Adam's FINE JEWELLERY May 2021

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F I N E J E W E L L E R Y & W AT C H E S
Online Auction closing Tuesday 25th
May 2021
ADAM’S
Est.1887

Tuesday 25th
May 2021 . Starts closing at 5pm
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FINE JEWELLERY & WATCHES AUCTION ONLINE
Tuesday 25th
May 2021- Bidding begins closing at 5pm
SALE VIEWING DAYS MAY 21st
- MAY 25th
Private Viewing by appointment only from Monday 17th May
Note the auction starts at 5pm
WWW.ADAMS.IE
In person viewing is planned but will be subject to Government restrictions
At Adam’s, 26 St. Stephen’s Green, Dublin, D02 X665

Friday 21st
May 10:00am - 5:00pm
Saturday 22nd
May 1:00pm - 5:00pm
Sunday 23rd
May 1:00pm - 5:00pm
Monday 24th
May 10:00am - 5:00pm
Tuesday 25th
May 10:00am - 4:00pm
26 St. Stephen’s Green, Dublin 2. Ireland
+353 1 676 0261. D02 X665
info@adams.ie | www.adams.ie
ADAM’S
Est.1887

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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
CONTACTS AT ADAM’S
Giorgia Chissa
FINE ART DEPARTMENT
giorgia@adams.ie

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Dear Friends,
Welcome to our Summer 2021 offering of Fine Jewellery & Watches.
This sale will be a little different to our normal jewellery auctions as it will be a timed online auction. This
is due to the current Covid-19 Level 5 restrictions. Despite this however all the usual bidding and viewing
options will be available apart from in-person bidding in the saleroom.
Our Adams Live bidding platform is now well tried and tested and it works a treat. It is also important to
note that there is no additional internet bidding surcharge on the hammer price on our platform so that’s
reassuring for bidders who haven’t used this system before.
We are of course, conscious that some of our clients and customers are anxious about online bidding
but rest assured that you will still have the option of bidding by telephone or leaving a commission bid
for us to execute on your behalf.
The online bidding process is described in detail in this catalogue but if you have any queries or indeed
problems please reach out to our team and we’ll guide you through.
While the auction begins to close at 5pm on May 25th you can get bidding on your favourite lots from
Tuesday May 4th.
Good luck and enjoy.
Claire-Laurence Mestrallet BA, GIA G.G
ASSOCIATE DIRECTOR
HEAD OF JEWELLERY & WATCHES
claire@adams.ie
©
Photo
Credit
:
Doreen
kilfeather

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THIS IS A TIMED ONLINE AUCTION
If you are unfamiliar with online-only auctions or do not have a way of bidding yourself online please
contact a member of our staff who will be very happy to assist you in the bidding process.
HOW TO BID IN THIS SALE
Bidding will open on Tuesday 4th
May and will begin to close at 5pm on Tuesday 25th
May.
To bid, simply go to www.adams.ie and Sign Up for a My Adam’s account.
If you have already signed up for an online account with Adam’s, you can Sign In with your email and password.
When signed in, click on ‘Upcoming Auctions’, select ‘Fine Jewellery & Watches which will bring you to the list
of lots.
VIEWING, CONDITION REPORTS & IMAGE REQUESTS
Due to Covid-19 Level 5 restrictions, in-person viewing will not take place at 26 St Stephen’s Green. Virtual
viewing and informative videos can be found on our website.
Our staff will be on-hand to carry out Condition Reports and attend to Additional Image Requests for the lots
in this sale.
These requests can be made through our website, or by calling our offices at +353 (0)1 676 0261 or emailing
info@adams.ie
Please ensure such requests are made in good time in advance of the
auction.

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This auction is automated and takes place solely online through our website
www.adams.ie
During the period of open bidding you will be able to see the current winning bid on
each lot. You may place a higher maximum bid of your choice and the bidding will
automatically increase by the next increment.
If your maximum bid is several increments higher than the current bid, the bidding
will still only increase by one increment until there is a competing bid in which case
the system will move up one increment higher in your favour. This process will con-
tinue until your maximum amount is outbid.
**The system is designed to give the buyer the best chance of winning their desired
lot at the most competitive price, i.e. it will not jump to the maximum bid entered
unless there is a competing bid just below it**
EXAMPLE:
Bidder A leaves a maximum bid of €100, bidder B leaves a maximum bid of €200 on
the same lot. Bidder A is now knocked out of the lead and bidder B holds the cur-
rent winning bid that auto adjusts to €110 (NB not their maximum bid). The system
auto adjusts the bid to the next winning increment. User B’s bid will only be further
executed if another user bids above their current bid of €110 up to their maximum
of €200, after which they will be knocked out and an e-mail issued advising them to
increase their bid.
Bidders are automatically informed by email if they are the current winning bidder,
or if they have been outbid by another competing bidder. If you have been outbid
and the auction is still open, you are free to leave a higher bid.
At the end of the defined bidding period, 11am on Wednesday 2nd December, if
the highest bid offered meets the minimum price designated by the Auctioneer (i.e.
the seller’s reserve price), the lot is sold.
In a timed auction, the closing time is staggered, with bidding for lot 1 ending at
11am and each subsequent lot closing one minute after the previous. If there is a
flurry of bidding on a lot just as it reaches its closing time, the lot is kept open for an
extended period to enable everybody to fairly get their bids in.
All winning bidders will be notified by email once the auction has fully ended.
TIMED ONLINE AUCTION EXPLAINED

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Adams Live
We are delighted to advise that our own on-line bidding platform, Adam’s Live is now fully op-
erational for those who wish to bid on-line. Watch the auction as it happens.
On the Live platform you can arrange to bid as the auction is taking place or at any timeleave
comission bids and the Adam’s Live platform will bid on your behalf.
Bidding through this portal will attract no additional internet surcharge for lots purchased so in
effect those bidders will pay the same as a room bidder. Online bidding through the-saleroom.
com and invaluable.com remains unaffected.
Sign up today for your own My Adam’s account and start saving on your on-line purchases.
BROWSE-BID-BUY
ON-LINE AT WWW.ADAMS.IE
BROWSE
Viewing
Viewing has never been easier. Go to www.adams.ie. Choose the auction you wish to view from
the Auctions/Forthcoming auctions menu, and you will be offered a range of ways to view. You
may choose to view a digital version of the printed catalogue in the view e catalogue option
or explore the virtual 3D option which allows you explore the saleroom with easy to navigate
options or view the list view which opens automatically. This last option provides additional in-
formation and photographs of each lot as you choose the View Details button. Lastly, and only
during office hours there is a live chat button onscreen. If at any time you have a question whilst
you are on line you can open a live chat and one our staff can help you.
My Adam’s
Log on to our web site www.adams.ie and create an account by signing up and registering your
particulars online. The process involves supplying valid credit card information. This is a once
off request for security purposes, and once the account is activated you will not be asked for
this information again. The card information supplied is securely stored by Sage Pay. You can
leave absentee bids online, and add, edit or amend bids accordingly as well as bidding over the
internet in real time through ‘Adam’s Live’. You can also view your invoices, bid history, wish lists
& other useful functions including paying your invoice and creating you very own personalised
catalogue with search tags that will notify you once a catalogue is uploaded for your key word
search.

