There are many striking antique Jewels coming up for Auction this month, with Lady Astor’s Cartier Turquoise Tiara, a Brooch from Viscountess Powerscourt, and another from Sir Edward Knox are among the spectacular Antique Jewels going on Auction at the Bonhams ‘London Jewels’ Sale this week!
Bonhams London Jewels | 5 June 2025
Floral Spray Brooch
Estimate: £8,000 – £12,000
A gem-set Floral Spray Brooch, designed as a flower in bloom, set with table and rose-cut diamonds and cushion-shaped rubies, table-cut diamonds and emeralds throughout the stems and leaves, with further bud and foliate detail.
Gem-Set Spray Brooch
Estimate: £2,500 – £4,000
A Gem-Set Spray Brooch, designed as a posy of flowers with budding stems, set with step-cut emeralds, cushion-shaped rubies, accented with rose and table-cut diamonds in closed-back settings.
Pearl And Diamond Clover Bangle
Estimate: £6,000 – £8,000
A Pearl And Diamond Clover Bangle, circa 1890, the three 7.0-9.4mm natural pearls forming the leaves of a clover, old brilliant-cut diamond surrounds and stem, mounted in silver and gold.
Janesich Emerald And Diamond Pendent Earrings
Estimate: £6,000 – £10,000
A pair of Janesich Emerald And Diamond Pendent Earrings, Early 20Th Century, each cabochon emerald drop suspended from old brilliant-cut diamond linking with fine millegrain detailing to a brilliant-cut diamond stud fitting.
Diamond Brooch
Estimate: £5,000 – £7,000
Created for Isabella Wingfield (née Brownlow), Viscountess Powerscourt
A Diamond Brooch, circa 1800, the central rose-cut diamond within a radiating starburst surround, pavé-set throughout with old cushion-shaped, pear and old brilliant-cut diamonds in closed-back settings.
Isabella Wingfield (née Brownlow), Viscountess Powerscourt (d. 1848); thence by decent to the present owner.
On 9th February 1796, Isabella Wingfield (née Brownlow), Viscountess Powerscourt (d. 1848) married Richard Wingfield, 4th Viscount Powerscourt (1762 – 1809).
Richard Wingfield (1762-1809) was an Anglo-Irish landowner and peer. He was the first son of Richard Wingfield, 3rd Viscount Powerscourt and his wife, Lady Amelia Stratford. In 1788, he succeeded his father as the 4th Viscount Powerscourt and Baron Wingfield. He married twice, the first time to Lady Catherine Meade, and the second time to Isabella Brownlow, with issue from both marriages.
The Powerscourt House, in co. Wicklow, was the family seat of the Powerscourts from the 16th century until the 1960s. In the 18th century, Richard Wingfield, 1st Viscount Powerscourt commissioned the German-born architect, Richard Cassels, to transform the medieval castle into a grand mansion in the Palladium style.
Diamond Rivière
Estimate: £45,000 – £55,000
A Diamond Rivière, set throughout with cushion-shaped and old brilliant-cut diamonds, graduating in size towards the centre, on a bombé clasp, pavé-set with similarly-cut diamonds.
Diamond Flower Brooch
Estimate: £15,000 – £20,000
Sir Edward Knox (1819-1901); thence by decent to the present owner.
A Diamond Flower Brooch, circa 1820 and later, the flowerhead mounted en tremblant and set throughout with cushion-shaped and old brilliant-cut diamonds in closed and open-back settings, issuing from a similarly-set stem of leaves in closed-back settings, mounted in silver and gold.
Sir Edward Knox was an Australian banker and chairman of the Colonial Sugar Refining Company. He is believed to have acquired the present lot during a visit to England and is known to have visited family here on at least four occasions between 1857 and 1893. The diamond flower brooch has remained in the same family for five generations passing to the present owner via Sir Edward’s daughter, Jessie Mackay, and his granddaughter, Clara Miller (illustrated here in court dress with her husband, Captain Grenville Miller).
Diamond Corsage Ornament/Brooch/Tiara
Estimate: £50,000 – £80,000
A Diamond Corsage Ornament/Brooch/Tiara Combination, mid 19th century, realistically modelled to form three sculptural roses blossoming amongst buds, leaves and stems, set throughout with cushion and rose-cut diamonds, mounted in silver and gold, the corsage ornament/tiara frontispiece converting to three brooches, cased by Chiappe, Genoa, Italy.
