Estate Jewelry

Estate Jewelry: Art Deco Wonders and Emerald Stunners

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Over the past week I’ve seen some really sensational estate jewelry, plus a couple new pieces at Betteridge that are worth highlighting.  Here are my favorites:

CARTIER An Art Deco Egyptian Revival Ring – FD Gallery

Cartier, An Art Deco Egyptian Revival Ring, centering an oval carved, bezel-set Burmese unheated ruby with a royal portrait in profile, with triangular-cut sapphire and emerald calibre surround, in gold and black enamel mount, ruby measuring approximately 11.80 carats, by Cartier, comes in original Cartier box, and certificate of authenticity.
Such Cartier Art Deco rings are extremely rare and have only been seen in collections such as that of Ganna Walska and other notable Cartier clients.

With Howard Carter’s discovery of the Tomb of Tutankhamen in 1922, a whole new world of inspiration sparked sweeping changes in the world of design.  From fashion to furniture, the visual impact of the find could be seen everywhere during the Art Deco era.  In 1923, Pierre Cartier predicted the discovery would have a lasting impression in jewelry design and, unlike other jewelers working in their own Egyptian flair, Cartier sought guidance from major Egyptian source books such as Description de l’Egypte and Owen Jones Grammar of Ornament to keep their designs as authentic as possible.  Interestingly, Louis Cartier astutely collected authentic Egyptian antiquities, oftentimes from Parisian dealers, and incorporated them as centerpieces of their jewels in the Tutankhamen taste.  The combination of the exotic Egyptian style and innovative culture of Art Deco resulted in some of Cartier’s most visually striking and truly original jewels from this period, including this exceptional ring whose carved cabochon ruby depicts a Sasarian king.  The intensity of the ruby’s glow and alternating triangular-shaped emerald and sapphire surround, both of which are heightened with the sharply contrasting black enamel, make for a brilliant color show that continuously delights the eyes.

 

CARTIER Pair of Natural Pearl Diamond Brooches – Symbolic & Chase

Each of stylised shield design, set to the centre with a bouton-shaped natural pearl within a pierced surround set with circular-cut diamonds, embellished with two marquise-shaped diamonds, Cartier New York, circa 1933. Accompanied by a certificate of authenticity from Cartier. Also accompanied by a certificate from the Gem & Pearl Laboratory number 04106 stating that the two two pearls weighing 4.38cts and 3.81cts respectively, are natural and of salt water origin.

These are simply elegant, a perfect pair of brooches to enhance any evening gown or wedding dress.

 

CARTIER An Art Deco Diamond Platinum Bracelet – FD Gallery

Cartier, An Art Deco Diamond Bracelet, centering upon a cushion-cut diamond, with two concentric old mine and old European-cut diamond hexagonal-shaped surrounds, either side extending four graduated overlapping open hexagonal-shaped old European-cut diamond links, each segment set with an old European-cut diamond ‘Lily of the Valley’ motif, the outer border spaced by collet-set diamonds, to the diamond-set clasp, mounted in platinum, measuring approximately 7 3/4 inches long, accompanied by a Cartier case and certificate of authenticity, numbered NY2008-5, circa 1940.

Created in the late Art Deco style, this beautiful bracelet exhibits a nice break from the static square and rectangular shaped bracelets from the same period.  Cartier’s open ‘Lily of the Valley’ motif offers a fresh interpretation of the period’s geometric styling that errs on the side of elegance instead of rigidity.

 RAYMOND YARD A Pair of Ruby and Diamond Clip Brooches – FD Gallery

Raymond Yard, A Pair of Ruby and Diamond Clip Brooches, with each clip designed as a stylized shield shaped plaques, centering an antique circular-cut faceted rubies one measuring 1.82 carats, the second measuring 1.88 carats, to the accent of square cut rubies and circular and baguette cut diamonds, total ruby weighing 10.59 carats, total diamond weighing 9.65 carats, mounted in platinum, circa 1939.

One of the great American jewelers, Raymond Yard and his outstanding designs endure today as excellent examples of Art Deco jewelry.  With the backing and support of John D. Rockefeller Jr., Yard opened his first store in 1922 at 522 Fifth Avenue after having spent twenty years at Marcus & Co., where he started at the age of thirteen opening doors and ended as the most sought after salesman on the floor.  A laundry list of New York’s wealthiest families came to Yard for their luxurious jewelry fixes:  Woolworth, Flagler, DuPont, Harriman and Vanderbilt.  A notorious perfectionist, Yard meticulously worked on perfecting every detail of his design as well as selecting the perfect stones, even if it meant waiting weeks or months to find them.  His special twist on the tried and true Art Deco style was mixing gems with different styles of cutting, most notably combining round brilliants with straight baguettes.  Shields, trapezoids and cushions also sprinkled his elaborate jewels, just like the stone in these brooches.  The medley of gems with varying gem cuts produces a stunning piece of jewelry radiating with vibrant color.