Tuesday 25th
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FINE JEWELLERY & WATCHES AUCTION ONLINE
Tuesday 25th
May 2021- Bidding begins closing at 5pm

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Working in the fashion and beauty industry for over twenty years now, Triona Mc Carthy has travelled the world and met all sorts
of fascinating folk, tastemakers, budget breakers, designers, divas, supermodels and more, gathering information and inspiration
everywhere she goes.
Triona’s infamous weekly column for LIFE magazine with Ireland’s best selling newspaper, The Sunday Independent, has reached
cult status.
As an accredited beauty therapist and make-up artist, she is renowned not just for her exceptional industry knowledge but equally
for her unique wit, no shame honesty and personal insights.With her background in traditional media (print, TV and radio) the
digital world was her next port of call.
"When it comes down to it, it’s all about connecting with people whether you’re a blogger, journalist YouTuber or influencer.
We are all in the business of creating content and connecting with audiences’ she says.
So the multidisciplinary influencer’s days are spent test-driving countless products and treatments as well as interviewing today’s
most sought after hair, skin and makeup experts. It’s a never ageing story! Follow her on Instagram @triona.ie
As close to the cloth as to the cosmetic counter, Triona’s earlier career was spent as a hugely influencial fashion buyer, designer
and stylist. You can catch her weekly on the massively popular TV show Ireland AM on Virgin Media where Triona is the show’s
resident Beauty Guru, always with the best beauty tricks and product picks. Equally at home in a hoodie or haute couture, Triona
lives and breathes fashion and beauty and believes in the magical power of big hair, black eyeliner and red lips.
If it’s happening in fashion and beauty, Triona is there with her red lipstick on!
With nails only ever dipped in the latest shade, trend-watching and vintage hunting are key talents, honing them to hunt down the
elusive piece, the emerging designer or the only must-have mascara, be that in Dublin, London, Paris or New York - her passion
is global.
Originally from Schull in West Cork (a.k.a the Irish Riveria in her opinion), Triona now resides in Dublin, Ireland with her other
half Will and their two children Maxi and Mini.
… And yes, she is aware that she called her children after skirts. (She says it’s because she’s such a dedicated follower of fashion!)
If they have another baby, it’ll have to be called Midi. Or Knee-Length.
Triona McCarthy
Through the eyes of ...

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(Lot 46)This is the piece that got the biggest reaction on a lil preview I did of the sale
on my Instagram.
A MUA friend of mine Leonard Daly,rang me so he could hear every last detail about
it!
When I see something as beautiful as this bracelet, it puts a smile on my face.The
workmanship is unlike anything anyone can do today.Just the hours put into some-
thing like this would make them too expensive to manufacture now.
(Lot 30) I am very superstitious so I love jade which is believed to bring luck.
Jade is also thought to have protective,lucky-charm energy.
That’s why you’ll often see jade statues used in feng shui-which I’m also a fan of- and why babies
in Asian cultures are often gifted jade bracelets when they’re born.
(Lot 23)The brooch is having a revival with men making them cool again!
I’m looking at you Regé-Jean Page when you wore an Alexander McQueen suit on
“Saturday Night Live”complete with brooches on the lapel.
This cute lil bug celebrates our insect friends.
Style it as the playful finish to a handbag or hat or t-shirt or top.
(Lot 170) With Zoom calls the new normal,the focus on dressing up your top half is essential so earrings are
where it’s at right now!Wearing jewellery“high up on the face” is a a wonderful way to perk up the face
And now that we can venture out a bit more,earrings look so pretty peaking out from your cardigan or coat.
Just imagine these delights dangling form your earlobes!
I adore anything in Aquamarine-again the superstitious missus in me loves that it has a shielding effect on your
energy field and has even been used for physical protection during battle and at sea.
While aquamarine is popular with people who have blue eyes – I’m thinking of designer Louise Kennedy who
always wears the most elegant pair similar to these-I find it’s actually one of the rare gems that suits any
complexion.
Remember Princess Diana’s beautiful aquamarine and diamond jewellery set anyone?
(Lot 142) I’m not a fan of classical and conformist jewellery as such so I adore everythingVictoire de Castellane,the creative director of
Dior Joaillerie does.
She creates jewellery for women-not pieces with investment value in mind,-aimed at men who want to buy jewellery for women as she
said herself when she joined Dior.
I adore her alluring amalgamation of fashion and jewellery in all her designs-such a this showstopper,gobstopper ring.Go big or go
home I say! (opposite page)

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(Lot 224) I adore astrology-my daughter is called Seren –which means star-so I feel with this –if I
were to buy it-I’d love to pass it on to her one day-almost like a custodial handoff of a magnificent
piece.
(Lot 6) I thought it was very important to pick pieces from every price point so this
Gucci Horsebit Bangle,obvs inspired by equestrian roots,I think would make the
perfect present for a young lady to start off her jewellery collection.
The horsebit afterall has become a signature classic.
(Lot 119) I feel like my good friend Mariah Carey would love this-I’m totally
winking at you right now btw!!!
This again was a big hit on my Insta,it literally looks like the butterflies just
landed on my hand.
What a conversation piece!
(Lot 138) Whether it’sVictorian,Art Deco or Modern,
a handmade vintage or antique ring is a talisman that
echoes great romances of the past.
Worn alone or opulently piled on,oversized rings never fail
to make a dazzling statement.
(Lot 240) In any jewellery collection,one absolute essential piece
is hoop earrings.Like a linchpin—a must-have,a go-to,a classic
staple.
Regardless of size,metal,and material,hoop earrings never fail
to make me feel more put together.
(Lot 215) Remember when Big captures the heart of Carrie Bradshaw in
a final scene of Sex and the City 2 & presents her with an eye-popping
5 carat black diamond ring & tells her“because you are not like anyone
else”.
I’ve always had a special place in my heart for black jewellery-not for
everyone I know-but that’s what I love about these.

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(Lot 61) ElizabethTaylor spoke about being a mere custodian of her jewels,and I feel that is the
case with this exquisite necklace.
The next owner will not only inherit the jewel’s past but add new facets to its layered history.
(Lot 51) I have been very heavily influenced by Claire on Instagram as she is the Kween of stacking gold bracelets.
I think it’s a very contemporary way to mix up styles,metals,eras-all on one wrist.
(Lot 85) So when I wear something my Grandmother gave me like this gold bracelet,I think about how
that touched her skin,it makes me feel that she’s still with me.There is something intimate about the
fact that jewellery touches bare skin.
(Lot 141) Apparetly,during lockdown,online jewellery grew as holiday travel
plans were postponed,or plans of almost any kind,because of the pandemic
so people who put money aside for those uses invested it instead in glittering
gems-future heirlooms and pieces with the potential to increase in value over time
(Lot 21) Jewellery should be seen and not heard as I always say!

Tuesday 25th
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1
A GOLD ‘CHAÎNE D'ANCRE ENCHAÎNÉE'
RING, BY HERMÈS, 2020
Composed of a continuous row of anchor chain links,
in 18K gold,signed Hermès,numbered,with maker's mark,
French assay mark,with maker's case and outer box,with
certificate from Hermès in Paris,dated December 16th
2020,ring size M½ (53)
€ 800 - 1,000
2
A PAIR OF ‘CHAÎNE D'ANCRE' EARRINGS,
BY HERMÈS, 2020
Each modelled as a polished gold anchor chain link, in 18K
gold,signed Hermès,numbered,with maker's mark,French assay
mark,with maker's case,pouch and outer box,with certificate
from Hermès in Paris,dated December 16th 2020,length 1cm
€ 500 - 700
3
A ‘TRINITY' RING, BY CARTIER
Designed as three interlocking tri-coloured bands, in
18K gold,signed 'Les musts de Cartier',maker's mark,ring
size approximately L (51)
€ 500 - 700
4
A GOLD ‘FARANDOLE' PENDANT ON CHAIN,
BY HERMÈS, 2020
The polished gold anchor ship chain pendant, suspending
from a fine cable-link chain, in 18K rose gold,signed Hermès,
numbered,with maker's mark,French assay mark,with maker's
case and outer box,with certificate from Hermès in Paris,dated
December 16th 2020,pendant length (including bale):1.6cm,
chain lengths 39 & 41cm
€ 700 - 900
5
A GOLD ‘B ZERO' RING BY BULGARI
The polished segmented band signed 'Bvlgari' on both
rims, in 18K gold,signed Bvlgari,Italian assay mark,Swiss
assay mark,with maker's case and outer box,ring size N
(55)
€ 500 - 700
6
A GOLD BANGLE, BY GUCCI
The frontispiece designed as a stirrup, to a plain 18K gold
bangle,signed Gucci,maker's mark,Italian assay mark,French
import marks,inner diameter 5.9cm
€ 800 - 1,000
1