The brooches in this lot may have originally formed a larger floral corsage ornament. Large corsage ornaments were popular during the 18th and 19th centuries when they became eye-catching centrepieces worn with formal court robes and gowns, often expressing the social status of the wearer. Realistically modelled and mounted with a collection of beautiful old cushion cut diamonds, these brooches are exquisite in their sculptural nature and lifelike size. A similar corsage ornament was commissioned by the Empress Eugenie and made by Theodore Fester in Paris in 1855, whilst in England, Hunt & Roskell displayed a large floral bouquet at the 1851 Great Exhibition (see Gere, C. and Rudoe, J., ‘Jewellery in the Age of Queen Victoria’, ill. 126 & 127, p.171). The brooches also bear a striking resemblance to the spectacular rose brooch once owned by Princess Mathilde Bonaparte (1820-1904) whose fondness for floral blooms led to a further commission with Mellerio for a diamond set rose bouquet in 1866.
Inspiration for beautiful jewels such as these brooches came from earlier, more stylised examples of floral jewels. Combined with an increasing interest in botany, this led to a vogue for much larger, faithfully observed floral pieces. Naturalistic jewellery, remained popular throughout the eighteenth and nineteenth centuries as jewellers created delicate, more detailed pieces, re-imagined with new materials and techniques. By studying the intricate forms and structures of flowers, their aim was to interpret them as faithfully as possible in their creations. A handful of highly skilled jewellers such as Mellerio, Boucheron and Oscar Massin, who was apprenticed to the aforementioned Theodore Fester, are known to have created impressive, exquisite floral jewels with astonishing naturalism for members of the social elite.
The tiara frame was possibly supplied by court jewellers, Chiappe, during the mid 20th century and the rose brooches are illustrated as a tiara in the Chiappe archives (see Gabardi, M., Italian Jewellery In The 20th Century, ill.p.4). Filippo Chiappe (1863–1936), studied jewellery at the Academy of Arts in Massa, Italy and later trained in both Algiers and Paris. On his return to Genoa he founded his own business on the Via Roma, Genoa, later opening in Milan, Paris and Rome. Chiappe was appointed as official jeweller to the Italian Royal Court in 1913.
Pearl And Diamond Tiara/Necklace/Bracelet
Estimate: £20,000 – £30,000
A Pearl And Diamond Tiara/Necklace/Bracelet combination, mid 20th century, the front section composed of three clusters of white, grey and pink pearl trefoils set amongst brilliant-cut diamond leaf and bud foliage, with baguette-cut diamond detailing, to a stirrup-link brilliant-cut diamond back-chain.
Emerald And Diamond Double-Clip/Brooch
Estimate: £10,000 – £15,000
A Emerald And Diamond Double-Clip/Brooch, mid 20th century, the interlocking scrolls pavé-set with brilliant and single-cut diamonds, issuing polished and fluted emerald bead terminals, with baguette, step and trilliant-cut diamond accents.
Diamond Necklace/Tiara
Estimate: £50,000 – £70,000
A Diamond Necklace/Tiara, circa 1880, the articulated row of graduated old brilliant-cut diamonds within box-collet settings, suspending a fringe of knife-edge wire and foliate motifs, set throughout with old brilliant-cut and rose-cut diamonds, mounted in silver and gold.
Rock Crystal And Diamond Brooch
Estimate: £8,000 – £12,000
Carved Rock Crystal And Diamond Brooch, circa 1912, attributed to Cartier, the bow formed of carved rock crystal, with foliate engraved scrolls in the garland style, central brilliant-cut diamond and single-cut diamond-set border with fine millegrain detailing, mounted in platinum.
Exquisite carved rock crystal engraving with Rennaissance motifs is one of the unique specialities Cartier is recognised for. The creation of these works, was often entrusted to Picq, Droguet and Andrey workshops. See Bachet, O., In The Beginning Was The Line, Cartier Art Deco Drawings, 1920-1930, IAJA Publishing, 2024, pp.22.
Diamond and Gem-Set Giardinetto Brooch
Estimate: £6,000 – £8,000
A Diamond and Gem-Set Giardinetto Brooch, circa 1930, the carved onyx vase issuing a flowering plant, composed of carved ruby and emerald leaves amongst a brilliant-cut diamond trellis, accented by sapphire, ruby and amethyst cabochons and brilliant-cut diamonds.
For sketches of vases intended for brooches see, Bachet, O, In the beginning was the line: Cartier Art Deco drawings 1910-1930, ill.p. 140-143. Bachet states that ‘different models of vases were designed to be cut from hardstones…including carnelian, nephrite, lapis lazuli and onyx.’