 

JEAN CHARLES Gold and Multi-Gem Bird Brooch – Macklowe Gallery

A French Mid-Century 18 karat gold and platinum bird brooch with diamonds, rubies, turquoise and emerald by Jean Charles. The crown, wings and tail of the bird are intricately formed feathers in gold with a 11.60 carat cabochon ruby body, 36 round-cut diamonds with an approximate total weight of 1.20 carats, 6 marquise-cut diamonds with an approximate total weight of .60 carat, 21 turquoise cabochons, and an emerald cabochon eye. The tail of the bird is set on a hinge to allow movement.
Brooch has “JC” makers mark for Jean Charles, jeweler for Fouquet and fitted box that is marked Bertoni Milano.

Not much information on Jean Charles exists, other than being a jeweler at Fouquet, but this bird is a testament to just how talented a jeweler he must have been.  With a fabulously whimsical design ripe with bright color, this bird’s intricate gold work of the feathers highlights how special this piece is.

 

PAUL FLATO A Pair of Diamond ‘Starburst’ Ear Clips – FD Gallery

Paul Flato, A Pair of Diamond Ear Clips, each designed as a circular and baguette-cut diamond starburst, mounted in platinum, circa 1938, signed Paul Flato and a similar style is illustrated in the Paul Flato book.

Famously referred to as the “Jeweler to the Stars,” Paul Flato’s jewelry shined just as bright as his onscreen beauty clients:  Flato jewels adorned Merle Oberon in ”That Uncertain Feeling,” Rita Hayworth in ”Blood and Sand” and Greta Garbo in ”Two-Faced Woman.”  Born in Shiner, Texas in 1900, Flato first found his way to the bright lights and big city of New York in the 1920’s.  There, he opened his first shop at 1 East 57th Street, where he would soon become one first major American jewelers creating works as highly imaginative as European jewelers.  Adolph Klealty, George Headly and Fulco Di Verdura were some of Flato’s designers during the workshop’s height in the 1930s.  Finding inspiration from nature, these refined earclips are a witty interpretation of a glimmering star bursting with light.

 

VAN CLEEF & ARPELS. An Important and Rare Diamond Feather Brooch. – Symbolic & Chase

Designed as an openwork feather millegrain-set with circular-cut diamonds, to a quill channel-set with baguette diamonds, circa 1928, signed Van Cleef & Arpels and numbered 30978, French assay marks for platinum.
Cf: Van Cleef & Arpels, Sylvie Raulet, Rizzoli New York, P.156 for a photograph of a similar feather brooch in the Van Cleef & Arpels collection. Length 15.5cm.

The graceful curves and delicate settings of this diamond feather brooch from Van Cleef & Arpels is a great example of the Maison’s extraordinary skill.  Drawing inspiration from nature, feathers provide a wonderful test for any jeweler with their countless minute parts, challenging the craftsmanship in the difficulty of closely reflecting them with metal and gemstones.  I find the refined, understated design to be the perfect accent for any occasion.

 

Betteridge Collection Pear-Shaped Emerald & Diamond Pendant Earrings

Emerald and diamond pendant earrings, composed of two pear-shaped Colombian emeralds weighing 15.80 total carats (SSEF-certified: Colombian, moderate oil treatment), surrounded by circular-cut diamonds, suspended from two circular-cut emeralds weighing, surrounded by circular-cut diamonds, mounted in 18k yellow gold, circa 1950’s.

These are the emerald stunners referenced in today’s post title, along with the new Goshwara necklace below with emeralds weighing a total of 586.07 carats.

Goshwara Emerald & Diamond Necklace

Magnificent 6-strand graduated emerald bead necklace, suspended from a diamond-set lattice to a diamond-set line necklace, mounted in platinum. The emeralds weighing 586.07 total carats and diamonds weighing 26.50 total carats. Designed by Goshwara.

 

These earrings are also new at Betteridge and just look at the intense, rich color of the yellow diamonds!  I thought they were worth sharing for their excellent color and massive size.

Betteridge Pear-Shaped Fancy Yellow & Colorless Diamond Drop Earrings

Fancy yellow and colorless diamond drop earrings in platinum and 18k yellow gold. Two pear-shaped fancy yellow diamonds weighing 20.27 total carats, suspended from two pear-shaped colorless diamonds weighing 2.01 total carats (D-color and SI-clarity) to two pear-shaped colorless diamonds weighing 3.52 total carats (E/F-color and SI-clarity). With posts for pierced ears. 41mm length.

 

 

 

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2 Comments

  • Reply
    TBDame
    February 5, 2013 at 7:19 pm

    Have you come across any black opal pendant gold necklaces with enamelling fron Art Nouveau period?

  • Reply
    Valentine’s Day is for the Hard of Hearing | The Shift Has Hit The Fan
    February 7, 2014 at 3:44 pm

    […] A typical Egyptian Art Deco Revival ring- by Cartier. […]

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