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Mark Littler is an independent antiques consultant and whisky broker specialising in the sale of collections and estates. If you have a single bottle or cask you are considering selling email mark marklittler. This refers to the number of years the whisky spent maturing in the cask, not how long it has been in the bottle.
The age is indicated on the label and can vary from three to more than 60 years old.
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Ages between 10 years and 30 years are the most common and older whiskies are generally more commercial. The year or period when the whisky was bottled can impact the value. Bottlings from the 90s and earlier can be very commercial. The distillation year refers to the specific year in which the whisky was distilled. Not all whiskies will state the distillation years but series with distillation years are often sought after by collectors as they lend themselves to collecting sets or specific dates.
The level of the whisky in the bottle neck has a large impact on the value. As alcohol is more volatile than water it is the alcohol that will evaporate first, which damages the flavour. Some bottles have different neck styles but for a standard bottle the level should be well into the neck, ideally sitting in the top half of the bottle. The label on a bottle of whisky is important to a collector.
If it is damaged in any way it will have a negative impact on the value. Having the original box also has a huge impact on the value, as a bottle without its original box could be worth up to 30 per cent less.
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Single cask bottlings are generally more sought after, as by default they are unique and limited edition. If it has been bottled at cask strength, then it becomes even more sought after. These runs can also be commercial, especially if it comes from one of the more commercial distilleries.
By Dickens! Beautiful Books: Dickens and the Business of Christmas shows how the exploits of Ebenezer Scrooge, et al, was the first in a series of five books by the author that shaped Christmas in ways we still recognise today. While Christmas has been celebrated in Britain since the earliest times see our feature on page 14 , it was Dickens who arguably placed the largest bauble on the tree.
But he was not alone. In the 19th century, Dickens became king of the commercial Christmas. Changes in the country created the perfect conditions for him to publish A Christmas Carol — a thing of beauty, both in content and presentation. Cole was a civil servant and inventor who worked for. He was also in part responsible for the introduction of the Penny Post in , which might have explained his interest in cards.
Each is a compact tale, cloth bound and blocked in blind and gold with gilt edges, coloured end papers and vignette title pages. As he had done with A Christmas Carol, Dickens was heavily involved in the physical creation of the books. He spent two days at the printers, reading proofs and superintending the production of The Chimes in Of the 1, originally printed, 21 survived and one has been lent to the museum by a book dealer in San Francisco.
The message — that this is a season for giving — is driven home by side panels showing a beggar receiving alms from a tray and a poor mother protecting her baby wrapped in a shawl. The cards were sold for one shilling — a high price at the time. Despite its originality, the card was not a success and the next card designed for Christmas would not appear for another five years. However, eventually the idea took off: in , 4. In Germany several printers were developing colour lithography and by steel embossing dies were used.
Once they became cheap enough they were adapted for the used in the manufacture of scraps and mottoes, used on Christmas cakes and biscuits. In newly-industrialised Britain, the technological advances which revolutionised the work of bookbinders, printers, typesetters and illustrators, also prepared the perfect conditions for Dickens to introduce A Christmas Carol to the world. As production, distribution and consumption grew, so did middle class spending power.
Christmas encouraged eating, drinking and present-giving and became an important time of year for the transformed publishing industry, which supplied a wealth of beautifully-designed books just waiting to become ideal Christmas presents. But Dickens had other ideas. Dickens was adamant that A Christmas Carol be published as a high-quality, stand-alone book. After discussion between the parties they came to an unusual decision. Dickens would fund the publication of A Christmas Carol and receive the profits.
The exhibition includes letters from Dickens to publishers and illustrators revealing his eagle-eyed scrutiny of the design, illustration and production of his books. Written in six weeks in the winter of to ensure its publication before Christmas , the author demanded a brown-salmon, fine-ribbed cloth binding, blocked in blind and gold on the front, gold on the spine and with various colour illustrations by John Leech Leech had been interested in working with Dickens from as early on as Pickwick Papers in Their friendship began in when the author invited him for dinner in and, the following year, he.
The preliminary illustrations were done in November as Dickens was finishing the manuscript and are the first visual representations of Marley, The Last of the Ghosts, The Ghost of Christmas Present, Fezziwig and, of course, Scrooge. However, the green colour turned drab, and eventually Dickens opted for blue.
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All of the 6, editions released on December 19 have red and blue title pages, and are dated By the s, Christmas had expanded so rapidly that he started to complain the market was flooded with material. He began to distance himself from the festival of gift books and stocking fillers, and passages in his own stories, such as Great Expectations and The Mystery of Edwin Drood, grew noticeably darker in tone and subject. However, Christmas continued to grow.
What are the main things to be aware of when buying a first edition of A Christmas Carol? There were 14 editions in the original format with the hand-coloured John Leech plates.
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As they are not rare, with many titles, collectors can be choosey. Other Victorian authors were not published in such numbers. The most expensive is a first edition of Great Expectations of which 1, were printed, with many copies going to libraries.
Fine copies in cloth are rare. The price of the original issued in parts, in very good condition, soars into the thousands. The rarest books issued in parts are Sketches by Boz and Oliver Twist. What advice would you have to a new collector of Dickens? Look at what is available: internet sites www. Be prepared to make some mistakes, buy the best you can afford, upgrade when you can and get enough information so that you trust your own judgement.
How easy is it to collect the Christmas Books? The commonest is a fourth issue of The Battle of Life. The best bet may be to look for very good, to fine, condition copies in cloth, rather than rebound. Dickens had two aims with A Christmas Carol: to relate a morality tale and make money! However, despite his business. The downturn in favour was due to fashion; towards the end of the 20th century, fabrics became increasingly lighter and brooches, which require a heavier fabric to withstand their weight, became rather impractical.
Now brooches are back in the limelight. Brooches are achieving some fantastic hammer prices at auction, flying past their somewhat humble estimates. While the rise of the brooch may be due to current fashion trends, as an accessory they are incredibly practical, adaptable and timelessly beautiful. As with any area of collecting, brooches of certain ages, styles and makers prove more popular among bidders then others. In an era before mechanisation, Georgian jewellery was largely handcrafted and, given that the key trends of Georgian era jewels were delicate floral motifs, lacy aesthetics and symmetry, the skill of the jewellers of the time cannot be overstressed.
Right A Victorian mourning brooch pendant containing a twisted lock of hair Below left Belle epoque. The Georgians loved to add stylistic flair to every aspect of their lives, including death.
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Mourning jewellery of the Georgian period encapsulates the delicate aesthetics with sentimental meaning, and their poignancy is not lost among bidders. Mourning miniatures — navette-shaped brooches which depict delicately painted scenes of urns, graves and weeping mourners — became popular in the 18th century. Another popular component of mourning brooches was hair, twisted into scrolling patterns and often intertwined with gold wire accents, which was used as a way to keep a part of a loved one with the mourner.
Mourning brooches are often surrounded by a border of seed pearls, representing the tears of the mourner. Love tokens On the other side of the coin, love token jewellery was tremendously popular among the sentimental Georgians.