Tuesday 25th
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A GOLD BRACELET, BY BULGARI
The cable-link chain set at intervals with openwork hoops
inscribed‘Bvlgari’ on both sides, centring a reeded cylinder
also inscribed ‘Bvlgari’ on both sides, mounted in 18K gold,
signed Bulgari,Italian assay mark,length 20.7cm
€ 600 - 800
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A PAIR OF ‘HAPPY DIAMOND’ DIAMOND
EARRINGS, BY CHOPARD
Each heart-shaped glazed compartment containing a col-
let-set floating diamond, within a brilliant-cut diamond
border, mounted in 18K gold,signed Chopard,numbered,Swiss
assay marks,9mm
€ 1,000 - 1,500
10
A DIAMOND THREE-STONE RING
Composed of a trio of brilliant-cut diamonds within
claw-setting weighing approximately 1.00ct total, mounted
in 18K gold,Italian assay mark,ring size M¾
€ 1,000 - 1,500
11
A DIAMOND CROSS PENDANT,
BY THEO FENNELL
The openwork Latin cross pendant pavé-set with bril-
liant-cut diamonds throughout, mounted in 18K gold,signed
Fennell London,with maker’s mark,English hallmarks,diamonds
approximately 0.80ct total,length (including bale):5.9cm
€ 1,200 - 1,800
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A DIAMOND RING
Of crossover design set with graduated brilliant-cut dia-
monds weighing approximately 0.60ct total, mounted in
platinum,ring size M
€ 700 - 900
7
A PAIR OF ‘CHAÎNE D’ANCRE’ PENDENT
EARRINGS, BY HERMÈS, 2020
Each cable-link chain suspending a ship anchor link, with
beading or ropetwist detailing, in 925 silver, signed Hermès,
with maker’s case and certificate from Hermès Paris dated
December 16th 2020,length 5cm
€ 300 - 500

Tuesday 25th
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13
A GARNET, SILVER AND GOLD NECKLACE, BY TIFFANY & CO. 2003
Of foliate design, composed of articulated rectangular silver links embellished with gold leaves
throughout with oval and round-shaped cabochon garnet tipped branches, mounted in 925 silver and
18K gold,signedTiffany & Co.2003,with maker’s case,inner diameter approximately 11.5cm,inner circum-
ference approx.38cm
€ 4,000 - 6,000
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A GARNET, SILVER AND GOLD BRACELET, BY TIFFANY & CO. 2003
Of foliate design, composed of articulated rectangular silver links embellished with gold leaves
with oval and round-shaped cabochon garnet tipped branches, mounted in 925 silver and 18K gold,
signedTiffany & Co.2003,with maker’s case,length 18cm
€ 3,000 - 4,000

Tuesday 25th
22
15
A MID-19TH CENTURY OPAL, ENAMEL
AND GARNET BANGLE
The hinged bangle decorated with floral and foliate
scrolls throughout, terminating with two wolves’ heads,
each with an opal cabochon crown and cushion garnets
for eyes, within a blue and white enamel heart-shaped
frame, mounted in gold,with a maker’s mark‘E(head)5’,
inner diameter 7cm
€ 2,000 - 3,000
16
AN EARLY 20TH CENTURY DIAMOND
BROOCH, CIRCA 1890-1900
The elongated capital C set throughout with old single-cut
diamond highlighted with an old brilliant-cut diamond
on each terminal, between borders of millegrain setting,
mounted in silver and gold,diamonds approximately 1.30ct total,
French assay mark,length 5cm
€ 800 - 1,000
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A LATE 19TH/EARLY 20TH CENTURY
DIAMOND SET, CIRCA 1890-1900
Comprising of a brooch, a ring and a pair of earrings; the
first designed as a bar brooch with a central flowerhead
set with European and single-cut diamonds, between
a similarly-cut diamond trio and scrolling knife-edge
detailing, each pendant earring designed as a similar-
ly-cut diamond flowerhead and a ring set with an old
oval-shaped diamond, all mounted in gold,diamonds approx-
imately 2.50cts total, within fitted case by ‘Premiata Fabbrica,
Oreficeria & Giojelleria ,Coccini di Carlo,Milano,ZeccaVecchia
3’,brooch width 5.9cm,earring length 2.1cm,ring size O½
€ 2,500 - 3,500
18
A PAIR OF LATE 19TH CENTURY DIAMOND
AND PERIDOT BANGLES
Each frontispiece set with old cushion-shaped diamonds
alternately set with oval or cushion-shaped peridots, to
a gallery of scrollwork design, mounted in silver and gold,
French assay marks,with security chain,inner diameter 5.9cm
€ 2,500 - 3,500

Tuesday 25th
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20
A PAIR OF LATE 19TH CENTURY EMERALD AND DIAMOND
PENDENT EARCLIPS
Each drilled emerald bead drop with rose-cut diamond cap, suspended from similarly-cut
diamond connectors of foliate design, with a round-shaped cabochon emerald and old
single-cut diamond surmount, mounted in silver and gold,length 5.2cm
€ 3,000 - 4,000
19
A LATE 19TH CENTURY EMERALD AND DIAMOND NECKLACE
The articulated foliate frontispiece, set with five cabochon emeralds within a frame of old
single-cut diamonds accented with rose-cut diamonds, suspending a later removable oval-
shaped emerald drop weighing approximately 12.00cts, to a fancy-link chain highlighted
with rose-cut diamonds throughout, mounted on silver and gold,diamonds approximately 3.50cts
total,length 39cm
€ 5,000 - 6,000

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21
A LATE 19TH CENTURY EMERALD, ENAMEL AND SEED PEARL BANGLE
The hinged bangle set to the centre with a square-cut emerald weighing approximately 10.00cts, framed by seed
pearls and beadwork detail, continuing with single-cut diamond star motifs on applied black enamel throughout and
between borders of further beadwork detail, mounted in 18K gold, French import marks, with later case by ‘Henri Martin,
Nice - Paris -Vichy’,inner diameter 5.5cm (with gold security chain)
€ 2,000 - 3,000
22
AN ELEGANT 19TH CENTURY RUBY, SAPPHIRE AND DIAMOND BROOCH, CIRCA 1880
Designed as an openwork bow, set with a central round-shaped ruby cabochon between two similarly-cut sapphire
cabochons, within a surround of old pear, round and rose-cut diamonds, with millegrain detailing, mounted in silver
and gold,diamonds approximately 3.00cts total,within later red suede fitted case,width 7.5cm
€ 2,500 - 3,500

Tuesday 25th
23
A LATE 19TH CENTURY DIAMOND BROOCH,
CIRCA 1870
Designed as a stylised insect, the body set with rose-cut
diamonds throughout and emeralds for eyes, mounted in
silver and gold,length 3.5cm
€ 1,500 - 2,000
24
A LATE 19TH CENTURY PEARL AND DIAMOND
PENDANT, CIRCA 1880
Set to the centre with a line of five pearls of white tint,
within a large pierced frame set throughout with old cush-
ion and rose-cut diamonds, accented with further pearls,
to a similarly-cut diamond bale, mounted in silver and gold,
diamonds approximately 5.50cts total,within fitted case by
‘Joseph Pyke,138 New Bond St.London’,length 8cm
€ 5,000 - 6,000
Please note that the pearls have not been tested for natural origin

