1973 3-litre Martini Racing Works Team Porsche Carrera RSR 'R7' Endurance Racing Coupé Then we dicuss is this a turning point for the 963 GTP team getting a podium and leading for a majority of the race. 

This week I'm thinking on what tips would I give on being a Gentleman. Not that I consider myself one, but we all try to better ourselves don't we?  I also touch on some 'negative' comments I've had on the video I posted about the Sir Roger Moore Auction which will be live in October at Bonhams.  Then lastly in the NEWS, I take a look at the Screen Rant article about Bond being the most expensively dressed character in movie history.  PLUGS Don't forget Q the Music Show tickets are still available for October 15th through their Instagram channel.  For the Mission Impossible Sunglasses I mentioned pls contact Z on his channel for more info.  From Tailors With Love is not represented, endorsed, sponsored or supported by EON, MGM, Danjaq or any other 3rd party. For more on Bond and fashion check out the blog or reach out to me on Instagram.     

Joseph Robson a specialist from the Popular Culture Department at Bonhams talks to me about Sir Roger Moore's Personal Collection at  Bonhams. This one is all about the suits, their provenance and the upcoming auction October 4th. More info on the auction can be found on the Bonhams' website.  More info about me can be found on my blog: https://fromtailorswithlove.co.uk/about From Tailors With Love is not represented, endorsed, sponsored or supported by EON, MGM, Danjaq or any other 3rd party.

It's that time of year again, when California's Monterey Peninsula  becomes a paradise of classic cars. The shows, the drives, the auctions are all bursting with amazing machines. Bonhams Cars will hold its annual Quail Auction on Friday, August 18th, with over a hundred lust-worthy cars crossing the block. Here to preview the auction is Eric Minoff, Vice President, Senior Specialist Director of Los Angeles for Bonhams Cars. VISIT BONHAMS CARS:https://cars.bonhams.comSUPPORT THE POD:https://www.buymeacoffee.com/hpheritageINSTAGRAM: @horsepowerheritageYOUTUBE:https://www.youtube.com/results?search_query=horsepower+heritageHORSEPOWER HERITAGE IS NOW ON TWITTER:https://twitter.com/TargaStorioSUPPORT OUR SPONSORS:http://modelcitizendiecast.comhttps://www.drivetowardacure.orgFIND US ON THE WEB:https://www.horsepowerheritage.comSupport the showHORSEPOWER HERITAGE: THE PEOPLE AND STORIES BEHIND THE MACHINES.

On this week's episode of Sports Car Market Magazine's Buy, Sell, Hold: Spotlight, Bonhams Senior Car Specialist, Eric Minoff sits down to discuss gray laws and show and display tags, talk important recent results, preview upcoming Monterey Quail Lodge offerings and introduce us to the all-new Bonhams Cars.

Los coches clásicos, como inversión, siguen al alza. La empresa especializada en subastas de clásicos de “campanillas”, Bonhams, ha hecho público su top ten de 2022. Bugatti y Ferrari siguen siendo las mejores inversiones… aunque el más caro del año 2022 no fue de ninguna de esas marcas… sino de Porsche. Bienvenidos a los podcast de los lunes de Garaje Hermético.

With so much incredible performance available in everyday cars today, the first great era of the motorcar is often overlooked. But in fact, most of the technology we take for granted was developed by about 1915.  Many "Brass Era" cars- those produced from about 1903 to 1915- were not only solid performers, but also exceptionally well-engineered and built. The Two Generations Collection holds many great examples of such machines, and it's being auctioned by Bonhams on April 29.  A father and son team assembled this collection over a period of six decades and now it's being sent on to a new group of enthiusiasts. The auction kicks off another terrific event, the Second Annual Audrain Veteran Car Tour in Newport Rhode Island. In this episode, Bonhams Senior Specialist Evan Ide talks about some highlights of the auction as well as the distinct flavor and excitement  of touring in these veteran cars.BONHAMS TWO GENERATIONS AUCTION:https://www.bonhams.com/auction/28770/two-generations-collection/SUPPORT THE POD:https://www.buymeacoffee.com/hpheritageSUPPORT OUR SPONSORS:http://modelcitizendiecast.comhttps://www.drivetowardacure.orgFIND US ON THE WEB:https://www.horsepowerheritage.comInstagram: @horsepowerheritageSupport the show

'Doctrine of Discovery' repudiated by the Vatican Tribal leaders object to Bonhams auction of late CO professor's Native artifacts Bristol Bay summit focuses on sustainability in Alaska Native communities

Today's episode goes deep into the world of art auctions with Scot Levitt, vice president and director of fine arts at Bonhams in Los Angeles and San Francisco. Scot breaks down some of the mysteries that swirl around the auction world and puts auctions into perspective within the world of art. This episode is sponsored by Western Art Collector magazine.

On the next episode of Sport Car Market Magazine's Buy, Sell, Hold: Spotlight, we are joined by Bonhams Senior Car Specialist Eric Minoff. He and host Darin Roberge cover the current state of the pre-war market, up and coming JDM offerings and run-down featured vehicles from their approaching Amelia Island auction.

As Right Click Save celebrates its first birthday, Jason Bailey and Danielle King make their predictions for the year ahead.