Cartier Emerald And Diamond Clip
Estimate: £15,000 – £20,000
A Cartier Emerald And Diamond Clip, circa 1930, of Eastern inspiration with pierced geometric detail, pavé-set with old brilliant and single-cut diamonds, accented by baguette and trapezoid-cut diamonds and a central pear-cut emerald, mounted in platinum and gold.
Cartier Emerald And Diamond Clip
Estimate: £25,000 – £35,000
A Cartier Emerald And Diamond Clip, mid 20th century, of geometric design with pierced detail, set with brilliant and baguette-cut diamonds, highlighted with five graduating step-cut emeralds to the centre, further lozenge-cut diamond to the base of clip.
Cartier Diamond Earclips
Estimate: £15,000 – £20,000
A Cartier Diamond Earclips, circa 1930, each of stylised fan design, pavé-set with brilliant-cut diamonds, accented by channel-set baguette-cut diamonds, mounted in platinum and gold.
Cartier Astor Turquoise and Diamond Tiara
Estimate: £250,000 – £350,000
A Cartier Astor Turquoise and Diamond Tiara, circa 1930, the bandeau adapted from an earlier jewel, circa 1915, composed of crescent-shaped, bow and quatrefoil motifs with pierced and knifewire detail, millegrain-set throughout with old brilliant, single, and rose-cut diamonds, a principal old brilliant-cut diamond at the centre, issuing three fluted turquoise plumes with brilliant and single-cut diamond stems, between a series of carved turquoise leaves, interspersed with old brilliant-cut diamond highlights and studded with rose-cut diamonds, each end terminating with a fluted turquoise panel of radiating fan-shaped form, mounted in platinum.
Significant archaeological discoveries beyond Europe’s borders had inspired a widespread fascination with the ancient world since the 18th century and the Archaeological Revivalist jewellers of the 1860s and 70s explored these influences with great commercial success. By the turn of the 20th century, creatives across all fields – from artists, writers and dancers to architects, curators and jewellers were incorporating these ancient and far-reaching influences in their work to spectacular effect. Louis, Pierre and Jacques Cartier were similarly inspired by middle and far eastern antiquity but the resulting design legacy they were about to create would capture their clients’ imaginations and remain unparalleled beyond their lifetimes.
Well acquainted with the ancient Egyptian and Persian art collections of the Louvre and the Musée des Arts Décoratifs, Louis Cartier amassed his own significant collection of antiquities from across the Islamic world and he possessed an expertise in this field. Located in Paris as the firm’s Creative Director, he generously made his library of unlimited source material available to Cartier’s designers. Jacques took over the running of Cartier London from Pierre in 1906. He travelled extensively throughout India and the Arabian gulf to meet with clients and source the finest gemstones and pearls. His relationship with India and the priceless gems and jewels he encountered there had a profound impact on Cartier’s style. Pierre established the brothers’ New York branch in 1909. An astute businessman with his finger on the pulse, he was a born strategist who brokered the sale of the Hope Diamond. The three brothers possessed clearly defined areas of expertise. They each oversaw the day-to-day running of the business in their respective locations. However, they were completely singular in their strategic vision and all major commercial decisions were undertaken together as one. In a letter to Jacques, dated 25th January 1915, Pierre wrote, “Only together can we fulfil our dream and take our House to all four corners of the globe” (see Molesworth, H. Cartier, London, 2025, p.17).
The dialogue that flourished between Cartier and the East coincided with a period of successful international expansion for the firm. The Cartier brothers and their employees embraced every opportunity to explore other countries and the rich cultural heritage, traditions and design vocabularies they encountered along the way. Their vast reference material resulting from their desire to travel far and wide on business enriched and informed their designs. This enabled Cartier to produce some of the most visually striking and original jewels the world had ever seen, marking a complete departure from the classical, empire and garland-styles that had been in fashion in Europe for so many generations.