26
A LATE 19TH CENTURY DIAMOND OPEN
FACE LAPEL WATCH, CIRCA 1870
Jewelled keyless manual wind movement, white
enamel dial with black Roman numerals and minute
track, blue minute Arabic numerals, gilt fancy hour
and minute hands, plastic crystal, silver-topped gold
case, hinged case back set throughout with rose-cut
diamonds, with similarly-set diamond suspension bow
and suspending from a similarly-cut diamond bow
brooch, back case opens to reveal inscriptions‘Fontana Fres,
Galerie deValois 122,123,124.Palais Royal,Paris’,mount-
ed in silver and gold,within case,4.7cm,case width 2.3cm
€ 2,800 - 3,200
25
AN EARLY 20TH CENTURY SAPPHIRE AND
DIAMOND OPEN FACE LAPEL WATCH,
BY TIFFANY & CO., CIRCA 1910
Jewelled keyless manual wind movement, cream dial with
gilt Arabic numerals and dot minute track, fancy hour and
minute hands, plastic crystal, gold case, hinged case back,
the reverse with foliate detailing centring a fancy-cut sap-
phire within collet-setting, accented with old single-cut
diamonds and circular-cut sapphires, suspending from a
similarly-cut diamond surmount, dial,movement and signed
Tiffany & Co.,mounted in silver and gold,length 4.5cm,case
width 1.8cm
€ 6,000 - 7,000

Tuesday 25th
28
27
AN ART DECO JADE AND DIAMOND BRACELET, CIRCA 1930
Composed of a series of carved jade rectangular plaques set alternately with openwork diamond-set links and connec-
tors with millegrain details, mounted in platinum, clasp 14K gold, with inscriptions ‘N. J. K, 9.23.30’, within fitted case with
initials‘N.J.K’,length 17.9cm
€ 5,000 - 6,000
29
A FINE ART DECO SAPPHIRE AND DIAMOND RING, CIRCA 1920
The elongated octagonal-shape sapphire weighing approximately 4.30cts, between baguette-cut diamond shoulders, ring
size J
€ 14,000 - 18,000
Accompanied by a report from the National Institute of Gemmology in Italy, stating that the sapphire weighing approx-
imately 4.30cts is of Burmese (Myanmar) origin, with no indications of heating. Report number 27365, dated May
3rd 2019
28
A PAIR OF ART DECO DIAMOND AND ONYX LORGNETTE,
CIRCA 1925
The cut-cornered rectangular onyx cover panel with an applied rose-cut diamond
frame with millegrain detailing, to an openwork European and single-cut diamond
surmount with further millegrain detailing, opens to reveal white gold rectangular
spectacles, mounted in 18K gold and platinum, French assay marks, maker’s mark ‘CP’,
length (closed) 6.7cm
€ 700 - 900

Tuesday 25th
30
30
A BELLE EPOQUE JADE AND DIAMOND
BRACELET, CIRCA 1910
Designed as a series of finely pierced geometric panels,
with three oval-shaped cabochon jades at the centre, set
throughout with rose-cut diamonds, accented by larger
old brilliant-cut diamonds, mounted in 18K gold,diamonds
approximately 5.00cts total,French assay marks,maker’s mark
‘AH’possibly for Auguste Hagneaux,length 18cm
€ 4,000 - 5,000
31
A BELLE EPOQUE JADE AND DIAMOND
DRESS RING, CIRCA 1910
Composed of an oval-shaped carved jade plaque
accented with an old European-cut diamond between
single-cut diamond shoulders, with millegrain detail-
ing, mounted in 18K gold and platinum,within fitted case,
ring size N¾
€ 1,200 - 1,800

31
32
A GEM-SET AND DIAMOND CHARM BRACELET
The fancy-link platinum chain suspending eleven charms
set with coloured gems and diamonds depicting a fish, a
bird, a horseshoe, a gold club, an umbrella etc... within
millegrain setting throughout,length 18.5cm
€ 2,500 - 3,500
33
AN EARLY 20TH CENTURY SAPPHIRE AND
DIAMOND BROOCH
Composed of a central cushion-shaped sapphire within a
pierced marquise-shaped plaque with millegrain detail-
ing, set throughout with old brilliant and cushion-shaped
diamonds, diamonds approximately 5.00cts total,width 3.6cm,
length 2.6cm
€ 2,000 - 3,000

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34
A RETRO RUBY AND DIAMOND RING, CIRCA 1945
Composed of four calibré-cut rubies with single-cut diamond accents within
millegrain detail, mounted in gold,ring size G½
€ 550 - 650
35
A GOLD NECKLACE, BY SALVADOR DALI, CIRCA 1945
The pendant modelled as a boy riding a dolphin, to a fancy-link chain inter-
spersed with shell motifs, in 18K gold, signed Dali, numbered, pendant length
3.2cm,necklace lengths 39 & 58.5cm
€ 1,700 - 2,300
36
A DIAMOND JARRETIÈRE BRACELET,
CIRCA 1940
The highly flexible bracelet of honeycomb design, to a
single-cut diamond clasp with ropetwist detailing, mounted
in gold,diamonds approximately 0.90ct total,length 18.5cm
€ 4,000 - 5,000
37
A DIAMOND SINGLE-STONE RING,
CIRCA 1950
Of openwork foliate design centring an old brilliant-cut
diamond weighing approximately 1.60cts, between sim-
ilarly-cut diamond shoulders, mounted in gold, remaining
diamond approximately 0.40ct total,ring size L¼
€ 2,500 - 3,500
The name of Salvador Dalí has become synonymous with surreal and often disturbing paintings that drip and stalk their
way across canvases. Dalí believed that art should come from the sub-conscious and, for this reason, he would work
himself into a highly paranoid state in which his mind would be suffused with imagery. He then formed these‘dreams’
into art, conveying his thoughts through what he considered a universal language of the sub-conscious.
In 1940, Dalí moved to America to escape the tumult ofWWII and, here, he began to express himself through a new
medium.With the help of CarlosAlemany, anArgentinian born gold and silversmith, Dalí recreated his thoughts in pre-
cious metals and stones.Each piece of jewellery was to perform as an artwork and was diligently handmade according to
Dalí’s precise instructions.His wearable artworks took on fantastical forms and he played with common ideas to nurture
fresh meanings. His watchful eye of time saw a clock immersed within an iris and he brought a new interpretation to a
pearly white smile when he displayed rows of actual pearls gleaming from within ruby red lips. His preoccupation with
metamorphism and the belief that humans affected change also saw figures which seemed to flow seamlessly into other
forms.An example of this is the current lot where both boy and dolphin appear as an extension of the other.

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38
A GOLD NECKLACE, BY CABRILHAC, CIRCA 1955
Composed of a continuous series of pierced fan-shaped links with scrolling connection surmount, in 18K gold,
with maker’s mark for Cabrilhac,French assay marks,length 41.5cm
€ 2,200 - 2,800
Cabrilhac was an established atelier on 7 rue Charlot, in the third district of Paris, who provided works for
Cartier amongst others.The company stopped all activities in the late 1990s.