What you'll learn in this episode: How Chinese export porcelain differs from other types of porcelain Why a true collector is different from a dealer Why deaccessioning is an important process for collectors, even if it's painful How the endowment effect can make it difficult for collectors to sell their items What factors to consider when donating a collection to a museum About Shirley Mueller Shirley M. Mueller, MD is an internationally known collector and scholar of Chinese export porcelain, as well as a physician board-certified in Neurology and Psychiatry. This latter expertise led her to explore her own intentions while collecting art, which, she discovered, are applicable to all collectors. This new understanding is the motivation for this book. Mueller not only lectures and publishes about the neuropsychology of the collector; she also was guest curator for Elegance from the East: New Insights into Old Porcelain at the Indianapolis Museum of Art (now Newfields) in 2017. In this unique exhibit, she combined export porcelain with concepts from neuroscience to make historical objects personally relevant to visitors. Additional Resources: Letting go Inside the Head of a Collector: Neuropsychological Forces at Play On Amazon Inside the Head of a Collector: Neuropsychological Forces at Play--a short video review Photos available on TheJewelryJourney.com Transcript: When you're a collector, determining what will happen to your collection in the future is a difficult but necessary process. Whether that means selling, donating or auctioning off your pieces, it's hard to let go of beloved possessions. As a neuroscientist who studies how collecting impacts the brain (and as an avid collector of Chinese export porcelain herself), Dr. Shirley Mueller knows all too well how bittersweet it is to deaccession a collection. She joined the Jewelry Journey Podcast to talk about her experience auctioning off some of her pieces; why collectors are different from dealers; and what to consider when passing on your collection. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to The Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, my guest is Dr. Shirley Mueller. She is an M.D., Ph.D., professor and neuroscientist. She's also an internationally known collector and scholar of Chinese export porcelain. She's the author of “Inside the Head of a Collector: Neuropsychological Forces at Play.” She's also been our guest on the podcast before. She's interested in something I have heard a lot of talk about lately, which is deaccessioning a collection. She has done research in this area and has published her research articles in Fine Art Connoisseur and Psychology Today. Today, she'll talk to us about her own collecting experience, what makes a collector different from others and what she has found out about deaccessioning a collection. Shirley, welcome to the program. Shirley: Thank you, Sharon. It's great to be here. Sharon: I'm so glad to have you. What was your collecting journey like with export porcelain, which is different than a lot of us? What is export porcelain? Shirley: It was a long journey, not a short journey. I started really in the 1980s, and I have been collecting since then. I think my largest time in terms of spending the most money and devoting the most time was probably the 1990s and early 2000s. After that time I became more selective, so I probably purchased fewer things, but of higher quality. I think most of the pieces I have I purchased early, and then as every collector knows, as we develop, we want more and more choice things. Sharon: Right, yes. Shirley: Which are harder and harder to find. Sharon: And cost more money. Shirley: Exactly. Sharon: Were you young or older when you discovered that you're a collector? Shirley: I was not a young person. I was in my mid to late 30s. I found that collecting relaxed me, and that reading about this particular area, Chinese export porcelain—that is China which was made in China and exported to the west—gave me a different perspective on life. I was a physician practicing up to 80 hours a week. I couldn't stop thinking about my patients, which is really unhealthy because one wants to be more objective about one's patients. It's also good to relax once in a while so you can have a fresh perspective on your patients, but that seemed to be difficult for me. When I'd go home at night, I'd be thinking about them. Quite accidentally, I picked up a book about Chinese porcelain and found that I was totally absorbed, that the world was outside of me, and I was inside my special area with this book reading about something that interested me a great deal. Sharon: Export porcelain, is that different than regular porcelain? Shirley: There's Chinese porcelain. When we talk about Chinese porcelain, we're talking about a whole array of porcelain including early porcelain, which would have been made as early as the 14th and 15th centuries. When we talk about export porcelain, we talk about porcelain made specifically for the western market, that is for the European market. Early on, it was made for a market that was more local to China, which would be Malaysia, Japan, India. Those trading routes were the water routes that China had discovered. It wasn't until later that a ship could sail to America, and so we finally became part of the trade then. Before that, of course, a Portuguese ship was enroute around the Cape of Good Hope to go to China. All of these routes were established in time, but early on, the specific export route for Europeans was not available until after 1492. Sharon: That's when it became the export, because they were then sending things around in a different way. Shirley: Yes, right. At first it was the Silk Road, some water routes. Later, in order for Europeans to join in in any major way, they had to use a water route around the Cape of Good Hope. Sharon: What's your definition of a collector? Shirley: A collector is someone who has a special interest in an area that fascinates them and as a result, they want to gather objects in that area. Now, what they gather can be as simple as fruit jars. It could be the tags that say “Do Not Disturb” on your hotel room door; there's even a collector who collects that sort of memorabilia. Or it can be high-end art that costs thousands or millions of dollars. So, the range is from very little money to a great deal of money, but all these collectors are equally passionate, except the ones that collect to make a profit only. They may have someone actually select the art for them, and then the idea is that in 10 years, they can sell it for more. The collectors that are only interested in making a profit lack the passion that the collectors who collect for love have for their objects. Those who collect to make money are dispassionate about the objects, but passionate about the money they might make. I don't even consider them collectors. Sharon: They're dealers, right? Shirley: Right. In a way, yes. Some of them will select objects themselves and others will have a third person, another person, pick for them. They even keep them in storage sometimes. They don't even see or use the objects. But 80% of collectors collect for love, and it enriches the collector's life. The whole idea of collecting is to make your life better. I mean, Sharon, think of going to work every day, maybe at a job you don't especially like, eight to five, eight to six, and coming home. You may have children and family, but what else is there? There has to be something else. For us collectors, it's what we collect; it's our passion. We have a collection, but the collection always requires love, care and filling in the gaps where we don't have a specific object. The collector knows what the collector needs. It isn't a want; it's a need because you have to have the spread. If you collect something between 1800 and 1900 and you have a 10-year gap between 1840 and 1850, oh boy, you have to keep looking. You have to fill it. Sharon: So, it doesn't matter where the money is. It doesn't matter if the money is there or not. You mentioned hotel hangtags. You have to pay the money to go to a hotel. Shirley: Right, it can be so minor. It can be a little thing, but it has organization and there's some thought about what to do with it. There was an exhibit in Zurich recently called “Collectomania.” They had the objects from about 20 different collectors, and one of the collectors actually did collect those doorknob hangers from hotels. Sharon: That would be an interesting collection. Don't we all collect? Is the brain any different for a collector? Shirley: That's a good question, and I wish I could answer that fully. All I can say is that for a collector, what he or she collects stimulates his or her pleasure center. When I see a piece of high-end Chinese porcelain that I don't have in my collection and I know I'd like to have it, my pleasure center can just go wild when I see it. You could see the same object and it would mean nothing to you. You might say it's pretty, but I don't think— Sharon: Yeah, I would probably not even notice it. I'd say, “Shirley, it's nice.” Shirley: I think what leads to this is genetics, essentially nurture, nature and experiences that lead us into a particular area that lights our fire, lights up our brain, stimulates our pleasure center. I think on one of the last programs I explained that I thought my love for Chinese porcelain came from a movie I saw in high school, “The Inn of the Sixth Happiness” with Ingrid Bergman. She was the equivalent of a missionary in China helping all these Chinese children when the Japanese were invading, and I thought, “I want to be like that person. That's what I want to do when I graduate from medical school.” When I graduated from medical school, I had a husband and a daughter, a small child, and I couldn't go to China because I had other responsibilities. Mao Zedong might have stood in my way a bit too. At any rate, I think when I picked up that book about China, it's like it was a circular pattern. I realized I can do more with China. I can learn about it; I can buy objects from it; I can associate with like-minded people who also are interested in the arts of China. There are avenues open to me to supplant my previous plan. So, that's what happened. Since then, I've been to China five times, two with the invitation of the government, and probably will be going again. Now I do interact with a lot of Chinese people, and I would say to a certain degree, my original purpose has been fulfilled. Sharon: Wow! When it comes to deaccessioning, can you let go of them? Shirley: It's a problem. All that love, attention, money, care, organization. I exhibit what is called the endowment effect, according to neuroeconomics. That means that what belongs to me, because of everything I've put into it, means so much to me, and thereby if I were to put a price on it, it would be higher than the price the market would probably put on it. I would think every piece I have would be worth thousands of dollars, and someone else might think they'd be worth hundreds of dollars. Sharon: Can you deaccession something that has sentimentality? Shirley: Exactly. The sentiment is there. I think that's why people keep their family possessions even though they may not be worth a great deal. The sentiment is worth a great deal. You don't want to throw away your family possessions like the quilt my mother made. I don't want to ever throw it away; I want to keep it. You're absolutely right about that. I had an experience recently when I did sell at Christie's in New York City, and it was so painful for me. It wasn't just because I was selling some of my best objects, but it also was because early in the sale, nobody bid on my objects. I was a nervous wreck because my objects reflected me and my very being, my very self. If nobody was bidding on them, what did that say about me? Maybe I didn't choose wisely. Maybe I'm not the person I think I am. Maybe I'm not as good at selecting Chinese porcelain as I thought I was. I wrote in the article in Fine Arts Connoisseur that I ended up even having to take sleeping pills for a few nights because I was so bent out of shape. I was very stressed about it. I think I may not have been as pleasant to my representative at Christie's as I could have been, and I think that may lead to my never selling at Christie's again. Sharon: That's putting yourself on the line, though. Shirley: It is. Finally, I just had to accept that things did not sell at the high price I thought they should. I wrote in my column that what brought me peace was that I knew, in time, inflation would make the prices of all of them higher. Because porcelain is breakable, there will be fewer pieces as time goes by, and when there are fewer pieces, that will increase the price as well. I finally felt O.K. because I had to. If I didn't accept it, I would continue to be miserable. Sharon: Do you think all of us should think about deaccessioning before we die, before the time comes when we have to let it go and it doesn't mean anything anymore? Shirley: Absolutely. It is so much better if we collectors direct deaccession instead of our families. The whole estate is just given to an auction house and they take care of it. We still know the value of our pieces better than anyone else, we know where they could be sold better than anyone else, and we know what museum might want them better than anyone else. We know what family members might like them. I personally think it's always a nice gesture to leave some things to the family that they might have even picked out. I can give them a choice of five pieces, and they could pick out whichever one they liked. It's a lovely gesture to do that, to give part of yourself through your piece to someone else when you are reaching a certain age. Sharon: What if you think you have time, but you don't? Let's say your car goes off a cliff and you can't direct anything. Shirley: If it's a very costly collection, the family will fight over it. If it's a less costly collection, they'll just give it to an auction house that suits it. If it's high-end, it'll be Christie's or Sotheby's or Bonhams, and if it's lower-end, it'll be a local auction house. The sentiment will be gone. If the relatives aren't involved any more, there's no knowledge of the person and his or her relationship to these objects. I think you have jewelry, so you know every object has a story. Every object has an experience associated with it which makes it meaningful, not only to the person who had it, but to some family members as well. Sharon: I'm thinking about a pin that I doubt I'll ever wear, but it was my mother's, the first piece of jewelry she had. I just can't give it up. It's just too hard to give up. What if your family doesn't want the silver? They don't want anything of their parents', not because they don't have a good relationship, but they just aren't interested. They want experiences. What do you do then? Shirley: If a museum won't take it, they have to sell it, and they're likely to get a better price than any relative who sells it. Then there will be more in the estate for the family who doesn't want the actual collection. The other thing that can be done these days, and which is a wonderful alternative, is to put your collection on the internet so there are pictures of the collection and a record of what is in your collection. Other people who are interested in the same things then would go to your site and would be able to appreciate what you had as a collection. It would require some work. You'd have to hire a website designer and have professional pictures taken, but it is a way to document a collection without actually having to sell it. Of course, the relatives might be interested in the collector selling it because it would increase the estate assets. Sharon: It seems like there's a lot of fighting over collections that families have if they're not told in advance which piece should go to which person. It can cause a lot of problems. What are your thoughts, or what actions are you taking with your collection? You said you sold at Christie's a few years ago, but do you keep collecting? Shirley: I have stopped collecting now that I'm writing about it so much with the book and other articles in Psychology Today. I have four pieces at the Metropolitan Museum of Art in New York City, and there will be more there. It's possible that there will be an exhibit there that will be almost exclusively porcelain from my collection. If this exhibit takes place, there are a lot of pieces, maybe 150 at least. That means that part of my collection, which was originally 600 and now is down to 500 or so, that would bring it down to like 450. Then I would give people I know choices about what they might like to take. In fact, my granddaughter has already expressed what she wants. It actually is in my will that she will get that piece. It's very important to me that she gets what she specifically indicated she liked. This is exactly what she said, Sharon. She looked at the piece one day and said, “Grandma, do you think I'll ever be able to afford anything like that for my home?” You have it. It's yours, but I didn't say anything. Sharon: I've heard of relatives who've come through and said, not to me, but to other people, “Can have this when you die? After you pass away, can have this ring?” I don't know what you do. Shirley: When a kid does it, it's O.K. She didn't even say, “I want it when you die.” She just said, “Do you think I'll ever have anything like it?” Sharon: No, that's different. That's a nice way of hinting. Shirley: But this bald-faced saying, “May I have that when you die,” that's too much. Sharon: Is there a difference between collecting or deaccessioning and curating? I have let go of a lot of the lower-end pieces I might have wanted when I was 20, but do I want it when I'm older? Shirley: I would say good for you for curating your collection. Sharon: We will have photos posted on the website. Please head to the JewelryJourney.com to check them out.