Important archaeological discoveries made during the Cartier brothers’ own lifetimes also had a significant impact on their creativity – most notably, the astonishing discovery of King Tutankhamun’s tomb by Howard Carter and Lord Carnarvon in 1922 – a remarkable discovery that generated intense media interest and intrigue around the world. Pierre Cartier predicted that, “the discovery of the tomb will bring sweeping changes in the fashion in jewellery”. The visual impact of the treasures unearthed in Tutankhamun’s tomb was indeed seismic, influencing cinema, architecture, interior design, objets d’art, jewellery, watches, fashion, hair and makeup. By the time Cartier London sold their turquoise and diamond tiara to Viscount Astor in 1930, the dialogue between Cartier and the East was longstanding and prolific, with ancient Egyptian, Persian, Mughal and Far Eastern-inspired motifs having featured in their jewellery to spectacular effect since Edward VII’s ascension to the throne in 1901. The turquoise scrolls at either end of the Astor turquoise and diamond tiara are comparable with the lotus flowers depicted in Ancient Egyptian friezes. Owen Jones’ Grammer of Ornament (1865) provided plenty of source material for this type of motif. The turquoise leaves, carved in the Mughal style, had previously taken the form of emeralds and rubies in Cartier’s ‘Tutti Frutti’ creations, while the turquoise plumes are evocative of the Indian sarpech. For sketches and illustrations of ‘topiary’ brooches set with hardstones carved in similar foliate and plume motifs, see Bachet, O. In the beginning was the line: Cartier Art Deco drawings 1910-1930, Paris, 2024, ill.pp.110-111.
The diamond bandeau in the Astor turquoise tiara is first recorded in the Cartier archives as a “head ornament, 3 large round diamonds in the centre, in Boucheron case”. The bandeau was purchased by Cartier from a regular client in June 1929. The practice of altering existing jewels was not unheard of at Cartier. The Royal family had been commissioning Cartier to adapt pieces from their extensive collection of Indian jewels since Edward VII’s reign. Later, the Greville Tiara, originally made by Boucheron in 1921 and bequeathed to the Queen Mother by her close friend, Dame Margaret Greville in 1942, was adapted by Cartier for Elizabeth II’s coronation in 1953, to feature a series of additional diamond highlights along the upper settings (see Garrahan, R. Cartier, London, 2025, pp. 58-59).
In response to increasing demand from clients in New York and London, Cartier established their own workshops. American Art Works was the first to be founded in 1917, followed by English Art Works in 1921. During the 1930s at the height of English Art Works’ operations on the second floor of 175-176 New Bond Street, their staff numbered sixty craftsmen, including designers, stone setters and polishers. One of the largest workshops in London to specialise in platinum, English Art Works were instructed to add the carved turquoise scrolls, plumes and leaves to the existing platinum and diamond bandeau on 6th November 1930 and a design drawing for this adaption is in English Art Works’ record book for that date.
The completed turquoise and diamond tiara was first recorded in Cartier’s stock on 21st November 1930. Shortly afterwards, it featured in the Pageant of Living Jewels at the Empire Ball on 26th November. A number of jewellers, most notably Cartier, produced tiaras and head ornaments of Eastern inspiration for the charity event, which was organised by the National Jewellers’ Association and held in the glittering Art Deco interior of the Park Lane Hotel. In addition to raising money for charity, the aim of the ball was to present as many as sixty society ladies and female personalities as a series of ‘living jewels’. Each figure represented a precious gem sourced from across the then British Empire – thereby showcasing the talent of the London jewellery trade and its importance as a key location of influence on the international jewellery market. There were five representations of each gem. A few of the Empire Ball’s ‘living jewels’ are recorded as Muriel Ashley (emerald), Barbara Cartland – then Mrs McCorquodale (jade), Mrs C. A. Cartwright (jet), Lady Diana Cooper (diamond), Rosita Forbes (ruby), the actress Gertrude Lawrence (black pearls), Mrs Claude Leigh (gold), Gwen Mond (jade) and Lady Mary Strickland (sapphire). Margaret Whigham, then ‘Deb of the Year’ and later the infamous Duchess of Argyll, wrote, “Bridget (Poulett – favourite of Cecil Beaton) and I were told to wear coral and turquoise respectively – not diamonds and emeralds as we had hoped”. The Empire Ball generated an abundance of feverish press attention and in the aftermath of the 1929 financial crash, the London jewellery trade seized the opportunity to capitalise on the publicity. The value of the jewellery and the number of Scotland Yard detectives enlisted to protect it all from theft varied widely between publications and statistics were often inflated for dramatic effect.