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A GOLD RETRO TANK BRACELET, CIRCA 1945
Of tank design, the articulated geometric gold band composed of concave pyramidal and
tubular panels with reeded details, with gold security chain, in 18K gold,with French assay
marks,maker’s mark‘GL’for Lavigne GL,length 18.5cm
€ 2,800 - 3,200
40
A GOLD RETRO BRACELET, BY CABRILHAC, CIRCA 1945
The articulated bracelet composed of a central line of arrow-shaped links between fan-shaped
borders, mounted in 18K gold,with maker’s mark‘RC’for Cabrilhac,French assay marks,length
18.5cm
€ 2,800 - 3,200

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41
A DIAMOND CROSS PENDANT ON CHAIN
The Latin cross set with European-cut diamonds throughout, to a similarly-cut diamond bale,
within millegrain detailing, suspending from a cable-link chain, chain in platinum,diamonds approx-
imately 1.70cts total,pendant length (including bale):4.9cm
€ 1,000 - 1,500

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AN ELEGANT DIAMOND BROOCH, CIRCA 1950
Of stylised tied openwork design, accented with brilliant-cut
diamonds throughout, mounted in platinum,diamonds approx
imately 2.50cts total,with partial maker’s mark‘A?’,French assay
mark,length 5.5cm
€ 1,400 - 1,800
43
A SAPPHIRE AND DIAMOND BRACELET
The highly articulated openwork design, with geometric links set
with brilliant-cut diamonds alternated with French-cut sapphire
links, with similarly-cut diamond connectors with millegrain detail
ing, mounted in platinum,diamonds approximately 7.00cts total,length
19.8cm
€ 6,000 - 7,000
44
A DIAMOND DOUBLE-CLIP BROOCH, CIRCA 1950
Each of scrolling design with volute detail, comprised of round
brilliant-cut diamonds throughout, mounted in 18K gold,diamonds
approximately 7.30cts total,French assay marks,with maker’s
marks‘CG’,length 5.6cm
€ 5,000 - 6,000

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The Pindhos mountain range in Greece has long been revered as an esteemed place.The peaks were once seen as a
place for worship, reverent believers congregating at the Sanctuary of Dodona to praise Zeus. Others acknowledged
the mountains as concealing the entrance to the Underworld and poets, such as Homer, immortalised the range
through their words. In more recent years, the mountains have yielded something more tangible, but nonetheless
remarkable. Here, in the village of Kallarrytes, we find an ancient silversmithing trade whose humble origins gave rise
to one of the greatest jewellery houses in the world: Bulgari.
The Pindhos silver trade was painstakingly passed from father to son and, with the birth of Sotirios Boulgaris in 1857,
the tradition was continued. Growing up in the village of Paramythia, Sotirios deftly developed his skills as a silver-
smith and when his family was forced to leave the town, he and his father travelled from place to place selling their
trade. However, unrest continued to grow under Ottoman rule and the Boulgaris family made the decision to leave
Greece and settled in Corfu. Here, the young Sotirios grew restless, pulled by his desire to achieve greater things and,
thus, when the opportunity was offered to him by his old acquaintance and fellow silversmith, Demetrios Kremos, he
left his father and travelled to Italy.After a brief spell in Naples, Kremos and Boulgaris arrived in Rome in 1881, vir-
tually penniless but determined to make their mark.They set up a small shop at 75Via Sistina but within three years
their success had spurred Sotirios to leave the partnership and he established his own shop at No.85.
Sotirios' business flourished and, ten years later, he opened a second shop, trading in antiques, silver and jewels. It is
from this point that we see Sotirios losing his Greek identity and reinventing himself under the name of Bulgari.
In 1905, Sotirios began to put a greater emphasis on jewellery and introduced his sons, Constantino and Giorgio to
the business. He purchased a new building at 10Via dei Condotti and, by the end ofWWI, jewellery had become the
focus of Bulgari, with silver and antiques only being sold on a small scale.
In 1932, Sotirios passed away, leaving his company and the foundations of a legacy in the capable hands of his two
sons. Constantino and Giorgio wasted no time in transforming Bulgari's image and they expanded the shop atVia dei
Condotti, reopening in 1934.The Condotti premises encapsulated what 30s' decadence truly meant. Porphyry urns
and marble columns rose from highly polished floors whilst gilded surfaces softly reflected those lucky enough to walk
by.Yet the true luxury was cradled within finely made cabinets as jewels glimmered alongside carefully worked silver
and gold.
With a particular interest in jewellery, Giorgio took the over the main running of the business, which allowed Con-
stantino to follow his true passion which, loyal to his ancestors, was the study of silver.As the centre of jewellery pro-
duction, Giorgio made frequent trips to Paris to buy high quality jewels and was exposed to the latest ideas in fashion,
allowing Bulgari to be a spearhead for fine jewellery design.
After thirty years at the helm, steering Bulgari into position as one of the leading names in jewellery, Giorgio passed
the business to his three sons, just one year before he died in 1966.They inherited a company that was now synon-
ymous with celebrity and high-end luxury. Bulgari was jeweller to the stars, counting amongst its patrons royalty,
business magnates, actors and heiresses. Since then, the company has only grown in strength, with stores around the
globe and a strong international following.

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45
A MAGNIFICENT DIAMOND BRACELET, BY BULGARI, CIRCA 1950
The highly articulated bracelet designed with three rows of brilliant-cut diamonds within claw-setting, mounted
in platinum,diamonds approximately 20-22cts total,signed Bvlgari,with maker’s case,length 17cm
€ 25,000 - 35,000

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The 1950s and 60s heralded in a golden era for Bulgari.Already prosperous, the post-war economic boom lifted jewellery
to new heights. During this time, Bulgari become known for its rare and precious stones and was keenly sought after by
all who wanted a jewel more inspiring than any they had ever owned.
During the 50s, Paris was still the centre of jewellery production and thus Bulgari's designs were heavily influenced by
French style.Asymmetrical floral sprays were particularly popular, the motifs born from the Rococo period of the 18th
century. Curving lines and feminine bows worked to offset exquisite, coloured stones, set against white metal to enhance
the lucidity of the gems.
In the early 1960s, Italian jewellery was finally given
the pedestal that it deserved and was able to step forth
from France's shadow. 1962 saw the first exhibition of
Italian jewellers in Paris and one English trade magazine
noted that 'Italy has built her post-war revival upon de-
sign'. Bulgari now began forging its own style, moving
away from dainty pieces and creating bold, symmetrical
items in compact forms.Borders lost their more natural,
rugged shapes and became smooth, aided by Bulgari's
signature use of marquise cut stones angled in the one
direction.
The flourishing film trade further catapulted Bulgari's name during the
50s and 60s. Enabled byThe Cinecittà Studios, directors and filmmakers
shot on location in Rome, dubbing the city 'Hollywood on theTiber'. Stars
flocked to the eternal city, sent by work but captivated by the luxury held
within. In particular, Bulgari became the go to place for the visiting elite,
with ElizabethTaylor stating that "undeniably one of the biggest advantag-
es to filming Cleopatra in Rome was Bulgari's shop".Taylor's relationship
with the brand became a lifelong love affair and she amassed a jewellery
collection which went on to set records when it was sold at auction in
2011.
AndyWarhol could also be seen walking through the doors atVia Condot-
ti. An advocate for design,Warhol declared Bulgari as aesthetic creators
when he claimed that a visit to Bulgari provided 'the best exhibition of
contemporary art'. As they strived ahead with ever more daring designs,
Bulgari's signature creations were bold and unashamed. They boasted
bright stones, dazzling diamonds and formidable shapes, all artfully com-
ing together in such a way that they might enhance the wearer but not
outshine them.

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46
AN ELEGANT SAPPHIRE, RUBY AND DIAMOND SPRAY BROOCH, BY BULGARI, CIRCA 1960
Of floral spray design, the flowerheads set with oval-shaped sapphire and pear-shaped ruby petals and brilliant-cut dia-
mond pistils accented with similarly-cut diamond, circular-cut ruby and sapphire accents, to the baguette-cut diamond
stem and stylised ribbon, mounted in 18K gold and platinum,diamonds approximately 6.00cts total,signed Bvlgari,French assay
marks,with Bulgari case,length 4.9,width 3.8cm
€ 8,000 - 12,000
Ref:Bulgari,by Daniel Mascetti & AmandaTriossi.For some similar brooches are illustrated in the same book,pages 76,77,78 & 80.