Dan Prosser and Andrew Frankel discuss the most disappointing exotic they have ever tested, including the Countach, Lamborghini Aventador and Ferrari 360 Spider. But which Porsche makes the list? They also chat about the most intriguing cars that will go under the hammer at Bonhams' auction in Paris this week. Find out more about Bonhams' Paris sale here – https://www.bonhams.com/auction/27987/les-grandes-marques-du-monde-a-paris/Grab your exclusive NordVPN deal by going to nordvpn.com/intercooler to get a huge discount off your NordVPN plan, plus a bonus gift. It's completely risk free with Nord's 30 day money-back guarantee.

Buy, Sell, Hold moves closer to Arizona Car Week 2023 as we spotlight Bonhams Vice President of Business Development and Head of US Motoring Jakob Greisen. He and host Darin Roberge rundown Bonham's latest news, talk their new Formula 1 partnership and preview Scottsdale offerings via Magnus Walker, Micheal Schumacher and from the John White Ramshead Collection.

It's the last episode in our five-part Business Daily series all about high value, high transaction jobs you might read about, see on the TV or glamorised in films. In episode five Leanna Byrne interviews some of the oldest and most well-known auction houses in the world. Bruno Vinciguerra, chief executive of Bonhams, tells us how auctioneers determine what's worth auctioning off and what's not. Jenny Lok, head of business development and operations at Poly Auction Hong Kong, tells us what the day in the life of an auctioneer is really like. And Kelly Crow, staff reporter for The Wall Street Journal, gives an insight into who's buying all of this really expensive stuff? Presenter / Producer: Leanna Byrne Image: Jenny Lok; Credit: Poly Auction Hong Kong

Jakob Greisen is the Bonhams' Vice President, Head of their US Motoring and a Collectors Motorcar Specialist. Bonhams is a British auction house that was founded in 1793. It is one of the world's oldest and largest auctioneers known internationally for fine art, antiques, jewelry, automobilia, motorcycles, and motorcars. Bonhams will be back again in Scottsdale for their annual auction that will take place January 26, 2023 at The Westin Kierland Resort & Spa.

