Adam's Fine Jewellery 15 September 2020

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ADAM’S
Est.1887
FINE JEWELLERY & WATCHES
Auction Tuesday 15th September at 4pm

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Tuesday 15th
September 2020. Starting at 4pm

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AUCTION
Tuesday 15th September 2020 at 4pm
VENUE
Adam’s Salerooms,
26 St. Stephen’s Green,
Dublin
D02 X665
Ireland
SALE VIEWING DAYS SEPTEMBER 11th
- SEPTEMBER 15th
At Adam’s, 26 St. Stephen’s Green, Dublin, D02 X665

Friday 11th
September 10:00am - 5:00pm
Saturday 12th
September 1:00pm - 5:00pm
Sunday 13th
September 1:00pm - 5:00pm
Monday 14th
Tuesday 15th
ADAM’S
Est.1887
26 St. Stephen’s Green
Dublin D02 X665
Tel +353 1 6760261
info@adams.ie
www.adams.ie
Private Viewing by appointment only
Note the auction starts at 4pm

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Tuesday 15th
CONTACTS
Brian Coyle FSCSI FRICS
CHAIRMAN
James O’Halloran BA FSCSI FRICS
MANAGING DIRECTOR
j.ohalloran@adams.ie
Stuart Cole MSCSI MRICS
DIRECTOR
s.cole@adams.ie
Amy McNamara BA
FINE ART DEPARTMENT
amymcnamara@adams.ie
Eamon O’Connor BA
DIRECTOR
e.oconnor@adams.ie
Adam Pearson BA
FINE ART DEPARTMENT
a.pearson@adams.ie
Helena Carlyle
FINE ART DEPARTMENT
h.carlyle@adams.ie
Niamh Corcoran
FINE ART DEPARTMENT
niamh@adams.ie
Nick Nicholson
CONSULTANT
n.nicholson@adams.ie
Nicholas Gore Grimes
ASSOCIATE DIRECTOR
nicholas@adams.ie
Ronan Flanagan
FINE ART DEPARTMENT
r.flanagan@adams.ie
Cassandre Domeneghetti, G.G
JEWELLERY DEPARTMENT

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IMPORTANT INFORMATION FOR PURCHASERS
1. ESTIMATES AND RESERVES
These are shown below each lot in this sale.All amounts shown are in Euro. The figures shown are provided merely as a guide to prospective purchas-
ers.They are approximate prices which are expected, are not definitive and are subject to revision. Reserves, if any, will not be any higher than the
lower estimate.
2. PADDLE BIDDING
All intending purchasers must register for a paddle number before the auction. Please allow time for registration. Potential purchasers are recom-
mended to register on viewing days.
3. PAYMENT, DELIVERY AND PURCHASERS PREMIUM
Wednesday 16th September 2020. Under no circumstances will delivery of purchases be given whilst the auction is in progress. All purchases must be
paid for and removed from the premises not later thanThursday 17th September 2020 at the purchaser’s risk and expense.After this time all uncollect-
ed lots will be removed to commercial storage and additional charges will apply.
Auctioneers commission on purchases is charged at the rate of 20.325% (exclusive ofVAT). Terms: Strictly cash, bankers draft or cheque drawn on an
Irish bank. Cheques will take a minimum of five workings days to clear the bank, unless they have been vouched to our satisfaction prior to the sale, or
you have a previous cheque payment history withAdam’s. Purchasers wishing to pay by credit card (Visa & MasterCard) may do so, however, it should
be noted that payments via American Express will be subject to an administrative fee of 3.65% on the invoice total. Debit cards including laser card
payments are not subject to a surcharge, there are however daily limits on Laser card payments. BankTransfer details on request. Please ensure all bank
charges are paid in addition to the invoice total, in order to avoid delays in the release of items.
Goods will only be released upon clearance through the bank of all monies due.
4. VAT REGULATIONS
All lots are sold within the auctioneersVAT margin scheme. Revenue Regulations require that the buyers premium must be invoiced at a rate which is
inclusive ofVAT. This is not recoverable by anyVAT registered buyer.
5. It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot.Whilst we make certain observations on the lot, which
are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance only and should be evaluated by
personal inspection by the bidder or a knowledgeable representative.The absence of such a reference does not imply that an item is free from defects or
restoration, nor does a reference to particular defects imply the absence of any others.The condition report is an expression of opinion only and must
not be treated as a statement of fact.
Please ensure that condition report requests are submitted before 12 noon on Tuesday 15th September as we cannot guarantee that they will be dealt
with after this time.
6. ABSENTEE BIDS
We are happy to execute absentee or written bids for bidders who are unable to attend and can arrange for bidding to be conducted by telephone.
However, these services are subject to special conditions (see conditions of sale in this catalogue). All arrangements for absentee and telephone bidding
must be made before 5pm on the day prior to sale. Cancellation of bids must be confirmed before this time and cannot be guaranteed after the auction
as commenced.
Bidding by telephone may be booked on lots with a minimum estimate of €500. Early booking is advisable as availability of lines cannot be guaranteed.
7. ALL LOTS ARE BEING SOLD UNDER THE CONDITIONS OF SALE AS PRINTED IN THIS CATALOGUE AND ON
DISPLAY IN THE SALEROOMS.

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Tuesday 15th

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Claire-Laurence Mestrallet BA, GIA G.G
ASSOCIATE DIRECTOR
HEAD OF JEWELLERY & WATCHES
claire@adams.ie
©PhotoCredit:Doreenkilfeather
Note the auction starts at 4pm

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Tuesday 15th

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Suzie Mc Adam founded her eponymous Interior design studio in 2010.
Her studio based in Monkstown, Co. Dublin is now established as one of Ireland’s leading interior design consultancies.
Suzie specialises in curated interior spaces which display a contemporary design vocabulary with classical references and has
been commended for creating eclectic design combinations that span different artistic periods which has given her work its
own cross genre and timeless aesthetic.
“My aim is to create elegant spaces with a minimalist hint and an accent on fine materials and true quality. I like to draw upon
multiple eras, nothing inspires me more than the patina of time.”
Suzie has recently launched a new concept store,The Design Seeker, showcasing both contemporary and vintage furniture,
lighting and textiles and offers a design led service by appointment.

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Lot 20: I have always been drawn to serpent prints in Interiors, and this necklace although 150 years old could have
equally been made in the last decade.The modernity of the shape and colour made it instantly appealing. I think worn
with a classic white shirt and jeans would be the chic combination.
Lot 49: Neptuntesque and oceanic Motifs are always a classic. I would wear this as a pendant initially, over a cotton or
linen summer dress. I particularly like the warmth of the yellow gold also.
Lot 59: Zoomorphic jewellery is something I collect, so this delicate design with Royal connections is one I would love
to add the if! What I love about brooches is the variety of options it can be worn, I think even pinned to a silk pattern
scarf or a lapel of coat would work well.
Lot 60: I am slightly obsessed with Jackie Kennedy, her style is legendary but it was the details that I always admired,
the silk scarf, the tortoise sunglasses and of course her jewels.The playfulness of the design appealed hugely to me.
Worn with a cashmere sweater or a jewel toned jacket for night time.
Lot 88: Diamonds rings aren’t just for engagements.(Although this would make a stunning option). 70s silhouettes are
one of my current favourites in both Interiors & fashion, so this elegant shape would make a striking accompaniment.
Through the eyes of Suzie Mc Adam...
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Lot 96:The star of the collection.The richness of the tone of Ruby’s and the exotic shape & style. I adored that the set came with the
matching earrings also. I think these worn with a cocktail dress for a special dinner and a ruby tone lipstick, to set them off to would
be perfection
Lot 123:The glamour and silhouette of this pair, were a true showstopper for me.The pendant shape, create a striking balance, I think
they would be the glamorous accompaniment to a high neck silk evening gown.
Lot 152:The narrative behind this piece, instantly connected with me, as I child I loved the fairytale of the frog prince, so I loved the
symbolism of the pearl and the delicate detail of the frog hands. I feel you could wear this piece in the daytime and evening, especially
with a pearl or diamond bracelet.
Lot 161:A true showstopper!The modernity of the lines, as well as the striking nature of the silhouette of the bracelet really stood out
to me. I love the idea of wearing this both day & night. It’s almost too special to hide away and it is extremely comfortable to wear and
secure.
Lot 214: The romanticism of the shape and also the cool blue tone of the aquamarine pulled at my heart strings. For someone who has
blue or green eyes, this would be spectacular. It could be worn causally also with a soft blue silk blouse and blazer.
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A LADY’S STAINLESS STEEL, GOLD AND DIAMOND-
SET DATEJUST CALENDAR BRACELET WATCH,
BY ROLEX, CIRCA 1990
29-Jewel Cal. 2135 automatic movement adjusted to temperature
and 5 positions, sunburst champagne dial with diamond-set hour
markers, black outer minute divisions with luminous dot five min-
ute markers, gilt baton hands and centre seconds, magnified date
aperture at 3, brushed and polished tonneau form case with screw
down back, gold fluted bezel, gold screw down crown fitted steel
and gold Jubilee link bracelet with signed folding clasp, serial no.
E7421**,model no.691**,case,dial and movement signed,with Rolex
box,4 spare links,case (including crown):2.7cm
€ 2,500 - 3,500
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AN AMETHYST ‘SWEET’ BROOCH, BY BULGARI,
CIRCA 2015
Designed as a sweet wrapper set with a central carved amethyst,
mounted in 18K gold,signed Bulgari,width 4.8cm
€ 600 - 800
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A FINE 18K GOLD MANUAL WIND ‘SANTOS
DUMONT’ WRISTWATCH, BY CARTIER
18-jewel Cal-430 manual movement, cream dial with black
painted Roman numerals, secret signature at 7, black oxidised
steel sword hands, sweep centre seconds, large polished square
gold case, snap on back held by 8 screws, faceted blue sapphire set
winding crown, fitted brown alligator Cartier strap with adjustable
folding clasp, water-resistant to 30metres, dial,case and movement
signed,mounted in 18K gold,Cartier maker’s mark,Swiss assay mark,
Model no.264*,serial no.36984***,with maker’s pouch,case 3.5cm
(large model)
€ 4,000 - 5,000
Accompanied with service papers from Cartier dated October 1st
2018.
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A PAIR OF SILVER PENDENT EARRINGS,
BY BUCCELLATI
Each designed as textured flowerheads, mounted in 925 silver,signed
Gianmaria Buccellati,Italian assay marks,length 8.4cm
€ 700 - 900
Gianmaria Buccellati carries on the family tradition today as an
internationally renowned silversmith. He has dedicated his life to
creating extraordinary objects and jewellery that exemplify fine
Italian craftsmanship. Buccellati invented a new method of working
in silver to capture fine detail like feathers, petals, hair, or different
types of skin, known as “lavorazione a pelo” or “hair-like work-
manship”. In 1979 Gianmaria Buccellati opens his flagship store
in Paris, on placeVendôme, confirming his status among the most
prestigious jewellers of the world.
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A DIAMOND KEY PENDANT BY TIFFANY & CO
Designed as a stylised key, the head highlighted with three bril-
liant-cut diamond accents encircling an openwork trefoil, mounted
in 18K gold,signedTiffany & Co.,English hallmarks,with maker’s case,
length (including bale):5.7cm
€ 700 - 900
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A STAINLESS STEEL AND GOLD AUTOMATIC
‘SANTOS’ BRACELET WATCH, BY CARTIER,
CIRCA 1990
Jewelled automatic movement, white dial with black Roman
numerals, black outer minute track, secret signature at 7, date
aperture at 3 blued steel sword hands with centre seconds, brushed
and polished case with movement accessed through the glass,
fixed gold octagonal bezel with 8 decorative screws, faceted blue
crown, fitted brushed stainless steel link bracelet with decorative
gold screws and single folding clasp, clasp,case,dial signed,case no.
2966071**,bracelet no.2059**,case width (including crown):3.2cm
€ 700 - 900

