Continuing from yesterday’s post Sotheby’s Magnificent Jewels – New York – December 5th, 2012 (Part 1), this is part two:
Lot 440 – 18 Karat Gold, Cultured Pearl and Diamond Brooch, Van Cleef & Arpels, New York, Circa 1967
Designed as a sunburst centered by a button-shaped cultured pearl measuring approximately 14.9 by 10.5 mm, the rays set with numerous round diamonds weighing approximately 23.50 carats, signed Van Cleef & Arpels, numbered N.Y. 38035, with French workshop and assay marks; fitted with a pendant hook and retractable pendant loop. With signed pouch.
Lot 384 – White Gold, Citrine, Amethyst, Diamond and Enamel Brooch, Attributed to Jean Fouquet, Circa 1927
Of geometric design, centered by five square-cut citrines, framed by single-cut diamonds weighing approximately .95 carat, the border applied with turquoise enamel, accented at the corners by circular motifs set with triangle-cut amethysts, unsigned, attributed to Jean Fouquet.
This brooch is similar in design to a piece illustrated in Les Fouquets: Bijoutiers & Joailliers à Paris 1860-1960, Musée des Arts Décoratifs, page 135; in addition, a similar brooch is illustrated in the exhibtion catalogue Bijoux Et Orfèvrerie from 1931.
When Jean Fouquet joined the Maison Fouquet in a professional capacity in 1919 at the age of 20, he was the third generation of Fouquet jewelers. By the time of the legendary Exposition des Art Décoratifs in 1925, he had risen to become one of the top designers in the firm and his jewels were among the most novel produced under the Fouquet name. Eschewing platinum in favor of white gold and using semi-precious stones such as citrines and amethysts, he created pieces that were resolutely contemporary.
Jean Fouquet simplified form as much as possible in jewelry, focusing on linear, industrial designs that reflected the aesthetic of the Art Deco movement of which he was a chief proponent. Indeed, he wrote that his creations should “fulfill the criteria of a work of art and at the same time conform to the functional demands of a product.” Such patterns, combined with large stones, reinforced his belief that jewelry should be easily legible from great distances. Though Jean Fouquet never ascended to manage the Maison Fouquet, he played an integral role in the creation of the Union des Arts Modernes, championed fellow designers such as Gérard Sandoz and Jean Després and was a leading member of the French artistic community.
Drawing from Cubist painters working in Paris, Fouquet strove to create dissonance in his work – round shapes were broken dramatically by rectilinear ones, and complementary colors like purple and yellow were frequently used. He may also have been influenced by popular culture via poster artists like Cassandre who, in addition to creating advertisements for leading French companies, designed a piece of jewelry manufactured and exhibited by Georges Fouquet. Rich colors, bright enamel and bold geometric patterns all marked Jean Fouquet’s oeuvre, and are embodied by the above brooch.
Lot 230 – 18 Karat Gold and Ruby ‘Honeycomb’ Bracelet, René Boivin, Circa 1964
Estimate: 30,000 – 50,000 USD
The articulated bracelet of bombé form composed of gold honeycomb links set with numerous round rubies, length 7¾ inches, unsigned, with French assay and partial workshop marks.
Lot 221 – Platinum, Diamond and Sapphire Necklace, Early 20th Century
Estimate: 30,000 – 40,000 USD
The delicate chain supporting a pendant composed of a fringe set with old European and rose-cut diamonds and numerous round sapphires, the chain set with alternating diamonds and sapphires, the total diamond weight approximately 5.75 carats, length 30½ inches.
Lot 218 – Gold, Silver, Natural Pearl and Diamond Brooch, Circa 1880
Estimate: 30,000 – 40,000 USD
Set with three Baroque pearls in various hues measuring approximately 16.4 by 8.9 mm, 12.9 by 9.9 mm and 12.0 by 8.9 mm, accented by numerous old European and single-cut diamonds weighing approximately 1.60 carats. With fitted case stamped Koch.
Lot 203 – Pair of Platinum, Rock Crystal, Pink Tourmaline and Diamond Clips, Cartier, Circa 1935
Of geometric design, the carved rock crystal clips centered by four rectangular modified mixed-cut pink tourmalines, accented by round and single-cut diamonds weighing approximately 1.00 carat, each signed Cartier. With signed box.