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47
A GOLD CHAIN NECKLACE, BY CARTIER
Composed of a fancy-link chain in 18K gold, signed Cartier Paris,numbered,French assay marks,
with Cartier pouch,length 54cm
€ 800 - 1,000
48
A GEM-SET NOVELTY BROOCH, CIRCA 1965
Modelled as a whimsical bear wearing a polished gold bandana, accented with a circular-cut
ruby nose, a cabochon emerald and single-cut diamond eye to textured gold coat, mounted in
18K gold,maker’s mark,French assay mark,length 3.3cm
€ 700 - 900
49
A ROCK CRYSTAL AND DIAMOND FLOWER BROOCH, BY TRABUCCO
Composed of two stylised flowers, each flowerhead set with carved purplish-blue rock crystal
petals with a round brilliant-cut diamond pistil, to engraved gold petals and polished stems,
mounted in 18K gold,signedTrab,length 11cm
€ 1,500 - 2,000

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50
A PAIR OF EMERALD EARRINGS WITH A BROOCH EN SUITE, BY WEINGRILL, CIRCA 1960
Each earring designed as a reeded openwork knot centring an emerald cabochon, with its brooch en suite, mounted in
18K gold,Italian assay mark‘15Vr’registered forWeingrill,earring length 2.2cm,brooch length 2.6cm
€ 1,200 - 1,800
51
A GOLD BRACELET, BY WEINGRILL, CIRCA 1950
Designed as a series of interlocking polished gold links, in 18K gold,with maker’s mark‘CW’for CarloWeingrill,Italian
assay mark forVerona,length 19cm
€ 4,000 - 5,000
Born inVerona in 1856, CarloWeingrill began his career early, earning an apprenticeship in a goldsmith's shop at
the age of eleven.After over a decade of training, Carlo established his own workshop in his hometown in 1879. It spe-
cialised in making the finest 18ct gold jewels using the highest quality materials and craftsmanship.
From the beginning Carlo employed goldsmiths who handcrafted their jewellery rather than using machines.The im-
portance of this kind of artistry and exceptional knowledge of one material was very important to the vision of the
Weingrill brand. This tradition of expertise continues within the company and the jewellery produced are timeless
pieces, wearable works of art such as heavy gold link chains and bracelets which fit the body perfectly.While intricate
in their composition such as the complex interlinked design of the bracelet in this sale, they are comfortable and also
highly elegant everyday pieces.
After Carlo's death in 1924, the company was taken over by his two sonsArmando and Gastone.They set about expand-
ing this artisan company into a major international name which gained worldwide prestige for its workmanship. How-
ever, despite its success, the house has always remained tied to its history, with the fourth generation of theWeingrill
family, Carlofilippo, now head of the company.
Gold has always been the mainstay of the company's designs, eschewing diamonds and coloured gemstones, which
are used sparingly.The distinctive warm yellow tone of the Italian gold has become synonymous with the house, with
Weingrill designing some of the most famous signature gold jewellery of the 20th century. For Cartier they created the
Trinity bangles, the gold cuff bracelets forTiffany and probably most notably the tuboga-style bracelets, necklaces and
rings for Bulgari.

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52
A GEM-SET NOVELTY BROOCH, BY LACLOCHE FRÈRES, CIRCA 1960
Designed as a stylised elephant with beading detailing throughout, the gold saddle cloth
accented with circular-cut rubies with ropetwist and reeded details and similarly-cut sap-
phire for eye, mounted in 18K gold,signed J.Lacloche Paris Cannes,maker’s mark‘Sté G’,French
assay mark,width 4.2cm
€ 3,000 - 4,000
53
A TIGER’S EYE, AVENTURINE AND GOLD BRACELET, CIRCA 1965
Composed of alternated polished tiger’s eye, aventurine and engraved gold beads, joined
by gold ropetwist connectors, mounted in gold,length 22.8cm
€ 1,000 - 1,500
54
A SAPPHIRE AND DIAMOND COCKTAIL RING, CIRCA 1960
Of foliate design, centred with a round-shaped cabochon sapphire within a star-motif
frame accented with brilliant-cut diamonds, the gallery of textured gold leaf surround
with further similarly-cut diamond accents, mounted in 18K gold,French import mark,maker’s
mark,ring size O
€ 2,500 - 3,500

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55
AN ELEGANT CIGARETTE CASE & PHOTO FRAME BY LACLOCHE FRÈRES, PARIS
Of rectangular form, the hinged lid applied with initials‘GC’ with rose-cut diamonds and engraved crest, with dia-
mond clasp opening to reveal two sections, one with painted miniature of a Lady dressed in lilac by C.S.Willschek,
the other a cigarette holder with adjustable gold strap, in 14K gold, Signed‘LACLOCHE FRÈS PARIS’to the rim. With
original fitted box.355 grams (including miniature).16cm long,8.5cm wide,1.5cm deep
€ 14,000 - 18,000

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56
A DIAMOND SPRAY BROOCH, BY STERLÉ, CIRCA 1965
Composed of two sculpted gold flowerheads of openwork design, the coiled gold petals highlighted with old brilliant
and cushion-shaped diamond pistils, mounted in 18K gold and platinum,diamonds approximately 7.00cts total,with partially
visible maker’s mark,with French import marks,length 5cm,width 5.6cm
€ 6,000 - 8,000

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58
A GEM-SET AND DIAMOND BRACELET, BY BOUCHERON, CIRCA 1960
Composed of fluted foliate links, highlighted with circular cabochon sapphires, emeralds and rubies, each
accented by a trio of brilliant-cut diamonds, with ropetwist detailing, mounted in 18K gold and platinum,signed
Boucheron Paris,French assay marks,length 17cm
€ 6,000 - 8,000
57
A GEM-SET AND DIAMOND NECKLACE, BY BOUCHERON, CIRCA 1960
Composed of fluted foliate links, the frontispiece set with circular cabochon sapphires,
emeralds and rubies, accented by brilliant-cut diamonds, mounted in 18K gold and platinum,
signed Boucheron Paris,French assay marks,(partial) maker’s mark,length 38cm
€ 10,000 - 15,000