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In 1904, Louis Cartier designed a wristwatch which would come to define the modern timepiece. It was the wish
of his friendAlberto Santos Dumont that he would be able to tell the time while flying and so the first wristwatch
was born.The Santos Dumont ref. 2649 is of a highly elegant design which is powered by a slim and dynamic
manual winding caliber.The classic aesthetic of geometric shapes and exposed screws quickly became an icon of
the house.
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A PORCELAIN ‘CHANDRA’ BRACELET,
BY BULGARI, CIRCA 1995
The uniform series of white porcelain beads with stylised lotus
petal motifs, mounted in 18K gold,signed Bulgari,Italian assay mark,
length 22cm
€ 2,400 - 2,800
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A TOPAZ AND PORCELAIN ‘CHANDRA’ RING,
BY BULGARI, CIRCA 1995
Set with an oval-shaped cabochon blue topaz within collet-setting,
to a white porcelain ring with stylised lotus petal motifs, mounted
in 18K gold,signed Bulgari,Italian assay mark,with maker’s case,ring
size K
€ 700 - 900
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A DIAMOND ‘CADENAS’ WRISTWATCH, BY VAN CLEEF & ARPELS, CIRCA 2000
5-jewel quartz ETA-movement, the diamond-set dial within an oval bombé bezel pavé-set with brilliant-cut
diamonds throughout, to the twin snake-link bracelet, mounted in 18K gold,signed Van Cleef & Arpels,numbered,
maker’s mark,Swiss assay mark,serial no.1430**,with maker’s pouch,length approximately 16.5cm
€ 4,000 - 6,000
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A PAIR OF ‘SWEET ALHAMBRA’ MOTHER-OF-PEARL
EARSTUDS, BY VAN CLEEF AND ARPELS
Each butterfly mother-of-pearl plaque within a gold ropetwist
border, mounted in 18K gold,signed VCA,numbered,maker’s marks,Swiss
import mark,within maker’s pouch,length 8mm
€ 1,200 - 1,800
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A GOLD ‘B-ZERO’ RING, BY BULGARI
The 18K gold segmented four-band ring, both sides en-
graved‘Bvlgari’, numbered,Italian assay mark,Swiss import mark,
with maker’s pouch,ring size K
€ 500 - 700
Accompanied by its card of authenticity dated May 17th
2019, from Bulgari Monte-Carlo
With the Chandra collection which was first launched in 1994, Bulgari took their experimentations with materials a step further.The
luminous smoothness of white porcelain inspired Paolo Bulgari to combine this material with gemstones:“I wanted to create jewels that
were different, fun and transgressive”.The use of porcelain enhanced the tactile nature of the pieces, making them luminous in appearance
and smooth to the touch.The designs incorporated the typical round shapes favoured by the brand which were harmonious with the new
material. Moreover, when worn the porcelain beads produce a pleasing sound that made these creations more fun, unique and playful.
Van Cleef & Arpels were amongst the first designers who had the ingenuity to turn the watch into a
work of art.The famous model Agrafe was released in 1935 and then renamed Cadenas from 1938 onwards.
The original dial was angled, viewed from the side and visible only to its wearer in order to pay tribute to a
classical convention: a lady should only ever glance at her watch, so as not to offend the assembled company.
The straight lines of the Cadenas’s gold case echo 1930s industrial design, while a double snake-chain bracelet
extends into a rounded padlock-style clasp - hence the name,“cadenas”, which is French for‘padlock’.
When the Duchess ofWindsor fell in love with this watch, every other woman in their 30s followed suit.Yet
despite its success, it wasn’t until eighty years after its invention, in 2015, thatVan Cleef & Arpels returned to
the Cadenas’ ingenious design. Several subtle changes were introduced to the dial, the padlock clasp and the
stone settings, but the soft and supple double-snake chain bracelet still encircles the wrist like a second skin.
The Cadenas remains as much a piece of art as it is a functional timepiece whose design unlocked the codes of
watchmaking and jewellery.

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A DIAMOND ‘SPIGA’ RING, BY BULGARI
The sprung ring designed as a series of chevron-shaped links, the front
pavé-set with brilliant-cut diamonds at intervals, mounted in 18K gold,
signed Bvlgari,Italian assay mark,with maker’s case,ring size M (flexible)
€ 2,200 - 2,800
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A FINE 18K GOLD ‘SUBMARINER’ CALENDAR BRACELET WATCH, BY ROLEX, 2017
The 31-jewel Cal. 3135 automatic movement, adjusted to 5 positions and temperature, sunburst blue dial with applied
luminous filled gilt dot hour markers, outer minute divisions, magnified date aperture at 3, gilt Mercedes hands with
luminous inserts, centre seconds, case brushed and polished tonneau form, screw down back, uni-directional cali-
brated gold bezel with blue insert, fitted 18K gold Oyster bracelet with signed folding clasp stamped R4W, case,dial
and movement signed,serial no.7H66J8**,model no.116618**,Swiss assay mark,Rolex maker’s mark,with Rolex international
guarantee card (dated July 21st 2017),booklets and presentation case,case width 40mm
€ 18,000 - 22,000
The Rolex Submariner created history in 1953, becoming the first ever diving watch to resist water up to 330 feet
(100 meters).

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A LATE 19TH CENTURY DIAMOND AND
COLOURED DIAMOND BUTTERFLY BROOCH,
CIRCA 1880
The butterfly with wings of openwork design, set throughout with
old brilliant, cushion and rose-cut diamonds and coloured dia-
monds, the thorax similarly-set, to knifewire antennae and circular
red cabochon eyes, mounted in silver and gold,diamonds approximately
3.50cts total,with detachable brooch fitting to reverse,length 3.3cm,
width 5.7cm
€ 3,000 - 4,000
Please note that three coloured diamonds (random test on 3
stones) were verbally tested at GCS laboratory in London in Au-
gust 2020 and were confirmed to have no indications of treatment.
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A VICTORIAN ENAMEL, SEED PEARL AND GOLD
SUITE, CIRCA 1860
The hinged bangle set to the front with a lozenge plaque within a
beaded frame, to a central star motif inlaid, embellished with blue
enamel and a half seed pearl at the centre surrounded by engraved
floral detail, together with a brooch of Etruscan revival design, the
circlet brooch with applied beading and fine ropetwist detail and a
glazed locket compartment to the reverse, with a pair of pendent
earrings of similar style, earrings and brooch within their fitted case
by‘Hardy brothers,goldsmiths & jewellers,6 Hunter St.Sydney’,brooch
length 3.5cm,pendant earrings length 3.5cm,bangle inner diameter
5.5cm
€ 800 - 1,200
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A PAIR OF DIAMOND CLUSTER EARRINGS
Each formed as a daisy-shaped diamond cluster of old brilliant and
cushion-cut diamonds, on French wire fittings, mounted in gold,
diamonds approximately 6.00cts total,length 1.7cm
€ 5,000 - 6,000
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A VICTORIAN TURQUOISE BRACELET, CIRCA 1860
Of mesh-link belt design, the buckle set with circular cabochon
turquoises, suspending a charm‘stirrup’ set with further cabochon
turquoises, engraved on the reverse “W.P.S to M.V.J.P, 5th Feb. y.
1861”, mounted in gold,inner diameter approximately 6.1cm (adjustable)
€ 800 - 1,000
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A NATURAL PEARL NECKLACE
Composed of three rows of natural pearls, the cream tint pearls
measuring approximately 3.07-3.46mm, finishing with a gold
plaque clasp set with similar pearls, lengths approximately 35.2 to
36.5cm
€ 700 - 900
Please note that the three rows of pearls were verbally tested at
GCS laboratory in March 2020 and were found to be saltwater,
natural pearls
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A LATE 19TH CENTURY DIAMOND AIGRETTE
BROOCH, CIRCA 1880
Of stylised star and crescent motif, set throughout with old single
and rose-cut diamonds highlighted with seed pearls, to further
knifewire sprays embellished with similarly-cut diamonds and seed
pearls, mounted in silver and gold,length 5.8cm
€ 600 - 800
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Snake motifs are one of the earliest historical and culturally diverse mythological symbols, and figure prominently in jewellery.These in-
triguing creatures make for alluring pieces of jewellery inspired by serpents through the ages, from the fall of Adam and Eve in the Garden
of Eden to the Gods of ancient mythology.
They represent a host of meanings in different countries and civilisations.To the pharaohs of Egypt, snakes represented royalty and deity
and they wore them as sacred pendants around their necks.The Romans had different interpretations ranging from everlasting love to a
symbol of wisdom.The Greeks also looked toward the serpent as representing this quality, and Aesculapius, their god of medicine, was al-
ways depicted with a snake wrapped around his staff - a motif that continues to remain the symbol of the medical profession.While for the
Hindus, Hebrews and NativeAmericans the creature is endowed with various meanings within the cycle of the human life, ranging from
rebirth, transformations, sexuality and desire.
As it quite common with members of royal families, particular fashions adopted by specific individuals can lead to them becoming an iconic
symbol of the period. In 1839, QueenVictoria did just that for the snake motif in jewellery. On her engagement to PrinceAlbert she was
presented with a ring formed as continuous snake, signifying their everlasting love. It was set with an emerald, her birthstone, centered in
its head. QueenVictoria’s ring set a trend throughout England, and eventually across Europe, for a range of snake rings, coil-style flexible
necklaces and bracelets with gem-set heads, as well snake brooches, cuffs, bangles, and wonderfully designed earrings that featured a snake
slinking around a gemstone.
Colour is of particular importance in jewellery designs which are inspired by animal motifs as they add life and character to the piece.
Turquoise was plentiful during the 19th century and among the most fashionable gems for everyday wear.Victorian jewellers used round
turquoise cabochons to represent the scales of their snaky creations.The stone’s popularity, in fact, inspiredTiffany & Co. founder, Charles
LewisTiffany, to choose its colour for the cover the first Blue Book, a catalogue of the house’s jewels, in 1845; today, the colour is referred
to simply as:Tiffany Blue.
TheArt Nouveau period favoured naturalistic and animal/insect motifs and the snake continued to be an inspiration in jewellery designs. In
the 20th century houses such as Cartier, Bulgari and Boucheron, adopted the serpent but translated it into their own aesthetics and style.
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A RARE TURQUOISE, DIAMOND AND GARNET SERPENT NECKLACE,
CIRCA 1865
Of uroboros form, the highly flexible body set with graduated circular cabochon turquoises
within collet-setting, the eyes set with similarly-cut cabochon garnets embellished by rose-cut
diamond accents, within fitted case by‘Payne & Sons,jewellers & Goldsmiths,in ordinary to the Queen.
The Queen Dowager,H.R.H.The Prince Albert & Royal family.21,Old Bond Street.Bath.’,length 41cm
€ 3,000 - 4,000

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AN AMETHYST FRINGE NECKLACE
The frontispiece set with circular-cut amethysts supporting a fringe of
pear-shaped amethysts below, with beading detail throughout, to an 18K gold
Venetian-link chain,length 39.5cm
€ 1,000 - 1,500

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A FINE LATE 19TH CENTURY ‘EN TREMBLANT’ DIAMOND
BROOCH, CIRCA 1880
The central flower mounted‘en tremblant’, set with old brilliant, cushion and
single-cut diamonds throughout the petals, pistils and stems, within open-back
setting, mounted in silver and gold,diamonds approximately 10-11cts total,detachable
brooch pin on the reverse,length 6.7cm
€ 10,000 - 15,000
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AN EDWARDIAN DIAMOND DRESS RING, CIRCA 1900
Composed of a marquise-shaped plaque set with graduated old brilliant and
single-cut diamonds, mounted in 18K gold,diamonds approximately 2.50cts, ring
size O½
€ 1,200 - 1,800
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A DIAMOND CRESCENT BROOCH
Set throughout with brilliant-cut diamonds, mounted in silver and gold,diamonds
approximately 1.60ct total,length 5.3cm
€ 1,000 - 1,500