Illustrated in Art Deco Jewelry by Laurence Mouillefarine and Evelyne Possémé, page 115.
In 1933, Louis Cartier appointed Jeanne Toussaint the director of Cartier’s haute joaillerie department in Paris, ceding complete creative control as he moved to New York. In that role, Toussaint revolutionized the Cartier oeuvre, moving past the colorless diamond and platinum designs of the 1920s. Her avant-garde designs were matched by the technical innovations at Cartier in the 1930s. Toussaint popularized the use of carved rock crystal in geometrical designs, with a particular focus on rectilinear patterns. The clips offered here are emblematic of her designs, blending the architectural feel with the striking look of bright colors. While embracing the industrial ethos of the age, Toussaint took Cartier’s jewelry in a striking new direction that made them one of the pre-eminent jewelers of the age.
Lot 180 – Gold and Glass Grapevine Necklace, Castellani, Circa 1880
Estimate: 30,000 – 50,000 USD
Decorated with a fringe of gold grapevine leaves alternating with clusters of purple glass beads simulating grapes, supported on a gold loop-in-loop chain,length 16 inches, with maker’s mark.
Lot 37 – 18 Karat White Gold, Rock Crystal and Diamond Bracelet, Aletto Brothers
Estimate: 30,000 – 50,000 USD
Composed of 14 fluted rock crystal columns, spaced and accented by numerous round diamonds weighing approximately 10.05 carats, length 7¼ inches, signed Aletto Bros. With signed box.
Lot 286 – Platinum, Sapphire and Diamond Bracelet, Seaman Schepps, Circa 1950
Estimate: 25,000 – 35,000 USD
Designed as four foliate sprays of round and single-cut diamonds weighing approximately 4.50 carats, joined by three-row segments of calibré-cut sapphires,length 6¾ inches, signed Seaman Schepps.
Lot 253 – Platinum, Spinel and Diamond Ring, Bulgari
Estimate: 25,000 – 35,000 USD
Set with three oval-shaped spinels weighing approximately 11.50 carats, accented by eight round diamonds weighing approximately .40 carat, size 6, signed Bulgari, with workshop marks.
Lot 138 – Platinum, Alexandrite and Diamond Ring, Raymond Yard, Circa 1925
Estimate: 25,000 – 35,000 USD
The cushion-cut alexandrite weighing approximately 4.50 carats, flanked by four trapezoid-shaped diamonds and 16 round diamonds, size 6¾, signed Yard.
Lot 76 – 18 Karat Two-Color Gold, Ruby and Diamond Cuff Bracelet, Buccellati
Estimate: 25,000 – 35,000 USD
The brushed gold cuff of hinged design, decorated with three oval-shaped ruby cabochons weighing approximately 13.60 carats within frames of floral design set with numerous round diamonds weighing approximately 1.05 carats, internal circumference 6½ inches, signed M. Buccellati Italy, with Italian marks.
Lot 72 – 18 Karat Two-Color Gold, Sapphire and Diamond Bracelet, Boucheron, Paris, Circa 1945
Estimate: 25,000 – 35,000 USD
Centered by a row of nine oval and round sapphires, framed and accented by numerous round and single-cut diamonds weighing approximately 2.80 carats, gathered at the sides by geometric motifs set with numerous baguette diamonds weighing approximately 3.10 carats, gross weight approximately 42 dwts, internal circumference 6¼ inches, signed Boucheron Paris, numbered 3.087, with French assay marks.
Lot 65 – Pair of Platinum, Emerald, Diamond and Onyx Clips, Mauboussin, France, Circa 1930
Set with two square emerald-cut emeralds, within openwork surrounds set with eight buff-top emeralds, onyx plaques and numerous old European-cut diamonds weighing approximately 4.30 carats, each signed Mauboussin France.
Lot 61 – 18 Karat Gold and Diamond Cuff-Bracelet, Cartier, London
The polished gold cuff set with two spheres pavé-set with numerous round diamonds weighing approximately 5.75 carats, gross weight approximately 42 dwts, internal circumference approximately 6 inches, signed Cartier London, numbered 41164, circa 1940.