What you'll learn in this episode: What's included in the Jill and Byron Crawford collection that will be auctioned by Bonhams on November 10th, and how they developed such a sweeping collection Why buying jewelry at auction is one of the best ways to find real treasures Tips for first-time auction buyers Why working at an auction house is the best jewelry education How collectors determine it's time to say goodbye to a piece   About Emily Waterfall Based in Los Angeles, Emily Waterfall is the Director of the Jewelry Department for Bonhams Auction House. With over 16 years of experience, Emily is responsible for business-getting, client development, appraisals and sourcing property for jewelry sales in Los Angeles and in New York. Emily began her career as an intern in London at an auction house where she caught her first glance of exquisite things in 2004. Once completing her internship, she worked in New York as a jewelry cataloguer for a leading international auction house for seven years working on several important jewelry auctions including the jewels of Kelly and Calvin Klein, Eunice Gardiner, Lucia Moreira Salles and others. Prior to joining Bonhams, Emily worked for a prominent jewelry buying firm based in Atlanta, GA from 2012 to 2018.   A native of San Diego, CA, Emily graduated with an undergraduate degree in Art History from Brigham Young University and has completed courses at the Gemological Institute of America and published articles in the American Society of Jewelry Historians newsletters. Additional Resources: Bonhams L.A. Website Bonhams Instagram Emily's Instagram   Photos are available on TheJewelryJourney.com Transcript: Auctions can seem intimidating to first-time buyers, but they are the best way to get a deal on a true, one-of-a-kind treasure, and auction house staff, like Emily Waterfall, Head of the Jewelry Department at Bonhams Los Angeles, are there to help buyers through the process. Emily joined the Jewelry Journey Podcast to talk about what to expect at Bonhams' upcoming auction of the Jill and Byron Crawford collection of artist jewelry; the most impressive pieces she's seen during her career; and how collectors can enter the world of auctions confidently. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, my guest is Emily Waterfall, who is head of the jewelry department in the L.A. office of the auction house Bonhams. Welcome back.    Tell us more about this auction coming up. You're previewing online. How do you handle everything? If you're the auctioneer, how do you handle it when—this is one reason I'm a little frightened by auctions, because there's the bid on the line and there's yours, and there are about five different people from all over the world. How do you handle it? Could I have a chance, basically, is the question.   Emily: Absolutely. There are various ways to bid. You can register a bid online. You can bid on our app. Maybe you have a busy day and you're running around. You can register to bid on the telephone on the Bonhams website, or you can leave an absentee bid. I get carried away at auctions. I'll do an absentee bid when I want to put myself on a budget and say I will not spend above this, regardless. That's a fantastic way. Or come and bid in person.    Nowadays, we are very digital. Most people are bidding online. The days of auctions being full and everyone dressed to the nines are kind of over. Now, we're more online based. I'll be auctioneering, and I'll have bids from absentee bidders; I'll have telephone bidders; but I see a lot of activity online. It's funny to me, because I always say when I'm auctioneering, “I see you out there.” I don't see them, but I know they're online, and I want to give them presence because they're just as important as any bidder in the room. I hope that explains that.   Sharon: Yeah. You say, “I see you out there.” Do you have a computer? Is everybody on a computer, and you can see that this person has bid five times and their name? How does that work?   Emily: Everyone has a paddle number, like you'd have if you were in the room. We see those paddle numbers bidding on a computer screen in front of us, so I can track this person's bid a few times. Maybe we have a new bidder entering online. It's fascinating. For me, I love every second of auctioneering. It's exciting to see who's going to jump in and bid, and sometimes it's really nerve-wracking.   Sharon: Do you get flustered? When you say nerve-wracking, do you get flustered?   Emily: Absolutely. There are moments when I feel like my heart is racing. We all make mistakes, so I try to brush those off because it's a pretty intense moment. We have to give ourselves some grace, but in general, we're well-trained. We all go through very similar training, and it takes years to perfect the craft of it.    Sharon: What kind of training do you go through to become an auctioneer?   Emily: It depends on your house. Everybody's different. They have their different styles of training, but you usually go through an intensive training where you just practice auctions over and over and over. You have people come in and observe you. They record you. You can see if you have any weirds ticks or anything like that. It's an interesting process. Then you're given an opportunity to start selling, but for short periods of time and just to start practicing. It takes years. It takes years to feel the flow and the energy of it, to know what to anticipate, to know how to engage an audience. We also have to engage them. So, there are a lot of layers to it.   Sharon: If a piece comes up and you know the history, will you say, “It comes from the collection of X, Y, Z, but the history is that they bought it in Mexico 40 years ago”?   Emily: I typically just say which estate it's from. We like to mention the provenance, but we definitely don't do anything historical. At that point, everyone who's bidding has heard me singing its praises, so we just notate the important provenance and that we're so excited to sell it, and then we go on to sell it.   Sharon: I have a friend who's really big on getting a deal. I don't feel so much like that. I feel like you're getting something one of a kind; there's not another one. Is it because it's one of a kind that people should be participating in auctions? I realize dealers sometimes do it for a deal, but why do you think people should participate in auctions?   Emily: There are all types of buyers at auctions. I think it's just particular to your taste. Absolutely, it's a great value. I cannot argue that enough. Jewelry at auction is substantially less than retail. We're determining the market daily, but what I'm covering typically has not been seen on the market for 20 to 40 to hundreds of years. It's the time to find true treasures. We have a lot of repeat buyers in every sale, and I love to see what they lean towards, what they love and want to buy. It shows me their personalities. We all have a different item that might our eye, right?   Sharon: Right.   Emily: And it's the hunt of it; it's the excitement of the auction. I think a lot of different things bring people to auctions, but we're uncovering property that genuinely has not been on the market. That's the best part of it.   Sharon: You can do that because people call you and say, “Hey, my grandmother died and she left all this jewelry I have no interest in.” I bet you get a lot of those today.   Emily: I do. I wish I remembered this quote. There's something about how the new generation foolishly laughs at the past. It's interesting; there are always amazing collections that the next generation has no interest in. It happens often.   Sharon: That's true.   Emily: So, our job is to help protect that story, sell it well, promote it as well as we can to help the family. Our job is to help people. It's funny; a lot of people forget that. Our job is actually to work for the consigners, to help them and make the most amount we can for them.   Sharon: It's interesting, too, when you say that about the past generations. It's so amazing to me that people didn't like Art Deco or Tiffany and were like, “Where's the garbage can?”    Emily: I think they should adopt me, all of them. I love history. The history of jewelry to me is the most fascinating part of this job. Every generation has its own amazing personality to it, and we have to learn how to appreciate that.    Sharon: How is the history the most fascinating?   Emily: I love the stories of who owned it. I love the stories of how it was acquired. I love the stories of the makers and the periods of time that they were made. Jewelry is hand in hand with cultural events and fashion. Everything has evolved together. Jewelry has not been in a bubble by itself; it's a reaction to what's going on globally, and every area has had different events occur.    Jewelry, to me, embodies artistic expression, and I love different periods of expression. Studio jewelry art was amazing when it was coming out because everyone was reacting to boring diamond jewelry. Then again, French Art Deco was very much a reaction, and the amazing results of creative thinking were happening together from poets and artists, interior designers and architects and jewelry. It's all hand in hand, and that to me is extraordinary.   Sharon: People can look at jewelry and say, “Oh, it's so dated,” but you can look around the corner, let's say. Can you see what's next? Do you identify it? You don't have to say it, but can you identify what's next when you look at pieces?   Emily: I can't find out exactly what's next, but to me, it's funny that yellow gold is king right now, whereas 15, 20 years ago, it was all white gold platinum. Again, this is the generation shifting from what their mothers had or what everyone was wearing. Tastes are changing, so it's always evolving. I think there's room for all of it. I don't think anything should be neglected, because anyone who is expressing themselves expresses their view differently. It might be a chunky, 80s Bulgari gold necklace, or it might be a Graff perfect diamond necklace. Everyone has their different view of expression.    