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AN EARLY 20TH CENTURY MOONSTONE AND
DIAMOND NECKLACE, CIRCA 1905
The graduated fringe of circular-cut cabochon moonstones of
orange tint, each within delicate wirework scroll surround,
highlighted with European-cut diamonds, within collet-setting
throughout, mounted in gold,suspending from a later cable-link chain,
necklace length 43.5cm,frontispiece fringe length 6.2cm
€ 2,000 - 2,500
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AN EARLY 20TH CENTURY DIAMOND SINGLE-
STONE RING
The old cushion-shaped diamond weighing approximately 1.60ct
within a multiple-claw setting, to single-cut diamond shoulders,
ring size M
€ 1,500 - 2,000
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AN EARLY 20TH CENTURY DIAMOND AND
EMERALD BROOCH
The pierced rectangular plaque centrally set with an old bril-
liant-cut diamond weighing approximately 0.35ct, within a
surround of rose-cut diamonds accented by calibré-cut emeralds,
with millegrain borders throughout, dimensions 3.1 x 1 cm
€ 600 - 800
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A BELLE EPOQUE SAPPHIRE AND DIAMOND
RING, CIRCA 1910
The oval mixed-cut sapphire weighing approximately 3.50cts,
within a pavé-set of single and rose-cut diamond surround and
ornate openwork mount within millgrain setting, mounted in
platinum,ring size L¾
€ 5,000 - 6,000
Accompanied by a report from IGN laboratory in Rome, stating
that the sapphire weighing approximately 3.50cts is natural, of
Sri Lankan origin, with no indications of thermal treatment.
Report number 27040, dated March 5th 2019
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A RUBY AND DIAMOND CLIP BROOCH,
CIRCA 1880
Designed as a fruiting vine, the branch set with European-cut
diamonds throughout, centring engraved ruby cabochons grapes
highlighted with single-cut diamond accents, mounted in gold,
length 4.8cm
€ 1,200 - 1,800
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AN EARLY 20TH CENTURY DIAMOND BROOCH,
CIRCA 1910
The pierced bow millegrain-set throughout with old single and
rose-cut diamonds, width 3.9cm
€ 700 - 900
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A PAIR OF EARLY 20TH CENTURY SAPPHIRE AND DIAMOND PENDENT EARRINGS, CIRCA 1920
Each old cushion-shaped diamond surmount, suspending an openwork tapering drop, pierced and millegrain-set with two
graduated cushion-shaped sapphires within a surround of old brilliant and single-cut diamonds, terminating with a tassel of
similarly-cut diamonds, sapphires weighing respectively and approximately 2.20cts,2.20cts,5.90cts and 6.50cts,diamonds approximately
6.50cts total,within fitted case by‘P.G.Dodd & son.4-2 Cornhill,London’,length 7.6cm
€ 8,000 - 12,000
Please note that the four sapphires were verbally tested at GCS laboratory in London on November 2019.Three were found to
be of Basaltic origin, one of Sri Lankan origin and the four sapphires were confirmed to have no indications of heating.

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AN ART DECO DIAMOND BROOCH, CIRCA 1930
Of openwork geometric design set with old European and single-cut diamonds through-
out, diamonds approximately 9.00cts total,with safety chain,width 7cm
€ 3,500 - 4,500
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A LADY’S ART DECO DIAMOND COCKTAIL WATCH, CIRCA 1930
Of manual wind movement, the tonneau cream dial with Arabic chapters, outer min-
utes track and blued steel spade hands, secured with snap on back, set throughout with
European and single-cut diamonds, the bracelet geometrically similarly-set, diamonds
weighing approximately 4.50cts total,length 16.7cm
€ 800 - 1,200
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A DIAMOND SPRAY BROOCH, CIRCA 1955
The openwork brooch designed as a leaf interlaced by scrolling foliate detail, set
throughout with brilliant and single-cut diamonds, mounted in 18K gold and platinum,
diamonds approximately 2.00cts total,French assay marks,maker’s mark,length 6.5cm
€ 1,000 - 1,500

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35
AN EARLY 20TH CENTURY SAPPHIRE AND DIAMOND RING
The cushion-shaped sapphire weighing approximately 11.00cts, millegrain-framed by transitional-cut diamonds and between
similarly-cut diamond shoulders, diamonds approximately 0.90ct total,ring size K½
€ 18,000 - 22,000
Accompanied by a report from GRS laboratory in Switzerland stating that the sapphire is of Sri Lankan origin, with no indi-
cations of heating. Report number GRS2019-069195, dated June 20th 2019.
36
A CULTURED PEARL NECKLACE WITH AN ART DECO GEM-SET CLASP, BY LACLOCHE FRÈRES
Comprising seven strands of cultured and seed pearls, measuring approximately 2.77 to 2.83, completed with an art deco
element set with rock crystal, single-cut diamonds and green stones, mounted in platinum,signed Lacloche Frères,French assay
mark,length approximately 115cm
€ 1,200 - 1,800

32
Tuesday 15th
38
A GEM-SET AND DIAMOND CHARM BRACELET
The fancy-link platinum chain suspending eleven charms set with diamonds, rubies and sapphires depicting a horse,
a golf club, an umbrella, a star, a church etc., within millegrain setting throughout, length 19.5cm
€ 3,500 - 4,000
37
A CULTURED PEARL NECKLACE WITH DIAMOND CLASP
Composed of three rows of graduated cultured pearls of cream tint, measuring approximately 4.19 - 8.60mm, to a
pierced oval clasp set with old brilliant and single-cut diamonds, diamonds approximately 0.70ct total,length of shortest
row 44.4cm,length of longest row 52.5cm
€ 800 - 1,200

33
39
A FINELY MADE EARLY 20TH CENTURY SAPPHIRE AND DIAMOND BRACELET, CIRCA 1925
The articulated bracelet set with a central line of old European-cut diamonds between a border of French-cut sapphires
within millegrain setting throughout, mounted in platinum,diamonds approximately 5.50cts total,French assay marks,numbered,
within leather case,length 19.2cm
€ 10,000 - 15,000

34
Tuesday 15th
40
A RETRO GOLD BRACELET, CIRCA 1940
Composed of a continuous line of fluted fan-shaped links at the
centre between S-link scrolled borders, in 18K gold,maker’s mark
‘F or E,D’,possibly French import marks,length 19cm
€ 3,000 - 4,000
41
A LADY’S RETRO MANUAL WIND BRACELET
WATCH, BY UNIVERSAL, CIRCA 1940
The Cal. 244 manual wind movement, champagne dial with ap-
plied gilt dot hour markers and Arabic quarters, gilt feuille hands,
polished gold case with snap on back, fitted 18K gold fancy-link
bracelet, case no.1601**,Swiss assay mark,case width (including crown):
1.6cm,length 16.6cm
€ 800 - 1,000
42
A RETRO GEM-SET COCKTAIL RING, CIRCA 1945
Claw-set with a step-cut citrine measuring approximately 25.17
x 18.89 x 13.24mm, between tapering shoulders of square-cut
rubies and brilliant-cut diamonds, mounted in 14K rose gold,size J
€ 1,300 - 1,700
43
A RETRO CITRINE BRACELET, BY TIFFANY & CO.,
CIRCA 1950
Each rectangular-cut citrine interspersed by a cable-link
chain, mounted in 14K gold,signedTiffany & Co.,length 18cm
€ 2,000 - 3,000
44
A RARE RETRO RUBY AND DIAMOND LAPEL
WATCH BROOCH, CIRCA 1945
The stylised flower within a polished and brushed gold vase,
with gold petals set with a circular-cut ruby pistil within col-
let-setting, the leaves embellished with brilliant and single-cut
diamonds to a baguette-cut diamond stem, the vase with
calibré-cut ruby accents attached with a manual wind watch,
the black dial with gilt baton & square hour markers, with gilt
hands and snap on back, movement signed‘Swiss Made’,mounted in
gold,length 2.8cm,width 3.3cm
€ 2,000 - 3,000
Accompanied by a report from GCS laboratory in London,
stating that the principal ruby weighing approximately 1.10ct is
of Burmese (Myanmar) origin, with no indications of heating.
Report no. 79183-70, dated October 23rd 2018
45
A SAPPHIRE AND DIAMOND COCKTAIL RING,
BY BOUCHERON, CIRCA 1960
Of bombé design, the cushion-shaped sapphire centrally set within a
frame of European-cut diamonds, to an openwork crossover fluted
surround, mounted in 18K gold,signed Boucheron,French assay mark,ring
size K¼
€ 1,800 - 2,200
Accompanied by a report from C. Dunaigre laboratory in Switzer-
land stating that the sapphire weighing 0.80ct is of Cambodian ori-
gin, with no indications of heating. Report number CDC 1812067,
dated December 14th 2018

36
Tuesday 15th
46
A GOLD ‘FOGLIA’ BROOCH, BY BUCCELLATI
Designed as a delicate textured gold leaf, in 18K gold,signed
Buccellati,numbered,with maker’s case,length 4.1cm
€ 800 - 1,000
Accompanied with aValue Certificate from Buccellati in Milan,
stating $4,630, dated November 25th 2015.
47
A GOLD CHARM BRACELET
The curb-link bracelet chain suspending seven gold charms in-
cluding a handbag, a mouse, a Coca-Cola bottle etc., some charms
embellished with paste coloured stones, green chalcedony and
circular-cut sapphires, bracelet chain in 18K gold,length 18.5cm
€ 1,000 - 1,500

37
48
A GOLD AND RUBY SERPENT BRACELET, CIRCA
1960
Designed as a flexible stylised swirling snake, the body decorat-
ed with openwork gold scales and the eyes set with circular-cut
rubies, mounted in 18K gold,maker’s mark‘FOAC’,inner diameter
approximately 5.4cm (adjustable)
€ 800 - 1,000
49
A SAPPHIRE, DIAMOND AND GOLD BROOCH/
PENDANT, BY BULGARI, CIRCA 1950
Designed as a tridacna shell, embellished with a central spheri-
cal sapphire highlighted with brilliant and single-cut diamonds,
mounted in 18K gold,signed Bvlgari,width 4.2cm
€ 2,000 - 3,000

38
Tuesday 15th
50
A DIAMOND BROOCH, CIRCA 1960
The stylised openwork spray with lace detail, embellished with brilliant and single-cut
diamonds, diamonds approximately 2.80cts total,length 5.7cm
€ 1,500 - 2,000
51
A GOLD BRACELET, BY UNOAERRE, AREZZO, CIRCA 1950
Composed of a large flexible mesh-link bracelet with reeded tonneau clasp, mounted in 18K
gold,maker’s mark‘Uno.AR’&‘1.AR’,French import mark,length 20.2cm
€ 1,500 - 2,000
A similar bracelet displayed at the Uno a Erre Museum is illustrated in‘Italian Jewellery in
the 20th century’, by Melissa Gabardi, page 202

39
54
A GEM-SET NOVELTY BROOCH
Realistically designed as a crawling spider, the engraved body accented with three star-set
circular-cut rubies, circular cabochon ruby or garnet for eyes, on a gold knifewire bar, mounted
in 18K gold,width 3.5cm
€ 300 - 500
53
A RUBY AND DIAMOND BRACELET
The articulated large bracelet composed of domed polished gold tubular links, both terminals
set with a line of synthetic square-cut rubies within channel-setting, the stylised buckle clasp
embellished with rose-cut diamond star-set, mounted in 14K gold,length 22.2cm
€ 7,000 - 8,000
52
A MID 20TH CENTURY BOW BROOCH, BY TIFFANY & CO., CIRCA 1950
Designed as a bicoloured stylised bow centring two brilliant-cut diamonds and square-cut
rubies, set in horizontal fashion, mounted in 14K gold,signedTiffany & Co.,width 7.3cm
€ 800 - 1000

40
Tuesday 15th
55
A DIAMOND NECKLACE, BY FÜRST, CIRCA 1945-50
Composed of graduated fan-shaped links decorated with foliate scrolling engravings throughout, each link accented
with old brilliant and cushion-shaped diamond highlights, mounted in gold,signed Fürst Roma,diamonds approximately
3.50cts total,central motif converts into a double pin brooch,necklace length 38.8cm,central motif length 5.8cm
€ 4,500 - 5,500
In 1830, Moric Fürst decided to move from Bratislava, Slovakia, toTurin, in Italy, and this marks the beginning of
the Fürst family empire. He opens his first atelier in the Subalpine Gallery and becomes supplier of the Savoyard
court. Between 1861 - 65,Turin became the capital, and as a result it could exert influence over the market for gold
and precious stones.
Of Moric’s nine children, five of them went on to become jewellers. Renzo Emanuele took over the business in
Turin in the centralVia Roma and of his five children, three of them, Maurizio, Renzito and Franco went on to open
shops in Rome, Genoa and Milan respectively.
From the post-war period the Fürst stores created objects for the most exclusive customers. In Rome, the boutique
viaVeneto which opened in 1960 was a true reference of the DolceVita, began representing HarryWinston, further
enhancing Maurizio’s esteemed reputation as a leader in important classic jewellery. Hollywood stars, noblewomen,
and wealthy ladies visited the boutique and bought unique objects with a refined Italian style. Maurizio also began
representing HarryWinston, further enhancing his esteemed reputation as a leader in important classic jewellery In
Milan, the atelier inVia Manzoni enchanted the world stars of La Scala theatre and the most refined ladies.
The production of the Fürst objects was entrusted to their own goldsmith workshops.After Maurizio’s death, his
family ran the boutique for a few years, but they eventually relocated toVenezuela, where they still own a boutique
today.