Lot 36 – Pair of 18 Karat White Gold, Aquamarine and Diamond Earclips
Suspending ten faceted aquamarine beads weighing approximately 145.00 carats, spaced by rondelles set with numerous round diamonds weighing approximately 1.45 carats.
Lot 386 – 18 Karat Gold, Citrine and Diamond Brooch, Cartier, London, Circa 1945
Of floral design, set with 16 emerald-cut, triangle and kite-shaped citrines, the centers accented by 13 round and old European-cut diamonds, signed JC Cartier London.
Lot 281 – Pair of 18 Karat White Gold, Emerald and Diamond Earrings
Set with two emerald drops weighing approximately 27.25 carats, within surrounds set with numerous round and marquise-shaped diamonds weighing approximately 7.40 carats.
Lot 265 – Platinum, 18 Karat Gold, Diamond and Colored Stone Pendant-Brooch, Attributed to Harry Winston, Circa 1968
Designed as a Maltese cross set with four oval-shaped sapphires, four cushion-cut rubies and nine oval and pear-shaped emeralds, accented by numerous round, pear and marquise-shaped diamonds weighing approximately 16.40 carats,unsigned; fitted with pendant loop, the 18 karat gold frame is detachable. With box signed Harry Winston.
Lot 255 – 18 Karat White Gold, Sapphire and Diamond Ring, Sifen Chang
The stylized flower centered by an oval-shaped cabochon sapphire weighing 18.77 carats, the petals set with 24 rose-cut white sapphires weighing 6.55 carats and 60 round diamonds weighing 1.20 carats, size 6¼, with Chinese characters for Sifen Chang. With signed box.
Lot 210 – Platinum, Ruby and Diamond Ring, Van Cleef & Arpels
Of floral design, centered by an oval-shaped ruby weighing 4.09 carats, accented by 12 marquise-shaped rubies weighing 2.50 carats and numerous round diamonds weighing 3.40 carats, size 6½, signed Van Cleef & Arpels, numbered N.Y. 1858 S.O. With signed box.
Lot 188 – 18 Karat Gold Necklace, France, circa 1870
Of foliate design with articulated leaves which graduate in size, each leaf suspended from gold beads or coils, gross weight approximately 31 dwts, length 16 inches, with French assay and partial maker’s marks. With signed and fitted presentation box signed Boucheron.
A similarly styled necklace and presentation box are a part of the Hull Grundy gift to the British Museum, illustrated in The Art of the Jeweler, Hugh Tait, ed., Plate 982.
Necklaces of similar design by Eugène Fontenay are illustrated in French Jewelry of the Nineteenth Century, Henri Vever, page 639.
Acquired by the Louvre in 1861, the famed archaeological collection of Giampietro Campana provided inspiration to countless jewelers in the late 19th century, including the Parisian jeweler Eugène Fontenay. By the 1870s, Fontenay had become celebrated for his intricate gold necklaces, particularly with leaf motifs similar to the above offered lot. During this time, Fontenay created many pieces for Boucheron to be sold in their boutique in the Palais Royal.
Lot 186 – 18 Karat Gold and Enamel Orchid Brooch, Tiffany & Co.
The three-dimensional flower realistically modeled as a cymbidium variety of orchid, the petals enamelled in white with lavender accents and veining, the center heightened by orange enamel, signed Tiffany & Co.
Lot 184 – Archaeological-Revival Gold and Carnelian Scarab Bracelet, Circa 1860
The articulated bracelet set with seven carved carnelian scarabs, the reverse of each engraved in the a globolo style featuring figures and scenes from ancient Greek and Etruscan mythology, each scarab held within wirework and filigree bezels, spaced by batons accented by gold wire, length 7 inches.
Lot 175 – 18 Karat White Gold, Diamond and Emerald Snake Bangle-Bracelet, Boucheron
The coiled snake with an articulated tongue set with numerous round diamonds weighing approximately 30.00 carats, the eyes set with two kite-shaped emeralds,internal circumference approximately 7½ inches, signed Boucheron, numbered PO6218. With signed box.
Lot 155 – 18 Karat Gold, Diamond and Sapphire Brooch, La Cloche, Circa 1950
Of floral design, set with 13 round sapphires weighing approximately 1.30 carats and numerous round diamonds weighing approximately 11.80 carats, signed La Cloche, Paris, with French assay and workshop marks.