Sharon: It's interesting; there are some pieces I'll avoid because I remember they were all trying to get rid of it 40 years ago, and now it's the hottest thing around.   This auction that's coming up on November do you have a favorite?   Emily: I don't think I can pick a favorite at all. To me, it's a great collection across the board. It's this idea that it's not about the monetary value of what's constructed; it's more about the theory behind it and what was made. I have some pieces by Claire Falkenstein which are really interesting. We have some great Zuni Tunes pieces, which are wonderful, magical, Disney-inspired rings, quite a large collection of those. I'm excited to be selling those, and that in particular I'm going to have my eye on. Then I have Spratling and Pineda which I loved selling. Some Jensen—   Sharon: So, Claire Falkenstein, the artist who did some jewelry.    Emily: Yes.   Sharon: You're selling some of that. O.K. And then the Disney rings, you said Zuni Tunes?   Emily: Zuni Tunes.   Sharon: Were they made by Disney or by different makers?   Emily: No, this is Native American. This is made by Native Americans selling on the side of the road. These are interesting pieces. We see them on the secondary market. We've not had any international auctions, so this is our first attempt, and I'm really excited about them. They have a wonderful collection of Zuni Tunes. So, for any Zuni Tunes collectors out there, please contact me. I'm so excited to sell them.     Sharon: You said William Spratling and Antonio Pineda?   Emily: Yes. I'm just looking at my list now. Los Castillo, Aguilar. It's quite an amazing collection of Mexican silver. One private collector in particular is a wealth of knowledge. I can't mention the name. I wish I could, but a very important buyer in that world is now selling their collection with me, and I'm honored to be selling that.   Sharon: Why would somebody sell a collection if they've spent years putting it together?   Emily: I think it depends on if we're wearing it, if it has use to us. They might have moved on. It's not ours to say. It's all per collector and where they're at. Like you were saying, there are some pieces you are willing to say goodbye to. This time, this client is prepared to say goodbye.    Sharon: That's what I'm talking about with the hidden stuff. You mentioned a person in Orange County, which is not so far away. How do you find out about these things?   Emily: A lot of times people are recommended, which I'm honored by; I love those referrals. A lot of people saw how well we did with the Jill and Byron collection last October, and we are selling some pieces just because of that sale. We were contacted because it did well on an international market.   Sharon: Was that the first international modernist sale, you said?   Emily: It was for us. That was the first sale, and I believe that was the largest single collection to come to markets internationally at any house. It was an extraordinary event. We definitely broke records for certain artists like Betty Cooke. We had great sales for Native American of Laloma and Monongya and Spratling. Across the board, we commanded very high prices for some of those pieces. It was wonderful.   Sharon: As a buyer, I could understand that. If it's a Spratling, there's only so much Spratling around. I'm just using that because he's a known name. You say there's great value. Is there value because it's one of a kind? Is it something that a normal person on the ground should consider? What should I consider, and do I have a chance?   Emily: You absolutely have a chance. It just depends on how many people are interested in that one lot. If you're the only buyer, you're going to get it at a fantastic price with little competition, or there will be quite a bit of people bidding against you and you need to be prepared to fight for it. Every lot we don't really know who's going to be interested and who's going to bid until the auction starts, but it's absolutely worth fighting, hands down. My best advice is to be prepared, know what number you're going to spend, and just go for it. How exciting! It's a great story to tell when you wear it. You can say, “Oh, I bought this at auction.” It's a great conversation starter, and jewelry sparks a lot of conversation.    Sharon: I've only really looked at auction catalogues and online. Is it something where, if I talk to you or the specialist, you could say, “There's been a lot of interest in this piece. I've had a lot of calls about it,” or “You're the first person I've talked to”?   Emily: We don't typically talk about interest because obviously we try to keep people's interest private, but we can say to you the importance of it. We can talk about it. Sometimes they're not one of a kind. With Spratling, there are several versions of some designs. So, we can speak on that for you.    We can advise you, not necessarily on how much to spend, but what to anticipate. Our job is to be helpful. Our job is to help guide you through it. We can be on the phone with you and cheer you on, be with you, and make sure we don't let you go over a certain amount. We can be your buddy through that part of it.    Sharon: Is it best to go through Bonhams for an auction, or is it better to bid online? There are usually about five different places.   Emily: We love it when people contact us. We want to be helpful and answer questions you might have. Some people are being honest and just want to bid online, and that's fantastic. Honestly, there are multiple ways today, but always ask an expert your questions. We definitely don't want buyer's remorse. We want to help you through the process and make sure it brings you joy. It should be a great experience.   Sharon: For example, let's say I won the piece. Then you wrap the piece up and send it out? What do you do?   Emily: It depends on what you'd like to do. You can either pick it up from us at our office, which we love—we love to see what people bought—or we can do shipments. There are all sorts of ways we can make it happen.   Sharon: What do you want to accomplish with the preview at Art Jewelry Forum on October 4? It's online. What do you want to do?   Emily: I want to express the breadth of all the amazing jewelry we have, let people know about it and discuss certain areas of it that are of interest. It's letting people know what we have. That's the most wonderful part of it, speaking to the importance of it. Again, I have an art history background. I know a lot about fine jewelry. I've been fortunate enough to have some phenomenal mentors in my crew, but art jewelry, to me, is a new market in terms of international recognition. I think it's time for it to be considered as valuable. It's time for it to be on the market on a regular basis. There are buyers all over the world for this, and I've seen that first-hand.   Sharon: Because art jewelry means so many different things to different people, are you talking about—is historical art jewelry different than Manfred Bischoff, who's still alive? What are you talking about?   Emily: It's across the board. It encompasses quite a large audience, being from different areas geographically, different time periods. I would like to encompass all of it. I would like it to be its own entity for auction and have regular sales and have property coming up for sale, because sometimes they're hard to find. It's a little more of a hunt. I would like to have artists that are here and artists of the past. I'd like to encompass all of it.   Sharon: Do you think Bonhams is pursuing art jewelry, in the sense of becoming the house you go to?   Emily: I'd love that, but I realize there's room for everybody. We tested the market last year. We saw a great response. This year, we already had a Clifford Mexican silver sale. I think we're just starting to step into the ladder of it and see what it is. I hope it evolves to where people choose Bonhams, absolutely.    Sharon: What is my next step? If I am listening to this, what would the next step be for somebody like me? Do I go online to your site or go online to place a bid? I've never done anything like that. What would somebody do?   Emily: Yes, go to Bonhams. The sale will be published online around October 4. So, go on there and just shop. Look and see what you like. Contact us. All our information will be available for you online. See what you like. We aren't printing catalogues anymore. I've noticed that people that are very savvy to jewelry are looking on their phones, their iPads or computers. We'll have additional shots of the items. We'll have model shots so you can understand size and scale. From there, you can register to bid. And always ask us, the experts, for that sale. We want to help you.    Sharon: I'm laughing because when you say it's online, who looks at a computer? I do if I'm at my desk, but I'm on my phone on Instagram. Some of the auction houses promote their auctions on Instagram. It's the only way you hear about them sometimes.    Emily: Absolutely. Everything's now really digital, which is great because it gives us more room to reach out to more people. I love looking through attractions. I love looking at different angles of the piece, looking at model shots, reading the descriptions. It's very enjoyable.   Sharon: I bet it would be. I'm always surprised when there's only one angle of a piece showed. You're like, “Where's the back?”    Emily: For modern studio jewelry, you need to see signatures. The signatures really matter. So do different angles, understanding scale. You want to know how that necklace will fit. You want to understand the scale of a brooch or a ring. You need to see it in proportion. That's very, very important.   Sharon: Emily, I really appreciate you telling us about all of this today. I will remind everybody that the auction itself is November 10th. It starts Los Angeles time, or does it start New York time?   Emily: Los Angeles time. It starts at 10:00 a.m. Pacific Standard Time.   Sharon: And it goes until everything is sold?   Emily: Yes, until the very end.    Sharon: You have your work cut out for you. Then on October 4, I don't know about the other previews, but for Art Jewelry Forum, if you go online, you can sign up there. It's free. Thank you so much for being with us today. We greatly, greatly appreciate it.   