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Tuesday 15th
56
A CORAL AND GOLD CHARM NECKLACE, CIRCA 1960
The fancy-link chain with ropetwist detail suspending three graduated carved
coral corallium rubrum, interspersed by textured gold shells or mussels
charms, mounted in 18K gold,Italian assay marks,length 43.5cm
€ 2,500 - 3,000

43
57
A DIAMOND AND GOLD NECKLACE, CIRCA 1965
Designed as a flexible ribbon of woven tapered mesh, highlighted to the
front with two lines of graduated round brilliant and single-cut diamonds,
mounted in gold,maker’s mark‘AB’,length 42cm
€ 3,000 - 4,000
58
A NOVELTY BROOCH, BY CARTIER, CIRCA 1965
Designed as an openwork textured gold turtle, with cabochon red eyes, mounted in 18K
gold,signed Cartier Paris,maker’s mark for‘Cartier Société Anonyme’,numbered,French assay
marks,length 3.7cm
€ 1,500 - 2,000

44
Tuesday 15th
Van Cleef & Arpels were the first to recognise the importance of the establishment of a‘Boutique’ department to present a unique and
modern collection of affordable jewellery.These pieces were part of a limited edition series, produced to the highest quality in new and
innovative designs. In comparison to the haute joaillerie, the popularity of specific pieces led them to being made available for more than
one season.
Coinciding with the launch of the boutique in 1954 was the revival in the interest and appetite for charms. In comparison to previous
designs,Van Cleef & Arpels created larger charms in gold and gemstones.While they had always been a part of the House’s repertoire, the
production increased greatly throughout the 50s and 60s with a proliferation of new designs coming out annually.The inspiration for these
charms is vast and incredibly diverse, ranging from motifs of thatched cottages, sailing ships, and telephones to the infamous monuments
such as the EiffelTower or theVendome column.Amongst the favourites with the Houses’ clientele was the‘Zodiac’ charm first produced
in 1958. Equally admired were the numerous animal figurines.The collectible nature of charms made these small creatures the perfect
choice for the House to create different series. Iconic pieces emerged such as the Chat Malicieux lauched in 1954 and followed later by the
Lion Ebouriffe (startled lion).
Maison Péry was established in 1875 by Lucien Péry, whose elegant gold chains attracted the attention of the jewellers housed in the
placeVendome.The company was run by four generations of Pery’s, from Lucien’s sonAlbert, to his grandson Bernard who was the father
of the great Brigitte Pery who went on to manage the business for four decades.
Albert’s encounter with Monsieur Salière in the early 1900s proved to be seminal for Maison Pery’s development. Monsieur Salière was
working as a salesman in a department store, La Belle Jardinière, and amongst his clients were theArpels Brothers. He introducedAlbert
to the brothers and this led to a lifelong collaboration between the two.The first piece of jewellery produced by this new partnership, in
1925 was a flat knitted bracelet.This family connection extended further withAlbert beginning to work with Renee Puissant, daughter of
the founderAlfredVan Cleef and Esther Arpels.
Albert’s work at this time was prolific, producing new designs almost every week. However, when the SecondWorldWar broke out,Albert
was taken prisoner and the workshop was closed for six years. Once the conflict ended, the production started again slowly, increasing in
the 1950s with examples of highly important commissions such as the official sword given to Marshall June as a gift on his membership to
the FrenchAcademy in 1953.
The continued support ofVan Cleef & Arpels, particularly after theWar, was integral to the success of Maison Péry. Each generation of the
VCA has strengthened the links between the companies.With PierreArpels, the creation of smaller and more affordable pieces of jewellery
allowed Maison Pery to move into the emerging market of serial manufacturing.With the opening of the firstVCA shop‘La Boutique’ in
1954, Pierre understood the importance of making the brand more accessible to the general public and a younger clientele.
In the 20th century, the connection between the master jeweller and the designer was of the up-most importance, with the creation of sig-
nature pieces made to the highest quality by incredibly skilled individuals.The Péry workshops were behind some of the most iconic‘best-
sellers’ such as the Domino jewellery sets; the flexible curved ribbons of the‘couscous passementri’ and most notably the Ludo bracelet.
Maison Péry also worked exclusively onVCA’s couture collections, using highly complex techniques to realise the elaborate designs.
Amongst the most notable are the production of string chains and pompoms, and the infamous zipper, which has gone on to become a
classic of the house.
The third generation to take over the management of the company, Bernard Péry was alert to the potential risks of being too heavily reliant
on a single client. He began to make connections with other jewellery houses and started collaborations, first with Paolo Bulgari, which
lasted for two decades, followed by Boucheron, Mauboussin,Templier andTiffany. His daughter Brigitte was of similar business acumen
and when she took over, she continued to pursue this strategy.Amongst her collaborators were Graff, Dior, Fabergé and Mikimoto.
The development of the company was of paramount importance for Brigitte, to ensure Maison Péry remained relevant in the 21st century.
In 2008 she launched a large-scale training program for the workshops in order to promote innovation and modernise the production tech-
niques of the company.Adopting new design processes ensured versatility and allowed Maison Péry to compete on an international stage.
In 2011, she finally decided to sell her family’s company to the then President of the Richemont Group, Stanislas de Quercize.
The Boutique of Van Cleef & Arpels

45
59
A GEM-SET AND DIAMOND ‘NOVELTY’ CLIP BROOCH ‘LION ÉBOURIFFÉ’,
BY VAN CLEEF & ARPELS, CIRCA 1962
In the form of a lion, the eyes set with circular-cut emeralds, the muzzle with brilliant-cut dia-
monds and the nose applied with black enamel, mounted in 18K gold and platinum,signed Van Cleef
& Arpels,numbered,maker’s mark for‘Péry & Fils’,French assay marks,length 4.6cm
€ 3,000 - 5,000
60
A GEM-SET ‘EPOUVANTAIL’ PENDANT/BROOCH, BY VAN CLEEF & ARPELS,
CIRCA 1965
Modelled as a scarecrow draped with textured gold clothing and hat, accented by a brilliant-cut
diamond buttons, with sapphire and ruby cabochon highlights and green chalcedony head,
mounted in 18K gold,signed Van Cleef & Arpels,numbered,maker’s mark for‘Péry & Fils’,French assay
marks,length (excluding bale):5.6cm
Princess Grace Kelly was also very fond of La Boutique and collected many of the designs,
including the famous‘Lion Ebouriffé’ clip brooch.This playful collection which was created to
offer more accessible, more casual, young-at-heart jewels to a new democratic clientele, found
immense success amongst the French Riviera royalty and international figures such as Jacky Ken-
nedy Onassis.
Ref: Sylvie Raulet,Van Cleef & Arpels, NewYork 1987, pages 142-143
For an illustration of Grace Kelly’s similar lion clip clip brooch, a gift from Aristote Onassis:
ref: Evelyne Possémé,Van Cleef & Arpels, L’art de la Haute Joaillerie, Paris 2012, page 195
A similar‘Lion Ebouriffé’ clip was on view during theVan Cleef & Arpels exhibition at the
Musée de la Mode et du Costume, Palais Galliera in Paris, in 1992. No. 192 in the catalogue,
page 150
Jackie Kennedy Onassis purchased a scarecrow brooch of same design byVan Cleef & Arpels,
which she was seen wearing on several occasions. In 1996, Sotheby’s NewYork held‘The Estate
of Jacqueline Kennedy Onassis’ auction where the brooch was included (lot 384) and sold for
$101,500.TheVan Cleef & Arpels collection alone formed a large collection of the sale.

46
Tuesday 15th
61
A GEM-SET NOVELTY BROOCH, CIRCA 1960
Designed as a turtle, the circular mixed-cut amethyst shell, the
head and feet embellished with circular-cut cabochon turquoises
and cabochon rubies for eyes, mounted in 18K gold,French import
mark,length 4cm
€ 1,000 - 1,500
62
A GOLD RETRO BRACELET, CIRCA 1945
The highly articulated bracelet with 3D square-shaped links,
mounted in 18K gold,French assay marks,maker’s mark‘AG’,length
21.3cm
€ 1,500 - 2,000
Gross is a French workshop based in Paris which was founded
in 1860 byAugust Gross. Originally chain makers, they have
produced some work for Cartier amongst others.
63
A GEM-SET AND GOLD NOVELTY BROOCH,
CIRCA 1960
Modelled as a stylised dog, the eyes and nose set with circular-cut
rubies, the collar set with single-cut diamonds, with further circu-
lar-cut emerald accents, mounted in 18K gold,length 5.5cm
€ 1,200 - 1,800
64
A GEM-SET BRACELET
The articulated mesh-link bracelet highlighted with series of cir-
cular-cut diamonds, rubies and sapphires within collet-setting,
mounted in 18K gold,French import mark,length approximately 17cm,
with safety chain
€ 1,800 - 2,200
65
A RUBY AND DIAMOND FLOWER BROOCH, BY REGNER,
CIRCA 1960
Designed as a stylised flowerhead, the petals decorated with ropetwist detail through-
out, centring circular-cut ruby and diamond pistils, mounted in 18K gold,signed Régnier,
French assay mark,length 4.3cm
€ 800 - 1,000

48
Tuesday 15th
66
AN ELEGANT DIAMOND NECKLACE, CIRCA 1955
The draped frontispiece set with graduated brilliant-cut diamonds throughout, terminating with rect-
angular links, mounted in 18K gold,diamonds approximately 7.00cts total,French assay marks,maker’s mark‘SB’,
length approximately 38cm
€ 6,000 - 8,000
67
A GOLD AND DIAMOND SECRET BRACELET WATCH, BY VAN CLEEF & ARPELS,
CIRCA 1955
The articulated mesh-link bracelet with a central hinged shutter embellished by a round brilliant-cut
surround, opening to reveal a square champagne dial with Roman numerals, the 17-jewel manual move-
ment signed Blancpain, movement no.6104**,case signed Van Cleef & Arpels,numbered,mounted in 18K gold and
platinum,French assay marks,length 16.2cm
€ 3,500 - 4,500

50
Tuesday 15th
Francesca Cartier Brickell, author of‘The Cartiers’, shared her thoughts on coral and her fam-
ily;“When talking to me about the emergence of the Cartier style, my grandfather (Jean-Jacques
Cartier) talked not just of the innovative designs and the quality of the gems and craftsmanship
but also of the striking colour combinations. His Uncle Louis, he explained, had very strong ideas
about which colours to put together for maximum effect and the combinations he chose became
known as‘classic Cartier”.