Lot 102 – Pair of Platinum, Diamond and Colored Stone Earclips
The stylized floral bouquets set with numerous round ruby, sapphire and emerald beads, accented by numerous round diamonds weighing approximately 15.00 carats.
Lot 67 – Platinum, Emerald Bead, Diamond and Emerald Bracelet, Lacloche Frères, France, Circa 1930
Composed of three strands of emerald beads, accented at intervals by geometric motifs set with numerous baguette, old European and single-cut diamonds weighing approximately 2.00 carats, further set with two square emerald-cut emeralds, length 7 inches, signed Lacloche Frères.
Lot 64 – Platinum, Coral, Onyx, Diamond and Pearl Bracelet, France, Circa 1925
The three barrel-form coral segments accented by cabochon onyx studs and onyx rondelles, spaced by seven pearls measuring approximately 3.1 mm and openwork S-shaped links, set throughout with numerous old European and single-cut diamonds weighing approximately 4.60 carats, length 7 inches, with French assay marks.
With its playful combination of onyx-studded coral and scrolling diamond-set links, the present bracelet is strikingly reminiscent of a number of Cartier’s more avant gardedesigns from the 1920s. The placement of cabochons composed of one gemstone into a ground formed from another—a fanciful choice even by today’s standards—was to become one of the firm’s favorite decorative conceits. The S-form motifs, also frequently employed by Cartier, provide a pleasingly curvilinear foil to the highly geometricized forms then so favored within the decorative arts. This bracelet, while bearing no apparent signature, presents an artistry and skill in-keeping with the work of a master jeweler of the Art Deco period.
For similar motifs employed by Cartier please see Hans Nadelhoffer, Cartier: Jewelers Extraordinary, p. 195 and pl. 27 and 31; in addition, you may view Judy Rudoe, Cartier: 1900-1930, p. 233.
Lot 251 – Pair of 18 Karat White Gold and Diamond ‘Guggenheim’ Earclips, Van Cleef & Arpels, New York, 1998
The spiralled earclips set with numerous round diamonds weighing 6.15 carats and numerous square-cut diamonds weighing 5.53 carats, signed VCA, numbered N.Y. 64015, with French workshop and assay marks. With signed box and pouch.
Lot 191 – Pair of 18 Karat Gold and Jadeite Pendant-Earrings, Tiffany & Co., Designed by Louis Comfort Tiffany, Circa 1920
Set with two carved and pierced jadeite pendants depicting melons amongst foliage, topped by two round jadeite cabochons, signed Tiffany & Co.
Louis Comfort Tiffany (1848-1933) was the consummate artist and a man of many talents who was undoubtedly the leading force in American decorative arts during his lifetime. The son of Charles Tiffany, the company’s founder, he was an artistic youth who began his career as a painter, a talent that gave him a sound foundation for his later ventures into interior design, the decorative arts and eventually jewelry.
Unlike many of his contemporaries, Louis Comfort Tiffany was little interested in the traditional diamond and pearl jewelry that was popular during the turn of the century. Looking for new paths to forge, he chose to create jewels that were exciting and new, valuable for their design and workmanship rather than their intrinsic value. An enthusiastic world traveller, he was excited and inspired by other cultures as can be seen in creations such as the carved jadeite earrings offered here. Additional jewels by Louis Comfort Tiffany that include Chinese carved jades are illustrated in Louis Comfort Tiffany at Tiffany & Co., by John Loring, page 88.
Lot 97 – Pair of 18 Karat Gold, Diamond and Onyx Earclips, Carvin French
The paisley-shaped earclips centered by two round diamonds, framed by black onyx, further accented by numerous round diamonds, the diamonds weighing a total of approximately 10.00 carats, with maker’s marks.
Lot 84 – Pair of Platinum and Diamond ‘Hawaiian’ Earclips, Van Cleef & Arpels, France
Of floral design set with numerous round diamonds weighing approximately 11.80 carats, signed Van Cleef & Arpels, numbered BL 22181, with French maker’s marks;pendants detachable. With signed box and pouch.