Emily: Thank you so much. I loved all your questions today. It was great speaking with you.   Sharon: Thank you so much.   We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode: What's included in the Jill and Byron Crawford collection that will be auctioned by Bonhams on November 10th, and how they developed such a sweeping collection Why buying jewelry at auction is one of the best ways to find real treasures Tips for first-time auction buyers Why working at an auction house is the best jewelry education How collectors determine it's time to say goodbye to a piece About Emily Waterfall Based in Los Angeles, Emily Waterfall is the Director of the Jewelry Department for Bonhams Auction House. With over 16 years of experience, Emily is responsible for business-getting, client development, appraisals and sourcing property for jewelry sales in Los Angeles and in New York. Emily began her career as an intern in London at an auction house where she caught her first glance of exquisite things in 2004. Once completing her internship, she worked in New York as a jewelry cataloguer for a leading international auction house for seven years working on several important jewelry auctions including the jewels of Kelly and Calvin Klein, Eunice Gardiner, Lucia Moreira Salles and others. Prior to joining Bonhams, Emily worked for a prominent jewelry buying firm based in Atlanta, GA from 2012 to 2018. A native of San Diego, CA, Emily graduated with an undergraduate degree in Art History from Brigham Young University and has completed courses at the Gemological Institute of America and published articles in the American Society of Jewelry Historians newsletters.Find One-of-a-Kind Additional Resources: Bonhams L.A. Website Bonhams Instagram Emily's Instagram Photos are available on TheJewelryJourney.com Transcript: Auctions can seem intimidating to first-time buyers, but they are the best way to get a deal on a true, one-of-a-kind treasure, and auction house staff, like Emily Waterfall, Head of the Jewelry Department at Bonhams Los Angeles, are there to help buyers through the process. Emily joined the Jewelry Journey Podcast to talk about what to expect at Bonhams' upcoming auction of the Jill and Byron Crawford collection of artist jewelry; the most impressive pieces she's seen during her career; and how collectors can enter the world of auctions confidently. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.    Today my guest is Emily Waterfall, who is head of the jewelry department in the L.A. office of the auction house Bonhams. They will be having their second auction of modernist jewelry from the collection of Jill and Byron Crawford. This includes many masters of silver jewelry. We will hear more about this from Emily today and her own jewelry journey. Emily, welcome to the program.   Emily: Thank you for having me.   Sharon: So glad you could be here. Give us an overview of your jewelry journey. Did you like jewelry when you were young? Did your education lead you to this?   Emily: I loved jewelry when I was little. My mom had some fun pieces, in particular a butterfly necklace that I always coveted. It was a simple gold necklace. I remember when she wore it, I would play with it. Since then, she's gifted it to me, so it's a very sentimental item for me.    My journey actually began in art history. I studied art history for many years and was given an internship with Sotheby's in London and moved myself across to the U.K. I worked there for many years and then made my way into the jewelry department where I truly found my calling.   Sharon: So, you weren't studying in London; you moved to take the internship at Sotheby's.   Emily: Yes, I was very lucky. A gentleman, who was a scholar of archiving, helped me make my way to the 19th century, which was hilarious because now obviously digital archives are everywhere. When I started, it was the days of cutting and pasting from printed catalogues using glue sticks. My job was to basically archive all the recent sales of any paintings that were important because we didn't have search engines. We didn't have those things, so my very first job in the art world was cutting and pasting and gluing.   Sharon: You're bringing back memories. I remember working with a cartoonist who worked the old-fashioned way, and I thought, “Oh my god, O.K.”    So, did you study at GIA after? In art history, you don't really study GIA, right?   Emily: I studied at GIA after. I was fortunate enough to do that during my time at Sotheby's when I was a cataloguer in the department in the New York office. I took my courses then.   Sharon: So, you moved from London back to New York?    Emily: Yes, my visa was about to end, and Sotheby's offered me a job in New York. So, I moved there and was working in several different departments. I started getting into jewelry and truly found love. I studied a lot of 19th century sculpture, and with jewelry, my art history background just blossomed. I was so excited to see all the pieces I was seeing. As a cataloguer in the jewelry department, every piece we sold went through my desk, so you can imagine the type of education I got. It was extraordinary. It was a very special time in my career.   Sharon: There are a lot of jewelers or people in the jewelry industry who study art history. Jewelry history isn't really taught, so they study art history and either continue in that or they segue into jewelry.    So, why should I consider Bonhams? If I had art or jewelry to sell, why would I consider Bonhams?   Emily: There's definitely room for every house in the world. That's one thing I've learned. But in particular at Bonhams, we've had exponential growth over the last three years. In Los Angeles, we went from four auctions a year to 13, speaking to the fervor of which we're growing. We've also invested a lot into art jewelry, Mexican silver, and other areas in the international market that weren't necessarily being addressed.    Seeing a collection, if I'm not enthusiastic about it and I'm not enthusiastic about selling it, I'm doing a disservice to the collection. So, my advice to people is when they're picking a house, make sure whoever is selling it for you has energy and the fervor to sell it well. That's what my key is.   Sharon: So, you went from four to 13 auctions?   Emily: Yes.   Sharon: That's a lot. Are you in charge of most of them? Is that just in jewelry, or is that art and jewelry? What is that?   Emily: That's just jewelry in Los Angeles.    Sharon: Wow!   Emily: That's my department. We run 13 auctions a year. It's pretty exciting.   Sharon: You have to have passion to do something like that.   Emily: Yeah.   Sharon: Would you consider that Bonhams has a modernist bent? If somebody has a modernist collection, should they consider Bonhams?   Emily: Yes, I would say the sale we had last year for Jill and Byron Crawford was a huge success. That was across the board, from modern to Mexican to Scandinavian jewelry artists. We really covered the gamut with that sale and showed what we can accomplish with that.    A lot of what we're doing is taking in collections, because collections come us. We hunt for them as well, but we have to take what we see and figure out how best to sell it, who's the best market for it, how to speak to other departments or other areas, because every buyer at auction is interested in jewelry. Jewelry is the most common denominator. You might not collect Chinese works of art or cars or Impressionists, but everyone has jewelry.   Sharon: Wow! How is that? Let's say if I collect Chinese export stuff, how is it that I come to jewelry through that?   Emily: Again, we reach out to clients that have shown interest in our area from other departments and we promote that, but a lot of people know to come to us with jewelry because they see on our website our sales. They might have been looking at the Chinese work. Right now, it's Asia week at Bonhams in New York. They might see on the site that we've just had two big sales, one in Los Angeles this week, one in London, so they know to come to us for jewelry as well.   Sharon: You're having a second auction of the Jill and Byron Crawford collection. Is that what's left over?   Emily: Jill and Byron have been amazing to work with. They're such amazing collectors, not only for the type of properties, but for the quantity. So, we'll still have plenty to sell for them. We're so excited to be selling it. The whole sale is not just Jill and Byron; a portion of it is. We also have an important collection of Mexican silver from an important collector from the Orange County area. We also have a collection of John de Spray jewelry which I'm really excited to sell. French jewelry, very industrial, right?   Sharon: Yes.   Emily: And we also have similar Scandinavian pieces, some studio artists. There are over 1,500 pieces, so we'll be selling it for quite some time.   Sharon: And the next major sale for this particular collection is? What is it?   Emily: November 10th   Sharon: You're also previewing it for Art Jewelry Forum in October. I don't know if I'll be able to watch, but who else are you previewing for? There's so much.   Emily: Just you two. I'll be previewing at Bonhams and digitally on our website.   Sharon: Wow! That's interesting to know that you have an interest in modernists. There are not many houses that one would think to bring their stuff if they have a modernist collection.    What is it that you like about the auction business? You like jewelry; I understand that. What is it that you like about the auction business?   Emily: I tried to leave it many times. I truly love it because of the speed of it. It's a very rapid, fast-paced place to be. I love auction day. There's nothing better than auctioning property you fought for, to see it do well on the auction block. I'm an auctioneer as well, so it's very rewarding standing up there selling it on behalf of a client and doing well on it. I love the quantity of property we see. We're on the front line. We're the sale market value, right?   Sharon: Yeah.   