52
Tuesday 15th
68
A VERY RARE & STRIKING CORAL, PEARL AND GOLD SAUTOIR NECKLACE, BY CARTIER,
CIRCA 1965-70
The hippie chic necklace composed of a series of large gold tubular and boules links with beading and filigree details and accented
with baroque pearls, the frontispiece highlighted with two marquise-shaped coral plaques suspending a large carved coral fish with-
in gold lace and with polished gold eyes, mounted in 18K gold,signed Cartier Paris,numbered,maker’s mark for‘Cartier Societé Anonyme’,
French assay mark,necklace length 57.5cm,pendant length (starting from the spherical link):13cm,fish length:7.5cm
€ 12,000 - 18,000
Accompanied by its written invoice from Cartier Munich, located on Briennerstraße 12, München, dated June 16th 1975
(Cartier Munich has since relocated on Maximilianstraße 20).
For similar examples of coral necklaces by Cartier from the early 1970s: ref: Francois Chaille, La Collection Cartier Joaillerie,
Volume 2, éditions Flammarion, pages 578-583
Since the 1970s, bold jewels were all on trend. Sautoirs became oversized, chunky and even more colourful.This Cartier neck-
lace has clearly been inspired by the “hippie chic” fashion trend of the late 1960s that carried over to the early 1970s. However,
while raw coral, polished but left in its natural, branch-like form was a hot accessory for hippies, jewellers, such as Cartier, carved
orangy-red pieces out of coral setting them with yellow gold and diamonds. Cartier’s love of coral, combined with their popular
animalier themes, is beautifully demonstrated in this fish coral and gold sautoir.
While there was a proliferation of different styles and shapes in jewellery since the 1960s, which seemed to defy a single trend, it
is undeniable that the work of goldsmiths was the most prevalent aesthetic. In this period, jewellers working with gold made a con-
certed effort to keep the techniques of past ages alive through the creation of specialised handmade pieces, often in limited edition
series.They combined the highly skilled and refined techniques with modern and innovative tastes.
Following the second world war, with the reconstruction of many aspects of society, as well as the advancements in technology
and mass production, it ensured the success, in particular of the gold jewellery designs.This coincided with the development of
women’s liberty and equality in the 1960s and 1970s. No longer solely dependent upon their husbands or family for monetary
protection, they expressed their new found freedom in many ways, including through their individual style and accessories.Wom-
en’s fashion of the 1970s, incorporated function and style, favouring more masculine interpretations of shape and cut.There was
freedom of choice, and for the first time there was a generation of women who purchased expensive jewels for themselves, rather
than receiving them as gifts.
The jewellery designs needed to reflect this social development with goldsmiths embracing inventiveness and innovation in their
creative process.The materials used had to be adapted to meet with these new aesthetic demands.The pieces made in gold were
highly decorated, some returning to the ancient technique of filigree as well as embracing the emerging bohemian clothing trend of
the 1970s with widespread production of longer chains and pendants.They could be worn in many different ways, no longer limited
to only the neck and wrists, but also around the waist or ankles.They were multifaceted in their design and purpose, moving away
from the traditional and often more limited interpretations of how jewellery should be worn and enjoyed by the owner.

54
Tuesday 15th
69
A LADY’S 18K GOLD AND DIAMOND-SET
BRACELET WATCH, BY BUCHERER, CIRCA 1965
17-jewel manual wind movement, silvered dial with applied
silvered baton hour markers, silvered hands, polished round
18K gold case with snap on back, diamond-set bezel, integral
18K gold mesh-link bracelet, case,dial and movement signed,case
no.928,ref.no.293*,bracelet and case stamped 18K gold,Swiss
assay mark,case width (including crown):2.9cm,length 18cm
€ 1,200 - 1,800
70
A GOLD NECKLACE, BY TIFFANY & CO.
Composed of a ropetwist chain necklace in 14K gold, signed
Tiffany & Co., French assay mark,length 39cm
€ 1,200 - 1,800
71
A GEM-SET BEE PENDANT/BROOCH
The abdomen set with an oval-shaped citrine within a rose-cut
diamond surround, the pierced articulated wings decorated
with similarly-cut diamonds throughout, accented with an
oval-shaped peridot thorax and circular ruby cabochon eyes,
length 3.2cm
€ 550 - 750
72
A GOLD BRACELET, CIRCA 1960
The highly articulated fancy-link bracelet, highlighted with
three rose gold baton-link lozenges, mounted in gold,length
17.8cm
€ 3,000 - 4,000
73
A DIAMOND & GOLD NOVELTY BROOCH,
CIRCA 1970
Modelled as a gold textured poodle with single-cut diamond
eyes, a blue enamel coat and red enamel tongue, sitting on
three graduated brilliant-cut diamonds, mounted in 18K gold,
French import marks,maker’s mark‘MWL’,length 3.5cm
€ 600 - 800
74
A DIAMOND NECKLACE WITH MATCHING
BRACELET
Composed of a fancy-links chain, the frontispiece pavé-set
with brilliant-cut diamond hoops, with matching bracelet,
mounted in 18K gold,diamonds approximately 1.20ct total,neck-
lace length 40.8cm,bracelet length 15.8cm
€ 2,500 - 3,500
70

56
Tuesday 15th
75
AN 18K GOLD MANUAL WIND WRISTWATCH, BY PATEK PHILIPPE, CIRCA 1960
18-jewel manual wind movement, the silvered dial with black baton hour markers with gilt pointed baton hands,
polished gold round case with secured snap on back, maker’s crown, on brown leather strap and inox buckle,
movement no.784.7**,case no.26133**,dial and movement signed,Swiss assay mark,with maker’s box,case width (includ-
ing crown):3.3cm,length 23.2cm
€ 3,000 - 5,000
Accompanied by an‘Extract from theArchives’ document from Patek Philippe, dated October 22nd 2014.
76
A PAIR OF GOLD CUFFLINKS, CIRCA 1960
Each brushed gold cat’s head to a gold terminal depicting a mouse lying on a branch, via a cable-link connector,
in 18K gold,numbered,French assay marks,width 9mm
€ 500 - 700

58
Tuesday 15th
77
A TIGER’S EYE SILVER RING, DESIGNED BY VIVIANNA TORUM BÚLOW-HUBE
Composed of an oval-shaped cabochon tiger’s eye plaque, with a wrap-around hoop, mounted in silver,with maker’s mark for
Georg Jensen since 1945,numbered 190,925 silver,marked‘Denmark’,ring size N
€ 300 - 500
Born in Malmö, Sweden in 1927, ViviannaTorun Bülow-Hübe moved to Paris in the 1950s to pursue her career
as a jewellery designer. She quickly gained recognition for work and became one of the most important 20th century jew-
ellers and silversmiths. In 1960 she received the Lunning Prize, an award for emerging innovative Scandinavian designers,
and a gold medal at the MilanTriennale. Following these successes she met Danish silversmith Georg Jensen, with whom
she designed for exclusively from 1969.
Torun is the designer behind some of the most famous Georg Jensen jewellery designs, including‘Mobius’,‘TheVivianna /
OpenWatch’,‘Beans’,‘Forget me knot’ and‘Hidden Heart’.
Torun’s work was inspired by natural shapes, transforming metal into flexible forms such as flowers, leaves and flowing
water, remarking on her own designs, which “should enhance and move with the body so that it blends with you. It must
not overwhelm, but enhance you”.

59
78
A LAPIS LAZULI SILVER RING, DESIGNED BY HENNING KOPPEL FOR GEORG JENSEN
Of sculptural design, the central collet-set round cabochon lapis lazuli, mounted in silver,with maker’s mark for Georg Jensen
since 1945numbered 154,925 Silver,marked‘Denmark’,ring size O
€ 300 - 500
Henning Koppel (1918-1981) was a Danish designer and artist well-known as an early pioneer of 20th century func-
tionalism. He studied sculpture at the Royal Danish Academy and then later at theAcademie Ranson in Paris.As a result of
his Jewish background Koppel sought refuge in Sweden during the SecondWorldWar.
On returning to Denmark after the war, he secured a contract working with Georg Jensen, a collaboration that launched
his career as a jewellery designer.Amongst his early creations - a series of necklaces and bracelets resembling whale ver-
tebrae and microscopic organisms - were miniature masterpieces of highly original modelling.These designs were unlike
anything that had been produced in the Jensen workshop in the previous 40 years and he became one of the most iconic
designers for the company.
Koppel created an astonishing range of work throughout his career from one off signature designs to everyday objects. Both
were defined by their elegant but functional qualities, in flowing organic forms. Koppel was a master draughtsman who
executed precise drawings for his works which allowed him to understand the design’s three dimensionality.
He won many awards including three Gold Medals at the MilanTriennial, the International Design Award of the American
Institute of Designers and the Lunning Prize. Koppel’s works are represented in numerous museums worldwide.

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Tuesday 15th
79
A DIAMOND SPRAY BROOCH, CIRCA 1955
The stylised openwork leaf of bombé design set with a central
line of brilliant-cut diamonds, between similarly-cut diamond
borders, mounted in 18K gold,diamonds approximately 2.20cts
total,French assay mark,length 3.7cm
€ 1,200 - 1,800
80
A PAIR OF CULTURED PEARL AND DIAMOND
EARRINGS
Each round-shaped cultured pearl of cream tint within a frame of
round brilliant-cut diamonds, mounted in 18K gold,diamonds approxi-
mately 2.00cts total,Italian assay marks,French import marks,length 1.6cm
€ 1,500 - 2,000
81
A DIAMOND CROSS PENDANT
The Latin cross set with courses of old European-cut diamonds
throughout, within openwork borders of scrolling design, to a
similarly set diamond bale, diamonds approximately 3.00cts total,
length (including bale):6.8cm
€ 1,500 - 2,000
82
A LADY’S 18K GOLD AND DIAMOND-SET COCKTAIL
WATCH, BY OMEGA, CIRCA 1965
17-jewel Cal.485 manual wind movement, square silvered dial,
black painted baton numerals for 3, 6 & 9 o’clock, black painted
hands, polished case with snap on back, round brilliant-cut diamond
bezel, to a tapering integral 18K gold strap, dial signed Omega DeVille,
movement no.309161**,case no.82** & 7185**,diamonds approximately
1.00ct total,Swiss assay mark,case width:2.4cm,length 16.5cm
€ 1,200 - 1,800
83
A DIAMOND CLUSTER RING
The central old European-cut diamond weighing approximate-
ly 1.70ct within a six-claw setting and framed by similarly-cut
diamonds, mounted in 18K gold and platinum,remaining diamonds
approximately 1.00ct total,French assay marks,ring size M
€ 5,000 - 6,000
84
A LADY’S 18K GOLD DIAMOND COCKTAIL WATCH,
BY BUCHERER, CIRCA 1965
17-jewel manual wind movement, the circular silvered dial with
baton hour markers, within a single-cut diamond bezel to an 18K
textured gold bracelet with articulating fancy-links accented with
further similarly-cut diamonds, mounted in 18K gold,Swiss assay mark,
case no.101**,case width (including crown):1.8cm,length 17.5cm
€ 600 - 800

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Tuesday 15th
86
A DIAMOND RING, CIRCA 1970
Of abstract floral design, the textured gold leaves highlighted with brilliant-cut diamonds,
mounted in 18K gold,diamonds approximately 0.50ct total,maker’s mark,Irish import marks for
Dublin 1972,ring size N
During the 70s, independent British jewellery designers challenged the established manufacturers with their innovative designs,
mass produced jewellery using new materials was startling in design and easy on the pocket.The top end jewellers had to rethink
their output to keep a foothold on the market.They had to work out how to push back the boundaries while retaining wearability
for their customers.The result was a move towards striking sculptural designs, new cuts of gemstones and different textured finish-
es.
One of the most important exhibitors was the influential Andrew Grima. His groundbreaking ideas using textured gold with rough
or unusual stones, in organic shapes, based on rocks, leaves and shells, was copied throughout the decade and his ideas still influence
jewellery designers today.Another exhibitor was John Donald who used innovative ways of producing texture and sculptural effects
in gold, using heat and flame.This included working molten gold in water. He combined these effects with uncut precious stones
and crystal.
West jewellers is considered the oldest European jewellery store and one of the oldest companies in Ireland.The fine-jewellery
retailer has been trading on and off in Dublin for 290 years. It first opened asWest Sons on Capel Street in 1720. In 1845, the firm
moved to College Green and then to 102 Grafton Street. In 1965 it relocated to its current premises at 33 Grafton Street, on the
junction of SouthAnne Street, and finally closed in 2010.West has always attracted a wealthy clientele and had links with Queen
Victoria.The British Royal Collection has two brooches that PrinceAlbert bought for QueenVictoria from “West & Son” on a visit
to Dublin in 1849.
85
A CORAL BEAD NECKLACE
Composed of a six-strand slightly graduated coral corallium rubrum beads mea-
suring approximately 6.12mm-7.05mm, completed by a 9K gold spring-ring clasp,
length 49cm
€ 2,500 - 3,500
Please note that the coral beads were verbally tested at GCS laboratory in London
inApril 2019.All beads were tested to be with no colour enhancement and a
random test found some beads to be wax impregnated.