Lot 414 – 18 Karat Gold, Platinum, Diamond, Colored Stone and Enamel Bangle-Bracelet, David Webb
Designed as a fish applied with white enamel, set with two cabochon emerald eyes, the tail set with five round emeralds, the eyes, lips and crown set with numerous round diamonds weighing approximately 2.20 carats, the crown further accented by a floret centered by a cabochon ruby, gross weight approximately 64 dwts, internal circumference 6¼ inches, signed David Webb. With signed pouch.
Lot 391 – Pair of 18 Karat Two-Color Gold, Emerald and Diamond Earrings, Buccellati
The stylized mesh leaves centered by clusters of six cabochon emeralds weighing approximately 6.25 carats, the openwork border surrounds set with numerous round diamonds weighing approximately 2.25 carats, signed Buccellati, Italy. With signed box.
Lot 258 – Pair of Platinum, Multi-Colored Sapphire and Diamond Pendant-Earrings, Fred Leighton
The chandelier-style earrings set with 36 heart-shaped multi-colored sapphires, 16 round rose-cut diamonds and 6 pear-shaped rose-cut diamonds, accented throughout by numerous small round diamonds weighing approximately 7.50 carats, signed FL, four small round diamonds missing.
Lot 246 – Platinum, Pink Sapphire and Diamond Ring, Circa 1935
The fan-shaped motif set with five cushion and oval-shaped pink sapphires weighing approximately 7.20 carats, accented by numerous old European, single-cut and baguette diamonds weighing approximately 1.50 carats, size 5½.
Lot 229 – Pair of 18 Karat Gold and Ruby ‘Fish Scale’ Earclips, René Boivin, Circa 1967
The overlapping gold scales set with numerous round and oval-shaped rubies,unsigned, with French assay marks and workshop marks for Davière.
Lot 198 – 18 Karat White Gold, Lapis Lazuli and Chalcedony ‘Cluster’ Brooch, Designed by Suzanne Belperron, 1970-1974
Set with three oval cabochons of lapis lazuli and two oval chalcedony cabochons,with French assay marks and maker’s marks for Societé Darde et Companie.
Lot 177 – Pair of 18 Karat Two-Color Gold, Ruby, Diamond and Peridot Earclips, Michele della Valle
Designed as fanciful carnation flowerheads, one with pavé-set diamond petals, the other with pavé-set ruby petals, the stems set with buff-topped calibré-cut peridots, signed MdV. With signed and fitted box.
Lot 103 – Platinum, Gold, Jade, Ruby, Sapphire and Diamond Jabot Pin, Mauboussin, Circa 1920
The carved jade wreath adorned with cabochon rubies, cabochon sapphires and rose-cut diamonds, topped and surmounted by round, baguette, and single-cut diamonds, the bar pin accented by carved ruby and emerald terminals, signed Mauboussin, France, with French assay and workshop marks.
Lot 63 – 18 Karat Gold, Enamel, Jadeite, Sapphire and Diamond Vanity Case, Cartier, Paris, Circa 1925
Centered by a navette-shaped carved and pierced jadeite plaque of foliate design, within a surround set with sugarloaf cabochon sapphires, rose-cut diamonds and black enamelwork, the frame and edges applied with black and navy blue enamel in geometric motifs, the interior fitted with a mirror, lipstick holder bearing the monogram ‘C.A.M.’ and two compartments engraved ‘34 East 36th Street, New York’ and ‘12 Grosvenor Sq., W.I.’, gross weight approximately 113 dwts, signed Cartier Paris, Londres, New York, with French assay marks.
Lot 43 – Gold, Natural Pearl, Diamond and Colored Stone Pin, Late 19th Century
Designed as a crown topped with nine natural pearls measuring approximately 6.8 to 6.3 mm, accented by numerous single, rose and old mine-cut diamonds weighing approximately 1.85 carats, further set with four oval-shaped rubies and three lozenge-shaped emeralds, one diamond missing.
Lot 29 – 18 Karat Gold, Platinum, Ruby, Sapphire and Diamond Pendant-Brooch, David Webb
Of floral design, centered by an oval cabochon ruby, accented throughout with numerous oval-shaped rubies and numerous oval-shaped sapphires, enhanced by numerous round diamonds weighing approximately 10.15 carats, signed Webb; fitted with a pendant hook.