Emily: We're on the front line of it. We're seeing thousands and thousands of pieces a year, and with that comes the education through osmosis. There might have been benchmarks I hadn't seen or another studio artist I hadn't known about. We're seeing more and more daily than you would see anywhere else, and that's my favorite part of it.   Sharon: I think that would be very hard to match in any other profession, the excitement, the action. I could understand feeling like, “Let me try something else,” but that would be very hard to match. Do you think you'd be as happy if you were auctioning something else, like art jewelry or rugs?   Emily: Yesterday I was auctioning a furniture sale, and I didn't feel as much pressure because it wasn't clients I had consigned. It was a different feeling. I love auction. I would work in any part of it, absolutely, but my passion for jewelry will never be subdued. I love it. I love every part of it. I love screaming from the rooftop when a collection is selling. That's just my personality. I probably wouldn't be as happy, but I'd be happy to work anywhere in the auction world.    Sharon: What's the best thing you've ever auctioned, maybe the highest price or the most interesting? What's the best thing you remember?   Emily: There are maybe two of those. I can split those up. My favorite collection was a collection of Lady Ashley. It was in our main New York sale, and it was a collection of fantastic Art Deco jewelry. This was a treasure trove. She was married to a lord, then Douglas Fairbanks, Clark Gable next, another lord, and then a prince. She had amazing Cartier Art Deco boxes, compacts in their cases. Some I'd never seen in that style before. One in particular was a polka dot pattern, and it was black and white. It was amazing. She also had some impressive Cartier aquamarine bracelets, which we all know those are rare to find. That was such an amazing collection because it was an amazing story; it was an amazing property, and it sold exceptionally well at auction.    By value, though, it's the sale we did last year. We sold an emerald bracelet. It was over 107 carats of emeralds perfectly matched. It's most likely they were cut from the same stone. This one was from the Crocker Fagan family from San Francisco. We are so excited to work with them again. We also sold a Cartier egret from them. The emerald bracelet was estimated at $1.8-$2.2 million and we sold it for $3.2 million.   Sharon: Wow!    Emily: So, that was a joy.   Sharon: Do the numbers scare you when you're auctioning? Do they mean anything when you put the hammer down and you're at $3.2?   Emily: It's exciting. At that point, you're just full of adrenaline when you're selling higher value lots. There's a lot of elegance in part of it. There's a lot of communication of bidders either on the phone, on the internet or in the room, so there's a lot of conversation going on about value. It's a very exciting moment. I smile. I'm the worst at bluffing. You can see what's on my face 99% of the time, so in those moments, I have definitely a big smile on my face.   Sharon: Are you given auctions from New York? Do they tell you the things that are going to come? If you have a sale in London, Hong Kong and, by the way, we're going to do it in Los Angeles, can you preview it or tout it? Is that part of your work?   Emily: Yes, the New York office and myself work hand in hand. I source property for both sales as well as my New York colleague, Caroline. We work daily together, and we both preview our sales in each other's offices. I just previewed our September sale in New York. She previews every New York sale in L.A. We also preview up in San Francisco. We love our San Francisco clients. It's a fantastic place to be. So, we're making sure we're everywhere we can be, and we work together. In terms of property, though, let's not discount the West Coast. My goodness, I found the best property of my career on the West Coast.   Sharon: I'd like to know where it is. I was talking to somebody yesterday, and I thought, “Where's the jewelry on the West Coast?” It's all so bling. There's no history.    Emily: There are major hidden gems on the West Coast. We have found extraordinary collections. Again, Lady Ashley was acquired in California, Crocker Fagan up in San Francisco, Jill and Byron Crawford here in Malibu. There's amazing property in California. We have such phenomenal heritage and history here, and with that there are major, major collectors. They just might not be wearing it to the grocery store.   Sharon: I had never heard of Jill and Byron Crawford. They had an amazing collection and, yes, they're not wearing it to the grocery store. Is part of your job developing new business?   Emily: Absolutely. I've worked with some clients for years. Sometimes they might not feel comfortable yet. They might want to see where the markets are, or it's sentimental. Jewelry is the most sentimental category, absolutely. A lot of times, clients need time to part with pieces, but they know they have to say goodbye. It's my job to make sure I'm writing whenever they say want to sell it.   Sharon: That's a good way to think of it. There's somebody I know who will ask me, “Are you finished with it?” and I'll think, “Yeah, I guess I am.” I've only had it for a couple of years, but I'm finished with it. I've worn it. I'm not going to wear it more for whatever reason.    When it comes to larger auctions, do you handle them differently? This is a big auction. Is it being handled differently than the smaller one?   Emily: Every sale takes a different nuance to it. It depends on the property we have. We're definitely not like a jewelry store, where we have a ton of one lot. We have just one, and every sale has different property, so we have to cater to every sale as its own entity.    We just had this September sale, where we had property from a motion picture director, Mankiewicz, who directed All About Eve. We also had a collection of Disney in there, art jewelry. Shifting to art jewelry is entirely different. We have to create a new narrative for the sale, how to handle it, how we can do the best for it. I love that part of it. I love the storytelling. We're the keepers of these stories. When these collections are given to us, it's our job to tell the story, get people excited and get them registered to bid, basically.   Sharon: I think that's very important. When you buy something, who cares who it used to belong to? But still, it used to belong to somebody, a name that people recognize.    Do you work with dealers? Do you work with lawyers? Do they call and say, “Hey, Emily, have I something for you”? How does that work?   Emily: Every day is different. I guess that's another part of the job I love. I can be called by a trust attorney tomorrow. I could be called by a tax attorney, dealers. On Tuesday, we had our jewelry auction—this is just to give you context.    Sharon: Yes, please.   Emily: I was auctioneering all day until about 2:30, and then I got an email from a colleague about a collection that someone wanted me to pick up that day. So, I jump in my car, go pick up the collection, back to work. Every day is super different. We get a lot of interest through attorneys, through dealers, through other colleagues, through friends. My favorite interaction is by word of mouth. I love when people recommend me. It's very, very important for me, not only for selling, but for buying. Whatever you're looking for, let me hunt for it. I'm a hunter. That's my job. Let me find it for you. Let me help you sell it.    Sharon: Do people call you and say, “Please let me know if there's an emerald ring or an emerald bracelet”? I never see them, but do people call you and say, “Call me if something comes up”?   Emily: Yes, we have wish lists. I think I have my own personal wish list. We're constantly working on those. We try to make sure we can help and find those pieces for anyone.    Sharon: What's on your wish list?   Emily: I have quite a big one.   Sharon: What's at the top or near the top?   Emily: Obscure French Art Deco is at the top. Now I have a much better love for some studio jewelry, in particular Betty Cooke. I'm really obsessed with her. They were in the Crawford sale. Those are on my wish lists right now.    Sharon: Betty Cooke is still alive, isn't she? I think she's still alive.   Emily: Yeah. She's another of these dynamic women that I adore because she started a business. These were the times when we weren't necessarily allowed to have bank accounts and credit cards. She started a whole business for herself that's still running today. I love having pieces of history like that.   Sharon: And she's affordable too. It's expensive, but it's affordable.   Emily: She's in my price range.    Sharon: As opposed to a huge diamond. I'm not saying you couldn't buy a huge diamond, but it's more affordable than buying a huge diamond, I think.   Emily: Yeah, exactly. It's more like the jewelry I can wear daily going to my son's baseball game, things like that.   Sharon: Is that why you have come to like modernist jewelry, because it's wearable?   Emily: Yes. Again, having my art history background, I love concepts. I love intention in design. I love expression. For me, art jewelry really embodies all of that.   Sharon: Does it make a difference to you if you're looking at a piece—I might look at a piece of art jewelry, modernist jewelry, and not understand it, but then I understand it better if somebody explains it. Does that happen?   Emily: All the time. It's funny; when I first started out in art history, I always ran into people who would criticize contemporary art and say, “Oh, I could do that.” I think it's similar in art jewelry. “Oh, it's too crude,” or “It doesn't sense,” but once you explain it, their eyes light up, right?   Sharon: Yes.   Emily: They completely understand it and embrace it. Art Smith, he was making jewelry that was more about form. It was more about dynamic shapes and lines, and that wasn't being done before. It was different from the Harry Winston diamond necklaces at the time.   Sharon: That's true. You have to recognize what's coming next, what's around the bend, what's around the corner. And it's hard to wear a diamond to go grocery shopping.