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One hundred and sixty years ago, the son of
a couturier named Frédéric Boucheron
opened his first jewellery boutique in the Gal-
erie deValois in Paris.So successful was he here
that by 1893, he left the arcades of the Palais
Royal to open a new street level shop at No.26
Place Vendôme, becoming the first contempo-
rary jewellery in the place now synonymous with
high jewellery and fashion.
This location not only attracted high society cli-
entele but it also had space above the shop for
Boucheron’s workshop. From here, Boucheron’s
grandiose trail-blazing designs paved the way for
future generations of designers. Using not only fine
gemstones but also exotic materials such as lapis
lazuli, coral, hematite, onyx, hemp and snakewood,
Boucheron created imaginative majestic designs
driven by a passion for abstraction.
The Maison continues to this day to honour its
founders’ ideals, constantly striving to push the
boundaries of high jewellery with new materials
and innovative craftsmanship. The legendary name
of Boucheron maintains its position within the high
jewellery hall of fame.
Boucheron is a French family dynasty founded by
Frédéric Boucheron, an expert in precious stones,
a masterful technician and creator of beautiful jew-
ellery.
In 1958 he opened his first boutique in the Gal-
erie deValois under the arcades of the Palais Roy-
al which at that time was the centre of the Parian
luxury trade. It was one of the first companies to
open a boutique in the famed Place Vendôme in
Paris, where Boucheron still operates successfully
today.In 1897,Boucheron opened a store in Mos-
cow, later transferred to Saint Petersburg in 1911
(the Moscow boutique was reopened in 2003). In
1903 a store in London’s New Bond Street and an
office in New York were established. More establish-
ments followed in Japan in 1973, Shanghai, Dubai in 2005 and finally Hong Kong and Kuala Lumpur in 2006.Today
House of Boucheron has 34 boutiques worldwide and an online e-commerce website.
Boucheron has a long history of royal custom. In 1878, the Russian Prince FelixYoussoupoff purchased a corsage decorated
with 6 detachable diamond bows during one of his visits to Paris.In 1921 a tiara was commissioned for Lady Greville,which
was later given to the late Queen Elizabeth‘The Queen Mother’. Prince Charles then passed the tiara to his wife Camilla,
Duchess of Cornwall. Queen Elizabeth II also has a collection of Boucheron jewels. In addition to CzarAlexander III, royal
patrons of Boucheron have included Maharajah Sir Bhupinder Singh of Patiala, Riza Shah Pahlevi, Queen Farida of Egypt
and Queen Rania of Jordan.
In 1968 Boucheron launched the first piece of the Serpent collection.This protective animal, symbol of eternity, will be-
come one of the Houses key emblems. In 2003 the House of Boucheron launched theAva Collection in homage of the eter-
nal grace of Ava Gardner. 2005 was a very creative year for the House of Boucheron, the‘Trouble’,‘Quatre’,‘Diablotine’

53
59
A DIAMOND BROOCH, BY BOUCHERON, CIRCA 1965
Of foliate design, composed of two intertwined stylised leaves each centrally set with brilliant-cut diamonds, mounted
in 18K gold and platinum,diamonds approximately 3.00cts total,signed Boucheron Paris,numbered,with maker’s mark for André
Vassort,French assay marks,with maker’s grey suede case‘Boucheron Paris,London,NewYork’ case,length 6.7cm
€ 6,000 - 7,000
60
A FINE DIAMOND RING, BY BOUCHERON, CIRCA 1970
The navette-shaped plaque of bombé form, set with brilliant-cut diamonds, between gold borders of openwork wavy
design, mounted in 18K gold and platinum,diamonds approximately 3.00cts total,signed Boucheron Paris,numbered,with par-
tial maker’s mark for‘Atelier de JoaillerieVendôme’,French assay marks,ring size K
€ 5,000 - 7,000
Workshop mark‘Atelier de JoaillerieVendôme’ registered in 1967, located 26 placeVendôme in the 1st district of
Paris, working for Boucheron, also located at this address.

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61
AN ELEGANT DIAMOND NECKLACE, BY BOUCHERON, CIRCA 1965
The highly articulated and asymmetrical necklace with graduated foliate links, the frontispiece accented
with brilliant-cut diamonds, mounted in 18K gold and platinum, signed Boucheron Paris, numbered, maker’s
mark‘AV’for André Vassort,French assay marks,length approximately 40.5cm
€ 10,000 - 15,000
In the secluded streets of Paris,shadowed by the celebrity of the great jewellery maisons of France,work
the craftsmen whose talents satisfy the constant appetite for glamour.
In December 1955, at 34 rue SainteAnne, AndréVassort registered his atelier and soon became one
of the most sought-after jewellers in France. He was quickly employed by names such as Boucheron,
Van Cleef andArpels,Mauboussin and FRED.His work adorned their most discerning clients and he be-
came a favourite in carrying out special commissions. Of particular note was the crown that he created
underVan Cleef and Arpels for Empress Farah of Iran.Taking six months to complete, the magnificent
piece is iridescent with diamonds, emeralds, rubies and pearls, mounted in white gold and set against a
backdrop of forest-green velvet.
Vassort specialised in working with gold, drawn to the warmth and texture that could be coaxed from
the metal, however, he did not shy away from other materials. His understanding of gemstones allowed
him to create bold and colourful pieces, exemplified in this lot.Working anonymously for larger houses,
a large portion ofVassort's work is unsigned, but, here, we are gifted with his maker's mark 'AV'.
WhenAndréVassort closed his workshop in the early 1990s,his name and work were revered within the
jewellery industry and his pieces had become synonymous with enduring quality.

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62
A CORAL AND DIAMOND DRESS RING,
CIRCA 1960
Of bombé form, set with a central oval-shaped cabochon
corallium rubrum coral, within a surround of brilliant-cut
diamonds, to a ropetwist wire gallery and hoop, mounted in
14K gold,diamonds approximately 0.80ct total,ring size K
€ 1,200 - 1,800
63
A PAIR OF CORAL AND DIAMOND EARCLIPS
Each oval-shaped cabochon corallium rubrum coral within
a ropetwist frames, accented with a trio of brilliant-cut dia-
monds,mounted in 14K gold,signed K.Lambert,length 3cm
€ 1,800 - 2,200
64
A FINE CORAL BEAD NECKLACE
Composed of a single row of graduated round-shaped cor-
allium rubrum coral beads measuring approximately 11.80-
14.87mm, finishing with an oval-shaped corallium rubrum coral
cabochon applied on an 18K gold clasp,length 52.3cm
€ 3,000 - 5,000
66
A TURQUOISE BRACELET, BY CARTIER, CIRCA 1965
The articulated ropetwist links set with circular cabochon turquoise highlights, mounted in 18K gold,
signed Cartier,numbered,with maker’s mark‘LV’for LucienVachey,French assay marks,length 18.3cm
€ 4,500 - 5,500
Lucien Vachey was a goldsmith as well as a sculptor. His workshop was registered 45 avenue des
Ternes in the 17th district of Paris from the 1960’s until the 2000’s. He patented ‘silver platinum’
which was a special blackened silver allow.The workshop produced for Hermes & Cartier amongst
other famous French brands. He passed away in February 2021 at 96 years old.
65
A DIAMOND FLOWER BROOCH, CIRCA 1960
Designed as a stylised elongated flower, the polished and
textured gold petals with ropetwist borders, embellished
with brilliant-cut diamonds, mounted in 18K gold,maker’s
mark,French assay mark,length 7.6cm
€ 800 - 1,000

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67
A GOLD COIN BRACELET, BY UNO A ERRE, CIRCA 1955
Composed of five gold coins within ropetwist frames, the central coin of the United States dated 1880, between
three of Napoleon III empire dated 1862, and one of Emperor Franz Josef dated 1883, framed by polished gold links,
connected by gold reeded links, mounted on 18K gold, with maker’s mark ‘UNO AR’, with Italian assay mark dated between
1944-1968‘AR’for Arezzo,length 19cm
€ 4,000 - 5,000
Uno A Erre was established in 1926, bearing the name Gori & Zucchi after its founders, Leopoldo Gori and Carlo
Zucchi.The first workshop was located in the centre of Arezzo city, nestled between Via Seteria and Corso Italia. In
1934, Gori & Zucchi was honoured by becoming the first goldsmithing company in Arezzo to receive a hallmark.This
hallmark, consisting of the number one to denote the first andAR to signifyArezzo, went on to become the company's
new name, UnoA Erre.
FollowingWWII, UnoA Erre decided to utilise the industrial production methods that had become mainstream during
the war to manufacture their jewellery.This greatly reduced costs and allowed the company to expand so that, by the
1960s, there were just under 1,500 employees.
In the early sixties, the Medaglia dell'Amore was conceived, a love token inspired by poet Rosemonde G. Rostand's
verse 'I love you more than yesterday but less than tomorrow'.The following twenty years saw the demand for craft
medals increase dramatically and an international competition for medals and art plaques was set up. UnoA Erre began
collaborations with various artists and,with the opening of academies,such as the Centro Studi Superiori diArte Orafa,
they devoted great attention to the training of their goldsmiths.The medals were presented in many forms, including
pendants, charms and bracelets and covered a variety of subjects, both religious and secular.
In 1998, UnoA Erre highlighted their jewellery as an art form when they founded the first Italian museum dedicated to
goldsmithing.The museum explores the industry from its ancient inception up to the present day.