Lot 232 – 18 Karat Gold, Ruby, Diamond and Enamel Clip-Brooch, Paul Flato, Circa 1938
Designed as a hand forming the letter ‘W’ in sign language, accented by red enamel fingernails, the cuff set with three round rubies and two round diamonds,unsigned.
Lot 231 – 18 Karat Gold, Ruby, Diamond and Enamel Clip-Brooch, Paul Flato, Circa 1938
Designed as a hand forming the letter ‘A’ in sign language, accented by red enamel fingernails, the cuff set with three round rubies and two round diamonds,unsigned.
Paul Flato’s ‘Deaf and Dumb’ collection of clip-brooches was created while the designer was based in New York City during the 1930s. The whimsical clips featuring manicured fingernails and jeweled cuffs are a reflection of Flato’s personal struggle with the deterioration of his own sense of hearing. Forming the letters of the sign language alphabet, these clip-brooches offered clients an amusing alternative to wearing traditionally mongrammed pieces. Although Flato’s fascination with language can also be seen in his ‘say-it-in-jewels’ pieces, the designer’s stylish and playful designs speak loudly for themselves.
Lot 44 – 18 Karat Gold, Silver, Plique-a-jour enamel, Citrine and Diamond ‘Poppy’ Brooch
The naturalistic poppy flower centered by an oval-shaped citrine, framed withinplique-a-jour enamel petals of yellow and green hue, the winding stem accented by an oval-shaped citrine, set throughout with numerous single-cut diamonds weighing approximately 3.70 carats. With box.
Lot 435 – 18 Karat White Gold and Diamond Pendant-Brooch, Andrew Grima, Circa 1965
The stylized brooch set with numerous round and single-cut diamonds weighing approximately 8.75 carats, signed Grima; fitted with pendant loop.
Lot 399 – Pair of 18 Karat Gold, Sapphire, Emerald and Diamond Pendant-Earclips, Giovane, Italy
The multi-strand tassels composed of sapphire beads graduating in size, gathered at the centers by florets, accented throughout by ten oval cabochon emeralds and numerous round diamonds weighing approximately 3.50 carats,signed Giovane, Italy, with Italian registry marks; tassels detachable, fitted with retractable posts.
Lot 58 – Pair of Art Deco Platinum, Carved Jade and Diamond Clip-Brooches, Boucheron, Circa 1925
Set with two triangle-shaped jade plaques carved and pierced with floral motifs, surmounted by numerous round, baguette and square-cut diamonds weighing approximately 1.10 carats, signed Boucheron. With fitted and signed box.
Lot 425 – Pair of Platinum, Black Opal and Diamond Earclips, Retailed by Harry Winston, Circa 1950
Centered by two black opals measuring approximately 10.8 by 8.8 mm and 10.5 by 8.7 mm, within ribbon scroll surrounds set with numerous round diamonds weighing approximately 3.60 carats, signed Winston.
Lot 228 – Pair of 14 Karat Gold Earclips and Matching Brooch, Cartier, Circa 1960
The sculpted earclips projecting three dimensional gold rays, gross weight approximately 19 dwts, signed Cartier; the brooch of similar design, gross weight approximately 19 dwts, signed Cartier.
As October 4th marked the 55th anniversary of the launch of Sputnik 1, we recall the broad cultural influence of the Space Age. Although playful in nature, these ‘Sputnik’ creations by Cartier are one of many instances in which pop culture, art and design interpreted the tension caused by the launch of the Soviet satellite. Triggering the Space Race and playing a role in the greater Cold War, the impact of the Sputnik 1 launch can be seen in an expansive spectrum of cultural entities ranging from the premiere of The Jetsons in 1962 to works from artists such as Robert Rauschenberg from the same period. The Cartier ‘Sputnik’ designs illustrate the far-reaching influence of the Space Age, in addition to the more audacious jewelry designs which appeared in the 1960s.
Lot 59 – 18 Karat Gold, Abalone Pearl, Diamond, Enamel and Onyx Compact, Boucheron, Paris, Circa 1925
Centered by a plaque comprised of carved abalone, mother-of-pearl and hardstone depicting a fortress amidst mountainous terrain, framed by numerous rose-cut diamonds, fitted with an onyx thumbpiece and outlined in black and white enamel with green enamel applied at the corners, the interior fitted with two compartments, a liptstick holder and a mirror, measuring approximately 3 by 1½ by ¼ inches, signed Boucheron Paris, with French assay, workshop and maker’s marks.