Greetings, fellow Bastardo! This week we have Eric Minoff on the show! Eric Minoff is a Motorcar Specialist for Bonhams who has had experience in the sales of everything from pre-war Bugattis and to modern hypercars, but still appreciates the obscure contrarian pick street-parked in central Manhattan. Phil and Eric talk everything from the current enthusiast (and non-enthusiast) car market to the world of car archeology and restoration. Tune in for more! The Viva Bastardo Show is part of the Hagerty Podcast Network.

In this episode, we are taking a look into the upcoming Bonhams Watch Auction on September 13.

In this episode, we talk about the upcoming Rolex Hulk auction at Bonhams. We also talk about the nicknames of other popular Rolex watches.

Dan Prosser and Andrew Frankel leaf through the catalogue for Bonhams' forthcoming sale at Quail Lodge during Monterey Car Week. The highlights include a genuine Lightweight E-type that raced at Le Mans in period, a pleasingly tatty motorcycle with a very special former owner and scores of beautifully presented 1950 and 60s sports cars. The auction is on August 19. Follow the link  to find out more – https://www.bonhams.com/auction/27509/the-quail-auction/

Dan Prosser and Andrew Frankel bring you a bonus episode of The Intercooler podcast. Ahead of Bonhams' auction at the Goodwood Festival of Speed on June 24, they talk about the highlights of the sale including an ex-Michael Schumacher Benetton Formula 1 car and a low-mileage Jaguar XJ220. Find out more here – https://www.bonhams.com/auction/27521/goodwood-festival-of-speed-collectors-motor-cars-and-automobilia/