63
87
A RUBY AND DIAMOND BRACELET BY WEST, 1970
Of openwork textured gold design, set throughout with circular-cut rubies and brilliant-cut
diamonds within collet-setting, mounted in 18K gold,diamonds approximately 2.50cts total,signed
West,hallmarked for Dublin 1970,length 18.1cm
€ 4,500 - 5,500
88
A DIAMOND AND GOLD DRESS RING, BY ANDREW GRIMA, 1976
Of abstract design, the textured wire gold mount embellished with marquise and brilliant-cut
diamonds, mounted in 18K gold,signed Grima, London hallmarks for 1976,ring size H
€ 3,000 - 4,000
89
A RUBY AND DIAMOND COCKTAIL RING BY WEST, CIRCA 1970
Of openwork abstract domed design, the textured gold highlighted with circular-cut rubies and
brilliant-cut diamonds, mounted in 18K gold,diamonds approximately 0.50ct total,signed West,ring
size M½
€ 600 - 800

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Tuesday 15th
90
A SAPPHIRE AND DIAMOND BANGLE
The bi-coloured sprung bangle centrally set with oval-shaped
cabochon sapphires interspersed by brilliant-cut diamonds with-
in collet-setting, between reeded borders, mounted in 18K gold,
inner diameter 5.2cm (adjustable)
€ 2,500 - 3,500
91
A PAIR OF GOLD EARRINGS, BY CARTIER
Each realistically modelled as two curved bamboo stalks, in 18K gold,
signed Cartier,numbered,French assay marks,maker’s marks‘JC’,with maker’s
case,length 2.5cm
€ 2,000 - 3,000
92
A SAPPHIRE SINGLE-STONE RING,
BY SABBADINI
Of bombé design, the oval-shaped cabochon sapphire weighing
approximately 5.00cts, within a fluted gold mounted, mounted in
18K gold,signed Sabbadini,Italian assay mark,ring size L
€ 1,500 - 2,000
93
A PAIR OF CORAL & GOLD EARRINGS,
BY TIFFANY & CO., CIRCA 1990
Each set with a round coral corallium rubrum cabochon, embellished
with a textured gold starfish, mounted in 18K gold,signedTiffany & Co.,
French import marks,length 2.2cm
€ 2,000 - 3,000
Please note that this lot contains coral and is subject to CITES regula-
tions when exporting outside of the EU
94
A GOLD BRACELET
The highly articulated openwork brick-link bracelet, in 18K gold,
length 17cm
€ 1,000 - 1,500
95
A CITRINE, DIAMOND AND EBONY COCKTAIL RING,
BY REPOSSI
The oval buff top-cut citrine within a surround of brilliant-cut dia-
monds, to a black ebony and gold mount, mounted in 18K gold,signed
Repossi,French assay mark,ring size K
€ 1,800 - 2,800
94

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Tuesday 15th
“This reserved grande dame, prolific creator, revolutionised jewellery and
women’s relationship to it”
Marina B, The art Of Jewellery by Vivianne Jutheau de Witt

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Tuesday 15th
96
AN IMPRESSIVE RUBY AND DIAMOND ‘ISPHAAN’ DEMI-PARURE, BY MARINA B, CIRCA 1980
Designed with fan-shaped motifs of graduated oval-shaped cabochon rubies within collet-setting, each surrounded by brilliant-cut
diamonds, with a pair of pendent earclips en suite, mounted in 18K gold,diamonds approximately 12.00cts total,both signed Marina B,both
with maker’s marks,French assay marks,with signed cases,necklace and earrings numbered,necklace length approximately 36.7cm,earrings length
3.1cm
€ 30,000 - 40,000
A necklace of similar design from the‘Isphaan’ collection is illustrated in Marina B:TheArt of Jewellery Design, byViviane Jutheau
deWitt, page 130
Born in Rome in 1930, Marina Bulgari was the daughter of Costantino Bulgari, the eldest child of BVLGARI jewellery company
founder SotiriosVoulgaris.When her grandfather passed away in 1932, Marina’s father and uncle Giorgio then took over the busi-
ness.The company became a very important part of the family’s life and was a constant in Marina’s childhood.At a young age she
developed a passion for art and design and after graduating from Saint Mary’s College in England, she returned to Italy and began
contributing to the BVLGARI studio. She quickly established herself as a vital member of the brand’s design team, with her innate
understanding of style and shape.After a few years she made the decision to go out on her own and found Marina B, in 1977.The
following year she opened her first boutique in Geneva, and soon afterwards others followed in Paris, Milan and NewYork.
With the established name of her family company within the jewellery world, Marina was keen to set herself apart from them.
From the late 1970s to the early 1990s, the voluminous, bold, and colourful jewellery of Marina B, was the brand of choice of
famous movie stars like Sophia Loren, and other fashionable women of the period. Marina B’s designs use of colour in her jewellery
was considered ground-breaking at the time and what made them a product of the modern era. In her work, 18k yellow gold is
matched with an array of coloured gemstones. Diamonds are a strong part of the designs but are used sparingly, often as a contrast
to the coloured gold and gemstones and in pavé patterns.
Although particularly fond of spring-mounted chokers, Marina was still obliged to make meshed necklaces to satisfy the demand of
her clientele.The first series, the Isphaan, appeared in 1980, which was inspired by a trip Marina took in late 1970s to Iran. Her vis-
it to Isphaan was a defining moment:”When evening fell, light faded from the sky and it turned from blue to yellow, which reflected
the two domes, of the same colours, standing out against the sky”. She remarked “They made a burning impression on my imagina-
tion”.The Isphaan necklace is composed of a single or double row of Oriental motifs in pavé of diamonds with central oval precious
stones, cabochons or faceted.This series of necklaces was also accompanied by a matching bracelet and pair of earrings.
Almost 45 years after Marina B founded her eponymous brand, her distinct aesthetic remains as contemporary as ever. Under the
direction of Guy Bedarida, Marina B’s designs continue to appeal to famous stars, including Rihanna,Alicia Keys and Jennifer Lo-
pez, who all wear them at red carpet engagements.The designs of Marina B continue to push the boundaries of jewellery creations,
which are inspired by the original bold inventions. Her modern vision, created a brand which inspired a first generation of women
to buy jewels for themselves.

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Tuesday 15th
97
A GOLD BRACELET WITH A PAIR OF EARRINGS
The continuous fancy-link chain bracelet, in 18K gold,Italian
assay mark,length 20.5cm;Together with a pair of earrings of similar
style,length approximately 3cm
€ 800 - 1,000
98
A SAPPHIRE AND DIAMOND RING
The entwined double snake ring, set with an old cushion-shaped
diamond and sapphire crown within collet-setting, to a trifurcat-
ed gold hoop, ring sizeT
€ 700 - 900
99
A JEWELLED GOLD TIE PIN
The finial formed as a bee, the wings set with single-cut dia-
monds and blue enamel for the eyes, with safety chain and end
cover, length 6.9cm
€ 400 - 500
100
AN EMERALD AND DIAMOND RING
The oval-shaped emerald within collet-setting framed by rose-cut
diamonds, with floral engraved shoulders, mounted in 18K gold,
ring size L
€ 1,200 - 1,800
101
AN EMERALD AND DIAMOND BALLERINA RING
The rectangular cut-cornered emerald weighing approximately
4.70cts, within an undulating surround of marquise, brilliant
and tapered baguette-cut diamonds, to a bifurcated hoop, dia-
monds weighing approximately 2.00cts total,ring size K
€ 4,000 - 5,000
102
A DIAMOND SINGLE-STONE RING
The brilliant-cut diamond weighing 0.73ct within a six-claw set-
ting and between baguette and brilliant-cut diamond shoulders,
mounted in gold,remaining diamonds approximately 0.50ct total,ring
size J
€ 800 - 1,200
Accompanied by a report from HRD laboratory inAntwerp
stating that the diamond weighing 0.73ct is G colour,VS2 clarity.
Report number 07000028041, dated January 9th 2007

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Tuesday 15th
103
AN IMPORTANT DIAMOND SINGLE-STONE RING
The rectangular-cut diamond weighing 7.75cts within a double four-claw setting and between baguette-cut diamond
shoulders, ring size M
€120,000 – 180,000
Accompanied by a report from the GIA laboratory in America stating that the diamond weighing 7.75cts is I colour,VS1
clarity. Report number 2205636411, dated October 10th 2019

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Tuesday 15th
105
A CULTURED PEARL AND GEM-SET NECKLACE
Composed of a single row of graduated cultured pearls of cream tint
measuring approximately 7.41-4.45mm, suspending a pendant set with
a central collet-set rectangular mixed-cut amethyst, within a frosty
rock crystal frame highlighted with brilliant-cut diamonds, to a fluted
bale with baguette-cut diamond accents, mounted in 18K gold,French as-
say mark,maker’s mark‘Cristofol’, with safety chain,pendant length (including
bale):4.5cm,necklace length 35cm
€ 1,500 - 2,000
Founded in 1830, the workshop Cristofol worked for Cartier, René
Boivin, JAR, Fred, M. Gérard, Marchak amongst many others.
106
A GOLD AND CULTURED PEARL TORSADE BRACELET
Composed of gold entwined strands with ropetwist detail and cultured
pearls, mounted in 18K gold,French assay marks,maker’s mark‘SLA’,length
20.5cm
€ 1,200 - 1,800
107
A GOLD AND DIAMOND NECKLACE
Composed of a series of graduated polished gold links of conical shape,
nine links highlighted with brilliant-cut diamond accents to the front,
mounted in 18K white and yellow gold,diamonds approximately 1.00ct total,
Italian assay mark,length 43.7cm
€ 3,500 - 4,500
108
A GOLD BROOCH
Of abstract design, composed of a cluster of graduated gold
boules, in 18K gold,French assay marks,length 7cm
€ 700 - 900
109
A GOLD RING, BY POMELLATO, CIRCA 1985
The wide polished concave band with two central rotating three quar-
ter bi-coloured bands, mounted in 18K gold,signed Pomellato,Italian assay
mark,French assay mark,ring size O
€ 1,700 - 2,300
110
A DIAMOND SINGLE-STONE ‘LUCIDA’ RING
WITH WEDDING BAND, BY TIFFANY & CO., 1999
The radiant-cut diamond weighing 0.73ct within a four-claw
setting to a plain hoop, mounted in 18K gold and platinum,signed
Tiffany & Co.,1999,numbered,ring size J¾;Together with a plain 18K
gold wedding band,signedTiffany & Co.,1999,engraved,ring size L,
with maker’s case
€ 1,200 - 1,800
108
110

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Tuesday 15th
111
A DIAMOND BAR PENDANT ON CHAIN
The continuous row of baguette-cut diamonds within channel setting, between two
borders pavé-set with brilliant-cut diamonds, suspending from a palmier-link chain,
mounted in 18K gold,diamonds approximately 4.00cts total,with maker’s mark‘RB’,English
assay marks,pendant length (including bale) 7.5cm,chain length 44.5cm
€ 2,000 - 3,000
112
A DIAMOND CLUSTER RING
Centring a European-cut diamond weighing approximately 0.90ct, within a single-cut
diamond surround, ring size U½
€ 1,200 - 1,800
113
A DIAMOND THREE-STONE RING
Claw-set with three brilliant-cut diamonds to a plain hoop, mounted in 18K gold,diamonds
approximately 0.90ct total,Italian assay mark,ring size P
€ 900 - 1,100

77
114
A DIAMOND PENDANT ON CHAIN
The brilliant-cut diamond weighing 0.44ct, within a four-claw setting, suspending from a ca-
ble-link chain, mounted in 18K gold,French assay mark,with maker’s mark,pendant length (including bale):
6mm,chain length 42cm
€ 800 - 1,000
Accompanied by a report from the‘Laboratoire d’expertise de l’union de diamantaires’ in Paris,
stating that the diamond weighing 0.44ct is E colour,VVS1 clarity (Pur 3x). Report number
25787, dated November 6th 1980
115
AN AQUAMARINE AND DIAMOND PENDANT
The cut-cornered rectangular-shaped aquamarine weighing approximately 56.00cts within a
four-claw setting, the openwork bale set with brilliant-cut diamonds throughout within millegrain
setting, mounted in 18K gold,maker’s mark,French assay mark,length (including bale):3.5cm
€ 1,500 - 2,500
116
A GEM-SET AND DIAMOND BRACELET
Composed of a line of graduated oval shaped turquoise cabochons, interspersed by carved sapphire
and brilliant-cut diamond leaves, highlighted by circular-cut sapphires and brilliant-cut diamonds,
mounted in 18K gold,Italian assay marks,length approximately 18cm
€ 3,000 - 4,000