Lot 57 – Platinum, Jadeite and Diamond Pendant-Brooch, Circa 1920
The carved and pierced jadeite tablet measuring approximately 40.5 by 25.6 by 2.2 mm depicting a bird amongst flowering vines, the frame set with numerous round and single-cut diamonds weighing approximately 2.75 carats.
Lot 3 – Pair of 18 Karat White Gold, Titanium, Enamel and Diamond Earrings, Michele della Valle
Designed as pine cones applied with brown enamel, enhanced and suspended by numerous round diamonds weighing 4.31 carats, signed MdV. With signed pouch.
Lot 234 – Pair of 18 Karat Two-Color Gold, Sapphire, Ruby and Diamond Earclips, Bulgari
Of cluster design, set with 14 ruby beads and 16 cabochon sapphires, set throughout with numerous round diamonds weighing approximately 2.35 carats, gross weight approximately 20 dwts, signed Bulgari. With signed and fitted box.
Lot 190 – Gold, Turquoise, Diamond and Garnet Snake Necklace, Circa 1860
The articulated snake set with numerous graduating turquoise cabochons, the head accented by one Dutch rose-cut diamond and two cabochon garnet eyes, the eyes highlighted by small rose-cut diamonds, the snake’s mouth is open to reveal sculpted gold fangs and serves as the clasp, length 15¼ inches, one turquoise missing. With fitted case signed Harvey & Gore.
Lot 212 – Platinum and Diamond Pendant-Necklace, Tiffany & Co.
Designed as a snowflake suspended on a delicate chain, set with numerous round diamonds weighing approximately 2.50 carats, the snowflake enhanced by 24 pear-shaped diamonds weighing approximately 3.50 carats, length 16¼ inches, the pendant and clasp signed Tiffany & Co.; the pendant may also be worn as a brooch.
Lot 34 – 18 Karat Gold, Turquoise, Diamond and Enamel Bracelet, David Webb
The articulated link bracelet set with eight carved turquoise sections, with alternating links applied with black enamel, set with numerous round diamonds weighing approximately .80 carat, length 7¾ inches, signed Webb.
Lot 30 – 18 Karat Gold and Enamel Bracelet, David Webb
The links applied with white enamel, spaced by textured gold segments and set at intervals with navette-shaped studs, gross weight approximately 82 dwts, length 7¼ inches, signed David Webb and Webb.
Lot 185 – Etched and Enameled Glass Ring, René Lalique, circa 1920
Of bombé form, composed of crimson-hued glass etched and enameled with white flowers and stems, size 5¼, unsigned.
Lot 22 – 18 Karat Gold, Platinum, Enamel and Diamond Bracelet, David Webb
The articulated bracelet of harlequin inspiration, with alternating navette-shaped links applied with blue and green enamel, set at intervals with numerous round diamonds weighing approximately 1.30 carats, length approximately 7 inches, signed David Webb and Webb.
Lot 169 – Pair of 18 Karat Gold, Yellow Sapphire and Diamond Earclips
The button-shaped earclips accented by four flowerheads, set with four oval-shaped and numerous round yellow sapphires, further set with numerous round diamonds weighing approximately 1.00 carat.
Lot 56 – 18 Karat White and Blackened Gold, Sapphire and Aquamarine Brooch, Michele della Valle
The playful owl perched atop a branch, set with numerous round, pear-shaped and pear-shaped cabochon sapphires weighing 7.18 carats, accented by numerous round aquamarines weighing 4.18 carats, signed MdV. With signed pouch.
Lot 172 – Rose Gold, Colored Stone and Diamond Bracelet
The articulated strap featuring four panels of floral design, each centered by flowerheads set with numerous buff-topped rubies, accented by 12 carved sapphire leaves, the meandering vines set with numerous calibré-cut emeralds, within calibré-cut ruby surrounds, length 7 inches, eight stones missing.
Please be sure to check back after the sale as I update each lot with its realized sale price.
All photos, estimates and descriptions courtesy of Sotheby’s