Amongst the great number of jewels produced by Cartier for the Empire Ball, the head ornaments were some of the most memorable and magnificent. They also played a key role throughout Cartier’s advertising in London. Some of the most impressive head ornaments were worn by the chair of the organising committee, Muriel Ashley (her step-daughter, Lady Edwina Mountbatten served as President), Gwen Mond and Lady Diana Cooper – all of which were produced by Cartier and designed with strong Indian, Chinese, Thai and Cambodian influences (see Rourke, J. Cartier, London, 2025, ill.pp.112-119). The present lot by Cartier featured as one of the five turquoise parures at the Empire Ball. It was later exhibited by Cartier and advertised in the December 1930 issues of The Sphere and Country Life. The Country Life advertisement read, “A Turquoise Ensemble by Cartier Ltd. which was much admired at the Jewels of the Empire Pageant of November 26th. Now on view at Cartier’s premises at 175 New Bond Street, W.” The photograph that accompanied this advertisement shows a wax mannequin wearing a double-strand of turquoise beads with a shorter turquoise bead necklace, pendent earrings and the (now Astor) turquoise and diamond tiara. After the Empire Ball and the Cartier exhibition that followed, the present lot was sold to Viscount Astor on New Year’s Eve. Other jewellers, such as Garrard, advertised their own exhibitions of the jewels they showcased at the Empire Ball.
By 1930, tiaras had begun to fall out of fashion in America and Europe but this was not the case in Britain, where they were still required for the London Season. Jacques Cartier understood this and tiaras and head ornaments featured prominently in his advertisements for Cartier London from the late 1920s up until the coronation of George VI in 1937. The new monarch’s grandfather, Edward VII famously declared Cartier, “the jeweller of Kings and the King of jewellers” and the firm had established an exceedingly loyal clientele amongst British high society since his 1902 coronation. Edward VII granted Cartier the Royal Warrant – they remain the only foreign jewellery house to hold this honour. Throughout this period, Jacques’ clients frequently requested that their ancestral tiaras were remodelled in the latest fashions and tailored to the new Art Deco hairstyles that were cropped short around the ear or jawline – the resulting jewels were designed as halos to be worn across the head from ear to ear or as bandeaus to be worn across the forehead and over the hair covering the ears – the Cartier advertisement in Country Life shows the Astor turquoise and diamond tiara being modelled by the mannequin in this way. The tiaras made for Cartier’s stock were some of the most daring in their arrangement and form and the Astor turquoise and diamond tiara is a rare surviving example.
In 1931, Lady Astor wore her Cartier turquoise and diamond tiara for the premiere of ‘City Lights’ at the Dominion Theatre in London. She is seen at this event with Lord Astor, Charlie Chaplin and her friend, George Bernard Shaw in the black and white photograph reproduced in this entry (© Keystone-France/Gamma-Keystone via Getty Images). Lady Astor is also known to have lent her Cartier turquoise and diamond tiara to her sister, Phyllis Brand, for a Court presentation at Buckingham Palace (see Munn, G. C. Tiaras: A History of Splendour, London, 2001, ill.p.374,pl.338). Inspired by this exceptional Cartier jewel, Nancy’s brother-in-law, the Hon. Robert Henry Brand (1878-1963), commissioned Cartier to produce a second turquoise and diamond tiara. The production of the Brand commission was given to English Art Works on 20th December 1935. The design drawing of the same date is in English Art Works’ record book and the job was completed in January 1936. Similar to the earlier Astor tiara, Phyllis Brand’s tiara issues an upper row of carved turquoise ‘boteh’ leaves in the Persian taste. Phyllis sadly passed away just one year after she received her Cartier tiara from her husband. See Rudoe, J. Cartier 1900-1939, p.172, ill.p.173 and Harpley, J. and Burks, C. K. Cartier, London, 2025, ill.p.172-173. It is this second tiara that is currently on glittering display at the V&A’s Cartier exhibition.
Nancy
Nancy was one of eight surviving children born to Chiswell (Chillie) Dabney Langhorne and Nancy Witcher Keene. She had four sisters, Elizabeth, Irene, Phyllis and Nora, and three brothers, Keene, Harry and William. Three more siblings died in infancy. Nancy’s father was from an established Virginian family but he lost almost everything during the American Civil War of 1860-1865. Throughout Nancy’s early years, her father worked as an auctioneer and then as a railroad manager. Gradually the family’s fortunes improved and in 1892, Chiswell Langhorne purchased Mirador, a large estate near Charlottesville.
She and her four sisters were renowned for their beauty. Her sister, Irene, married the illustrator, Charles Dana Gibson, the creator of the ‘Gibson Girl’ image, which came to epitomise American beauty standards during the Gilded Age. Nancy’s unhappy first marriage to socialite, Robert Gould Shaw II, resulted in divorce and her full custody of their only child, Bobbie. She was subsequently encouraged to move to England by her father with her son and her sister, Phyllis, having fallen in love with the country during an earlier visit in 1904. The following year, she met the American-born Englishman, Waldorf Astor, 2nd Viscount Astor (1879-1952) on his return voyage from America across the Atlantic, aboard White Star Line’s SS Cedric.