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Tuesday 15th
117
A SILVER TANK ‘MUST DE CARTIER’ WRISTWATCH, BY CARTIER
4-jewel Cal.057 quartz movement, rectangular white dial, logo within bold blue Roman numer-
als, blue inner minute track with five minute markers, blued sword hands, secret signature at
10 o’clock, polished rectangular case with back secured by 8 screws, blue cabochon crown, dial,
movement,case signed,case no.0688** & 136078**,ref.no.24**,Swiss assay mark,maker’s mark,case
width (including crown):2.4cm,length 23.3cm
€ 450 - 550
Accompanied by service papers fromWeirs & Sons in Dublin, dated March 13th 2019 .
Accompanied by its invoice fromWeirs & Sons in Dublin, datedAugust 15th 2003.
118
A DIAMOND LINE BRACELET
Designed as a continuous line of round brilliant-cut diamonds within four-claw setting,
mounted in 18K gold,diamonds approximately 9.00cts total,French import mark,length 8.3cm
€ 6,000 - 7,000
119
A SAPPHIRE AND DIAMOND CLUSTER RING
The cushion-shaped sapphire within collet-setting weighing 7.08cts,
within a surround of brilliant-cut diamonds, mounted in 18K gold,
diamonds approximately 1.30ct,ring size N
€ 2,000 - 3,000
Accompanied by a report from the IGI laboratory inAntwerp,
stating that the sapphire weighing 7.08cts is Burmese origin with
no indications of treatment. Report number 286703921, dated
September 22nd 2017
120
A PAIR OF DIAMOND AND SAPPHIRE EARCLIPS
Each designed as two graduated bombé heart panels pavé-set
with circular-cut sapphire and brilliant-cut diamonds throughout,
mounted in 18K gold,length 2cm
€ 1,200 - 1,800
121
A CULTURED PEARL AND DIAMOND DRESS RING
Set with a cultured pearl of cream tint measuring approximately
11.53mm, within a wraparound surround of brilliant-cut diamonds
to a plain triangular profile band, mounted in 18K gold,French import
marks,ring size M
€ 700 - 900
122
A DIAMOND THREE-STONE RING
Claw-set with three brilliant-cut diamonds to a plain hoop, mount-
ed in 18K gold,diamonds approximately 0.60ct total,ring size N
€ 500 - 700

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Tuesday 15th
123
AN IMPRESSIVE PAIR OF DIAMOND PENDENT EARCLIPS
Each circular clusters of graduated marquise-shaped diamonds suspending a removable pear-shaped diamond drop
connected with a marquise-shaped diamond, mounted in 18K gold and platinum,surmounts approximately 20.00cts total,
lower mounts approximately 8.00cts total,French import marks,with red leather case,surmount length:2.7cm,length with both:
5.1cm
€ 45,000 - 55,000
Purchased at Sotheby’s in Geneva - Sale date: 18th February 1994, lot 220.
Accompanied with copy of invoice

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Tuesday 15th
124
A PAIR OF CHALCEDONY AND DIAMOND PENDENT EARRINGS,
BY MARGHERITA BURGENER
Each suspending an oval-shaped blue chalcedony cabochon, to a bombé navette link pavé-set with
single-cut diamonds between brilliant-cut diamond connecting links, to a further oval-shaped blue
chalcedony surmount, mounted in titanium and 18K gold,signed Margherita Burgener,with maker’s mark,
Italian assay marks,with maker’s box,length 5cm
€ 3,500 - 4,500

83
125
A PAIR OF DIAMOND EARRINGS
Each European-cut diamond weighing respectively 0.89ct and 0.93ct, within a
four-claw setting, on French wire fittings, mounted in 18K gold,length 1.4cm
€ 1,500 - 2,500
126
A SAPPHIRE AND DIAMOND ‘TOI ET MOI’ RING
Of crossover design, claw set with a cushion-shaped sapphire and a European-cut
diamond between graduated brilliant-cut diamond shoulders, sapphire weighing
1.35ct and principal diamond weighing approximately 0.75ct,ring size O½
€ 5,000 - 7,000
Accompanied by a report from AGL laboratory inAmerica stating that the sap-
phire weighing 1.35ct is of Kashmir origin, with no signs of treatment. Report
number 1089316, dated January 30th 2018
A brief look into the history of these sapphires can help illustrate their value. It all started with a natural occurrence in 1880 in the
Kashmir region on the Indian subcontinent.A landslide atop the Himalayas revealed unusual type of rocks under the top layers of
soil.These rocks were almost completely bare except for the occasional protruding blue stones. It took many years for the local
people of the region to realize that the stones were in fact sapphires.
Once news of the discovery reached the Maharajah, he immediately sent a regiment of guards to protect the mine, along with
miners to dig out more of the sapphires.The years between 1882-1887, marked an extremely productive period for the mine. It
revealed some very impressive gems which were as large as 5×3”. Summers in the region were extremely hot and the miners had
to work in these conditions with little to no rest. By the end of 1887, the resources of the mine had been exhausted. Hungry for
more, the Maharajah sought the assistance of the British, who by then had ruled in India for more than a decade.With the assistance
of British geologists, they found a new mine in the valley below.
However, this was also quickly depleted, and to this day, no other deposits have been found in the region.
Kashmir sapphires command a high price because they contain a top-quality specimen.You may come across other blue sapphires,
Burmese or Ceylonese, but only those from Kashmir have a distinctive tint. Experts call it blue velvet - a dreamy cornflower blue
that reflects light under all angles.
127
A PAIR OF DIAMOND PENDENT EARRINGS
Each rose-cut diamond surmount suspending a line of European-cut diamonds
terminating with a similarly-cut diamond hoop, within collet and millegrain
setting throughout, mounted in gold,diamonds approximately 2.00cts total,length 3cm
€ 1,200 - 1,800

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Tuesday 15th
128
A PAIR OF CULTURED PEARL AND DIAMOND EARCLIPS,
BY MICHELE DELLA VALLE
Each of stylised design, composed of a baroque-shaped cultured pearl of white tint, embellished with flames
of round brilliant-cut diamonds, mounted in 18K gold,diamonds approximately 2.30cts total,signed Michele della
Valle,maker’s mark‘MDV’,Italian assay marks,with maker’s pouch,lengths 3.2 & 2.8cm
€ 3,000 - 4,000
129
AN IMPORTANT DIAMOND BANGLE
Composed of five continuous lines of brilliant-cut diamonds within four-claw setting, mounted in 18K gold,
diamonds approximately 15.00cts total,inner diameter 5.4cm (adjustable)
€ 6,000 - 8,000
130
A LADY’S 18K GOLD AND DIAMOND-SET ‘HAPPY DIAMONDS ICONS’ WATCH,
BY CHOPARD
4-jewel quartz movement, the round-shaped mother-of-pearl dial with silvered hands, framed by a border
of single-cut diamonds, within a round-shaped glazed surround with five‘floating’ brilliant-cut diamonds
within collet-setting, all within a brilliant-cut diamond outer border, lugs highlighted with pavé briliant-cut
diamonds, on 18K gold Chopard brick-link bracelet, case,dial and movement signed,case no.411** & 3324**,
ref.no.20/629*,stamped‘LUC’,with Chopard watch tool and case,case width:2.1cm,length 16.6cm
€ 5,000 - 6,000

85
131
The brilliant-cut diamonds weighing 4.03cts within a six-claw setting, to a plain hoop, mounted in 18K gold,ring size P
€ 25,000 - 35,000
Accompanied by a report from IGI laboratory inAntwerp, stating that the diamond weighing 4.03cts is F colour, SI2
clarity. Report number F1R36080 (laser inscribed), dated June 1st 2014

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Tuesday 15th
132
A LADY’S ‘SERPENTI TUBOGAS’ STAINLESS STEEL, CERAMIC AND DIAMOND-SET SERPENTINE
BRACELET WATCH, BY BULGARI
5-jewel ETA quartz movement, the black opalline dial with applied baton indexes and Roman numerals for 6 & 12, the
stainless steel case representing a serpent’s head, bezel set with brilliant-cut diamonds, pink rubellite cabochon crown,
with fitted stainless steel, black ceramic and diamond-set BulgariTubogas single spiral bracelet, ref.SP35S & PO16681,brace-
let ref.PRMAG S,movement no.E0100*,case,dial and movement signed,within maker’s pouch,case width (including crown):2.5cm
€ 5,000 - 7,000
133
A DIAMOND-SET ‘SERPENTI VIBER’ RING, BY BULGARI
The continuous row of rose gold scales, pavé-set with brilliant-cut diamonds and alternated with mother-of-pearl plaques,
mounted in 18K rose gold,signed Bvlgari,ring size L½ (inscribed 52)
€ 2,500 - 3,000
134
A LADY’S ‘SERPENTI TUBOGAS’ STAINLESS STEEL AND DIAMOND SERPENTINE BRACELET
WATCH, BY BULGARI
5-jewel ETA quartz movement, the silvered sun guilloché engraved dial with applied baton indexes and Roman numer-
als for 6 & 12, the stainless steel case presenting a serpent’s head, bezel set with brilliant-cut diamonds, pink rubellite
cabochon crown, with fitted stainless steel double spiral BulgariTubogas bracelet, ref.SP3** & PO19**,bracelet ref.PRQD,
movement no.A01E010**,case,dial and movement signed,case width (including crown):2.5cm
€ 5,000 - 7,000

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Tuesday 15th
135
A DIAMOND FLOWER COCKTAIL RING
Designed as a Camelia rose flowerhead, the pistil set with a
trio of brilliant-cut diamonds, the petals set with circular-cut
black diamonds throughout, to a plain hoop with foliate detail,
mounted in 18K gold,French assay mark,ring size K½
€ 700 - 900
136
A PAIR OF DIAMOND PENDENT EARRINGS
Each slightly articulated feathers, set throughout with single-cut
diamonds to a similarly-cut diamond surmount, mounted in silver and
gold,diamonds approximately 2.00cts total,length 5.5cm
€ 500 - 700

89
137
A PAIR OF DIAMOND AND BLACK DIAMOND
EARRINGS
Each cluster set with four pear-shaped diamonds, to a surround
of circular-cut black diamonds, mounted in 18K blackened gold,
French import marks,colourless diamonds weighing approximately
2.00cts total,length 1.1cm
€ 1,500 - 2,000
138
A LADY’S 18K GOLD AND DIAMOND-SET ‘LA
STRADA’ BRACELET WATCH, BY CHOPARD
11-jewel ETA Cal. 980.135 quartz movement, the white dial
with black baton hour markers, applied Roman numeral quar-
ters, subsidiary second at 6, polished steel sword hands, polished
rectangular gold case, back secured by 4 screws, white and black
diamond-set shoulders, diamonds approximately 3.50cts total,
on black leather Chopard bracelet with signed 18 gold folding
clasp, case,dial and movement signed,case no.4168**,ref.no.528* &
7180**,case width (including crown):2.4cm
€ 5,000 - 7,000

90
139
AN IMPORTANT DIAMOND “GRAIN DE RIZ” NECKLACE, BY VAN CLEEF & ARPELS, CIRCA 1995
Composed of two graduated necklaces, each set alternately with plain polished and brilliant-cut diamond “grain de riz” links,
each interspersed with plain polished hoop-links, the necklaces connected three times to the nape of the neck, mounted in
18K gold,diamonds approximately 15.00cts total,signed Van Cleef & Arpels,numbered,with maker’s mark,French assay marks,with mak-
er’s necklace pouch,lengths approximately 80cm & 85cm
€ 25,000 - 35,000
Accompanied by its insurance valuation fromVan Cleef & Arpels in Monte-Carlo, datedAugust 25th 1998, stating its retail
value at the time to be FF. 380,000 (French Francs).

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Tuesday 15th
140
A GOLD CHAIN NECKLACE, BY CHIAMPESAN
The bombé polished gold links, terminating with a collet-set
cabochon sapphire clasp, mounted in 18K gold,signed Chiampesan,
numbered,Italian assay mark,length 43.5cm
€ 2,000 - 3,000
141
A PAIR OF GOLD EARRINGS, BY TIFFANY & CO.
Each domed reeded cross-shaped clip, in 18K gold,signedT&Co.,with
maker’s case,length 2.3cm
€ 1,000 - 1,500
142
A PERIDOT BRACELET
Composed of a line of rectangular-cut peridots within four-claw
setting, mounted in 18K yellow gold,peridots weighing 19.50cts total,
Italian assay marks,length 18.2cm
€ 2,000 - 2,500
143
The cushion modified brilliant-cut diamond weighing 1.20ct, within
a brilliant-cut diamond frame and between bifurcated shoulders
pavé-set with further similarly-cut diamonds, mounted in 18K gold,
remaining diamonds approximately 0.80ct total,ring size K
€ 2,500 - 3,500
Accompanied by a report from the GIA laboratory in America,
stating that the diamond weighing 1.20ct, is H colour,VS2 clarity.
Report number 2121253754, dated June 28th 2010
144
A COLOURED SAPPHIRE BANGLE
The hinged bangle pavé-set with circular-cut yellow sapphires on
frontispiece, mounted in 18K gold,French import marks,inner diameter
5.7cm
€ 700 - 900
145
A COLOURED SAPPHIRE DRESS RING
Of bombé design, the frontispiece pavé-set with circular-cut yellow
sapphires, mounted in 18K gold,French import mark,ring size L
€ 500 - 700

94
Tuesday 15th
146
A PAIR OF DIAMOND PENDENT EARRINGS,
BY ADLER
Each designed as an openwork stylised flowerhead, pavé-set with
round brilliant-cut diamonds, mounted in 18K gold,signed Adler,
Italian assay marks,length 3.5cm
€ 800 - 1,200
147
A DIAMOND LINE BRACELET
Composed of a continuous line of brilliant-cut diamonds within
four-claw setting, mounted in 18K gold,diamonds approximately
13.00cts total,length 18cm
€ 10,000 - 15,000
148
A PAIR OF CORAL, ONYX AND DIAMOND
PENDENT EARRINGS
Each rectangular onyx plaque and brilliant-cut diamond sur-
mount, suspending a similarly-cut diamond hoop embellished
with a carved crescent face coral plaque within, terminating
with an onyx drop accented by a brilliant-cut diamond connec-
tor, mounted in 18K gold,diamonds approximately 0.60ct total,length
7.2cm
€ 1,500 - 2,000
Please note that this lot contains coral and is subject to CITES
regulations when exporting outside of the EU
149
A CULTURED PEARL, DIAMOND AND SAPPHIRE
SAUTOIR NECKLACE
Designed as a detachable cultured pearl tassel with a brilliant
and rose-cut diamond cap and bale, suspending from a cable-link
chain, interspersed with seed pearls and circular-cut colourless
sapphires, mounted in 18K gold,pendant length 8.8cm,chain length
92cm
150
A RUBY AND DIAMOND ETERNITY RING
The continuous row of circular-cut rubies, accented by a trio of
brilliant-cut diamonds, mounted in 18K gold,with maker’s mark‘JK’,
ring size L
€ 500 - 700
151
A RUBY AND DIAMOND TARGET RING
The old European-cut diamond framed with calibré-cut cabochon
rubies with similarly-cut diamond accents and shoulders, within
millegrain setting throughout, mounted in platinum,ring size N½
€ 3,200 - 3,800
146

96
Tuesday 15th
152
A CULTURED PEARL AND DIAMOND ‘LE ROI GRENOUILLE’ RING,
BY JULIE GENET
Composed of a large centralTahitian cultured pearl of grey tint measuring approximately
16.5mm, within multiple diamond-set claws modelled as stylised frog legs, mounted in
18K gold,signed JGJ,maker’s mark,French assay mark,within maker’s pouch and case,ring size
L½
€ 1,200 - 1,800
This ring has been inspired by the German fairy-tale ‘The Frog Prince’ written by the
Grimm brothers.
For Julie Genet, medieval architecture with its impenetrable castellated walls
inhabited by knights’ whose tales and thwarted love stories, have been a con-
stant fascination.
This period is a source of inspiration for the design of certain pieces,with Julie
using its symbols and legends as the foundations of her craft. It is, however,
a fictional Middle Age, where magic exists and heroes of mythology, legends,
literature and cinema intermingle. It is a world where women are strong and
muses have superpowers.
Each of the collections is conceived as a kingdom populated by jewel char-
acters. Constellation, fabulous galaxy studded with multi-coloured meteor-
ites, flaming golden stars, revolves aroundVegas,Tatooine's twin planet. Here,
the codes of the game world - poker, backgammon, checkers, chess - have
breathed life into the escaped kings and queens of the Legends kingdom where
King Frog, Ulysses,Aragorn and Bluebeard are waging a merciless war for the
hand of the Lady of the Lake.
Each of Julie's pieces of jewellery is a wonderful creature from this fantastic
world, making them unique, precious and playful pieces. Despite her initial
career as a dental surgeon, she always had an interest in creating jewellery. She
took advantage of dental prosthesis techniques, similar to that of classic jewel-
lery, to create her models. She graduated from the GemologicalAssociation of
Great Britain in 2011, with a collection of pieces, with a strong sense of style
and character based around her fantastical universe. She built up a small but
loyal clientele and now devotes herself full time to the creation of precious
jewellery. In 2016, in collaboration with her sister Caroline, she launched the
eponymous brand Julie Genet Joaillerie.
JULIE GENET
Frog King illustration: ©Alamy Stock Photo

98
Tuesday 15th
153
A SAPPHIRE AND DIAMOND ‘KANAWAGA’ RING, BY JULIE GENET
Of scalloped design, set throughout with brilliant-cut diamonds and a blue gradation of circular-cut
sapphires representing a wave from Kanawaga, mounted in 18K gold,diamonds 1.32ct total,sapphires
3.30cts total,signed JGJ,maker’s mark,French assay mark,with maker’s pouch and case, ring size N½
€ 3,000 - 4,000
By using different shades of blue and varying sizes of sapphire and white diamonds, Julie Genet tried to
represent a wave and the irregular shape of its foam.This ring was named after Hokusai’s woodblock
print “Kanagawa”.
154
A COLOURED SAPPHIRE AND GARNET ‘ME’ RING, BY JULIE GENET
Of abstract design set with a continuous line of circular-cut pink and green sapphires and rhodolite
garnets, mounted in 18K gold,signed JGJ,with maker’s mark,French assay mark,with maker’s pouch and case,ring
size N½
€ 800 - 1,200
This ring is the 3D transposition of Julie Genet’s initials JG. It can be worn in four different ways and
the three coloured gemstones gives the wearer the impression of having multiple rings in one.
Kanagawa print : © Library of Congress

100
Tuesday 15th
155
A DIAMOND ‘ROSE’ PENDANT ON CHAIN,
BY PIAGET
The openwork gold mount designed as a flowerhead, set to the
centre with a brilliant-cut diamond weighing approximately
0.13ct, to a cable-link gold chain terminating with a leaf charm,
mounted in 18K gold,signed Piaget,numbered,Swiss assay mark,maker’s
mark,with maker’s case,length 43.5cm,41cm and 38cm,pendant length
2.8cm
€ 1,700 - 2,300
156
A PAIR OF ‘PANTHERE’ GEM-SET EARCLIPS, BY CARTIER
Each designed as a panther’s head with black lacquer spots, the eyes set
with pear-shaped tsavorites, the hoop clasped in the jaws of each panther
highlighted with a line of brilliant-cut diamonds, mounted in 18K gold,signed
Cartier,numbered,with maker’s mark,French assay marks,with Cartier case,length
1.7cm
€ 4,500 - 5,500
157
A DIAMOND ‘ROSE’ COCKTAIL RING, BY PIAGET
The central brilliant-cut diamond, set within an openwork rose
gold mount designed as a flowerhead, mounted in 18K gold,signed
Piaget,with maker’s mark,numbered,with maker’s case,ring size L½
€ 600 - 800
Accompanied by its certificate of authenticity, datedApril 30th
2014, from Piaget in Monte-Carlo
158
A DIAMOND ‘POSSESSION’ PENDANT NECKLACE,
BY PIAGET
The miniature ring pendant embellished with a line of round bril-
liant-cut diamonds, suspending on a cable-link chain and terminating
on one end with a‘P’ charm, mounted in 18K rose gold,signed Piaget,
numbered,maker’s mark,Swiss assay mark,with maker’s case and box,pendant
length 6mm,chain length 39 & 42cm
€ 800 - 1,000
Accompanied by its card of authenticity, dated May 20th 2015, from
Piaget Monte-Carlo
159
A DIAMOND AND COLOURED DIAMOND ‘DOME
SAUVAGE’ DRESS RING, BY CARTIER, 1999
Of bombé form, pavé-set with brilliant-cut diamonds and brown
diamonds throughout, mounted in 18K gold,signed Cartier,numbered,
maker’s mark,1999,ring size M
€ 2,800 - 3,800
Accompanied by its Cartier certificate of authenticity, purchased
in 2003 at Cartier
160
A LADY’S 18K GOLD ‘POSSESSION’ WRISTWATCH,
BY PIAGET
4-jewel quartz Cal-157P movement, silvered engine dial with Roman
numerals with gilt faceted lance hands, the round-shaped 18K gold
case with‘possession’ inscribed on its sides, with reeded turning bezel
highlighted with a reverse circular-cut diamond, to a black satin Piaget
bracelet, case secured by four screws on the back, gold plated buckle
by Piaget, case no.P104**,serial no.11024**,dial,case,movement signed,
Swiss assay mark, case width:2.9cm
€ 1,500 - 2,000
Accompanied by its card of authenticity, dated June 4th 2013, from
Piaget Monte-Carlo

102
Tuesday 15th
“Fred Jewels are clusters of light that illuminate the everyday with strong ,
masterful lines that arouse passions”
Fred Samuel

104
Tuesday 15th
161
PROPERTY OF A CONTINENTAL LADY
AN IMPORTANT AND EXQUISITE DIAMOND CUFF BRACELET, BY FRED PARIS, 2010
Commande Spéciale - Special Order
The wide flexible openwork bracelet decorated with stylised rays of brilliant-cut diamonds throughout, between borders of similar-
ly-cut diamonds within collet setting, revealing a central pear-shaped diamond weighing 5.12cts, highlighted with pear and brilliant-cut
diamond accents, mounted in 18K gold,remaining diamonds weighing 31.74cts total,signed Fred Paris,numbered,maker’s mark,French assay mark,
with maker’s case,length 17cm
€ 60,000 - 80,000
A Fred designer to meet the present vendor in Monte-Carlo and after various design proposals, this unique, one-of-a-kind bracelet was
selected to be made for the client.
The diamond weights have been provided by Fred.
Fred Samuel (1908-2006) established his jewellery brand in 1936 in Paris, where he spent much of his professional life. Originally
from BuenosAires, born into a family that dealt in precious stones, it was no surprise he conceived a passion for cultured pearls and won
recognition as a leading expert in the field. Fred imbued his designs with the energy of SouthAmerica, saying his creations were inspired
by the life, the light, the movement, the energy of the continent.This passion is expressed through the use of coloured gemstones and
playful motifs.
DuringWorldWar II, Fred Samuel fled Paris and became an interpreter for theAllies.After the war, the brand changed its name to from
Fred Samuel to‘Fred’ due to anti-Jewish sentiment in post-war Germany. Describing himself in 1936 as a‘Contemporary Creative
Jeweller’, he proved this through his striking modern designs, with rounded, curvaceous lines. Fred became famous for jewels designed
by Jean Cocteau and for its famous clients, such as Marlène Dietrich and the royal family of Monaco, including princess Grace. In 1966
Fred Paris was the inventor of cable jewellery‘Force 10’ (made of stainless steel) and this feature is still very prominent today in ring,
bracelet, pendant and necklace designs.
As the brand grew, new stores were opened across the world; 1976 Monte Carlo, 1981 Cannes, 2001Tokyo and 2007 Beijing, Dubai
and Bogotá.The company became the property of LVMH in 1996 and Fred collaborated with Kate Moss for the design of an exclusive
collection in 2012. Fred Paris designed the iconic 23 heart-shaped ruby necklace interlaced with diamonds, which was gifted to Julia
Roberts by Richard Gere in the film PrettyWoman.The last major film for which Fred Paris provided jewellery was Casino Royale star-
ring Daniel Craig, featuring the star collection pendant and earrings.This magnificent bracelet is a unique creation of Fred.

Adam's Fine Jewellery 15 September 2020

Adam's Fine Jewellery 15 September 2020

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Adam's Fine Jewellery 15 September 2020