Waldorf’s father, William Waldorf Astor, 1st Viscount Astor (1848-1919), had moved his family to England in 1891 and raised his children in the English aristocratic tradition. Born on or around the same day in May 1879, Nancy and Waldorf were extremely well matched, as both were American expatriates of similar temperaments. Charming, earnest and handsome with a strong sense of responsibility and honour, Waldorf Astor was the perfect step-father for Bobbie. After a brief courtship, Nancy and Waldorf were married on 3rd May 1906.
After their wedding, the Astors moved into Cliveden, their lavish estate in Buckinghamshire – one of two wedding gifts from Astor’s father (the other was the 55.23 carats Sancy diamond). The Astors installed electricity at Cliveden and Nancy undertook an extensive renovation of the property. The couple had three children: William ‘Bill’ Waldorf II (b.1907), Nancy ‘Wissie’ Phyllis Louise (b.1909) and Francis David Langhorne (known as David – b.1912). The birth of Nancy’s two war babies – Michael in 1916 and John Jacob ‘Jakie’ VII in 1918 – completed their family.
The Astors began to hold weekend parties and Nancy became renowned as a prominent hostess for Britain’s social elite. Famous authors, MPs, society figures, Waldorf’s friends from Oxford and members of the Royal family were all welcomed at Cliveden. Increasingly over time, Cliveden became a popular weekend retreat for MPs and reformers to gather and discuss their ideas. Cliveden was later home to the Canadian Red Cross and served as a hospital during the First and Second World Wars.
Politics
While Nancy Astor became renowned for the lavish garden and dinner parties she hosted at Cliveden, she was also very generous with her time and politically aware. She campaigned for a number of social causes, notably women’s suffrage. In February 1918, the Representation of the People Act was finally extended to allow women over the age of 30 the right to vote if they or their husband owned property. That same year, women were allowed to sit in the House of Commons for the first time. The Irish Republican, Countess Constance Markiewicz, became the first woman to be elected. However, as a member of Sinn Fein, she refused to take the ‘Oath of Allegiance’ and did not therefore, take her seat.
The following year, in 1919, William Waldorf, the first Viscount, died. He had accepted a peerage in the New Year’s Honours List of 1916. Waldorf now found himself having to take his father’s place in the House of Lords and the Conservatives found themselves needing to elect his replacement as MP for Plymouth Sutton. After some debate over her suitability, Nancy was formally adopted as their candidate. Her anecdotes, or ‘Astorisms’ as they became known, greatly amused people and Nancy was able to stand her ground when heckled. Polling Day took place on 15th November 1919 and her campaign was followed closely by the press.
Against the turbulence of the First World War and the resulting change sweeping across Britain that would significantly impact the roles and status of women, Nancy Astor made history as the first woman to ever take her seat in Parliament. She was officially introduced to Parliament on 1st December 1919 and steadfastly represented the Plymouth constituency of Sutton for the next 25 years. Supported by Waldorf and their close friends, Nancy Astor blazed a trail as a female pioneer in British government. Although seen by many as a watershed moment for women’s emancipation, Nancy Astor’s election was not welcomed by everyone. Some of her fellow MPs regularly ignored or insulted her and even made it difficult for her to access her seat in the House of Commons. Undeterred, hard-working and full of resilience and character, Nancy Astor understood the significance of her position as a woman in government and she did not squander the opportunity or take it for granted.
Nancy put her parliamentary muscle behind a number of key issues then facing society. Her legislative success came in 1923 when she introduced the Intoxicating Liquor Bill, which increased the legal drinking age from 14 to 18. This marked the first time a woman had successfully steered a Private Members’ Bill through all its legislative stages to be passed into law. Later as Lady Mayoress of Plymouth, Nancy visited air-raid shelters and used her speeches in the House of Commons to raise important concerns on her constituents’ behalf. Her unwavering support of the city of Plymouth during the war was reported on favourably by the press. She died at the age of 84 and her ashes were buried with Waldorf’s at Cliveden. A Freeman of Plymouth who advocated for numerous causes throughout her political career, from temperance and women’s rights to education reform and welfare, Nancy Astor’s legacy as a fiercely independent female voice and the first female MP lives on in the city of Plymouth where many plaques and buildings still bear her name.
Bonhams London Jewels | 5 June 2025 