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68
A GOLD BROOCH, BY GEORGES LENFANT, FOR BULGARI,
CIRCA 1970
Designed as a realistic ribbon bow of textured gold, in 18K gold, signed Bvlgari,
with maker’s mark‘GL’for Georges Lenfant,with Bulgari pouch,width 5.2cm,length 3.5cm
€ 2,000 - 3,000
69
A GOLD NOVELTY BROOCH, BY GEORGES LENFANT,
FOR JEAN ÉTÉ, CIRCA 1965
Designed as an elegant stylised owl, decorated with textured gold with
engraved plumage, the eyes with filigree detailing, in 18K gold,signed Jean
Été,with maker’s mark‘GL’for Georges Lenfant,French assay mark,length 4.7cm
€ 4,500 - 5,500
Georges Lenfant was born into the world of French jewellery design and he quickly became a master of his trade. Growing up,
he undertook several apprenticeships before studying jewellery in Paris and abroad. In 1900, Georges set up his own workshop at
47 rue des Petits-Champs, minutes away from his patrons at the PlaceVendôme and rue de la Paix. He was well established by 1903
and was listed in a publication of the Revue de la Bijouterie, Joaillerie, Orfèvrerie of that year. His creative designs and flawless
execution put him in demand with the larger jewellery houses and, in a bid not to be forgotten behind infamous names such as
Cartier, Mellerio dits Meller andVan Cleef & Arpels, Georges established a maker's mark in 1909
and proceeded to stamp each piece before it left his workshop.
In 1915, Georges was joined in the firm by his son Jacques who, at the age of just eleven, was
eager to learn the art of jewellery. His keen interest would stand by him as, in time, Jacques
would take over the business and create some of Georges Lenfant's most memorable designs.
Neither Georges nor Jacques shied away from collaboration and the Georges Lenfant company
had been working with Sandoz for many years when, in 1927, Gustave-Roger Sandoz sold
his business to Georges under the condition that his son, Gérard Sandoz, remained as artistic
director. Between them, they created striking examples of Art Moderne jewellery, their work
infused with bold lines, bright colours and contrasting shapes.
Following the end ofWWII, Lenfant took overVerger Frères.This heralded a new collabo-
ration withVacheron Constantin, who had been working withVerger Frères for some time.
Constantin and Lenfant busied themselves with watch design and, together, they created
statement pieces for Hermes.
The 1960s and 70s saw Jacques at the helm of Georges Lenfant and his passion for goldsmith-
ing led to beautiful textured pieces that celebrated the versatility of the metal. In the current
lot, designed for Jean Été, several techniques are utilised to depict the owl's form, each method
carefully chosen to suit a different part of the bird.
Jacques' captivation by the different shapes and textures that could be wrought with gold led to his
signature chain pieces as he was fascinated by how the interlocking links could be arranged into a
myriad of patterns. Over three thousand pieces were inspired by the chain motif and are now some
of Georges Lenfant's most notable creations.
In 2003, Georges Lenfant was bought by Bouder and ceased to operate. However, pieces bearing
the Lenfant mark continue to prove popular, their numerous collaborations meaning that there is a design to suit everyone.

Tuesday 25th
60
70
A SAPPHIRE, ENAMEL AND GOLD SERPENT BRACELET, CIRCA 1960
Designed as a swirling snake with gold articulated scales, the head decorated with green,
blue and brown enamel, two circular-cut sapphires for eyes and three further similarly-cut
sapphire accents, mounted in gold,length approximately 21.6cm
€ 2,500 - 3,500
71
A RUBY AND DIAMOND BRACELET, BY UNO A ERRE, CIRCA 1960
The articulated wide bracelet of woven mesh links, highlighted with circular-cut ruby and
single-cut diamond flowerheads, mounted in 18K gold,with maker’s mark‘Uno AR’,Italian assay
mark for Arezzo,French import mark,length 19.8cm
€ 3,000 - 4,000

61
72
A GOLD BRACELET, BY GERMANO ALFONSI, CIRCA 1960
Composed of five panels, each cast in high relief depicting the legend of Achilles, withT-bar and loop clasp, in 18K
gold,each panel signed,length 19cm
€ 4,000 - 5,000
A similar bracelet sold at Sotheby’s on March 2019,lot 83,for €11,250.-
Nino D'Antonio Germano was born to the Alfonsi family of jewellers in Rome in 1926. He was predominantly a
sculptor, working in bronze through the use of the lost wax process. He carried this technique over to his jewellery
making, bringing a sculptural element to his work. As the lost wax method causes the mould to degrade, Germano's
designs could only be a carried out a finite number of times,making each piece one of a very limited edition.He worked
in 18k gold and would sign his work 'Germano'.
Germano's main inspiration was drawn from classical art and many of his pieces carry mythological themes. Further-
more, the gold is acid washed to create a soft hue, delicately mimicking the jewellery found on archaeological sites.A
perfect example of this is the current lot which artfully depicts the tale of Achilles. Set against a plain background, the
figures bear a striking resemblance to those found on Greek and Roman friezes, the muscular forms paying tribute to
the perfection of the human physique and the immortal lineage of Achilles.Achilles' victories are juxtaposed with his
demise, the two end plaques depicting Paris with his bow and a defeatedAchilles with an arrow in his heel.

Tuesday 25th
62
73
A DIAMOND-SET AND GOLD LIGHTER, BY CARTIER PARIS,
CIRCA 1940
The textured gold lighter highlighted with three baguette-cut diamonds,
mounted in 18K gold and platinum,signed Cartier Paris,numbered,with maker’s mark,
French assay marks,with suede pouch,within Cartier fitted case,length 6.9cm,total
gross weight approx.80.91g,in working condition
€ 1,800 - 2,200
74
AN 18K AUTOMATIC WRISTWATCH, BY LONGINES, CIRCA 1970
26-jewel L631J-Cal automatic movement, the black dial with light motifs, gilt baton hour markers and sword hands,
to a cushion-shaped polished case and fitted integral mesh-gold bracelet, dial,movement signed,logo on crown and clasp,
case no.173987** & 462816**,serial no.522377**, in 18K gold,Swiss assay mark,with maker's original case,length 19cm,
case width 3.6cm
€ 4,000 - 5,000

63
75
A MID-SIZE STAINLESS STEEL AUTOMATIC BUBBLE BACK
WRISTWATCH, BY ROLEX, CIRCA 1945
The 17-jewel Cal 9¾ automatic super balance movement, cream dial, applied
tipped dart hour markers, black outer 1/5th second divisions, gilt dagger hands,
round brushed and polished case, screw down bubble back and crown, fixed
engraved bezel, dial and movement signed,case no.3505**,ref.337*,on brown leather
bracelet and steel buckle,case width (with crown):3.4cm
€ 1,200 - 1,800
77
A STAINLESS STEEL CALENDAR OYSTERDATE WRISTWATCH,
BY ROLEX, CIRCA 1980
17-jewel Cal-1225 manual wind movement, silvered dial baton hour markers and
black outer minutes, date aperture at 3, brushed and polished tonneau form, screw
down back and crown, dial and movement signed, on black strap, ref. no. 6694,
serial no. 64701**, case width (including crown): 3.6cm
€ 1,200 - 1,800
Accompanied with purchase papers from‘TheVintageWatch Company’in London dated
December 9th 2009 & Insurance valuation from same for £2,495
76
A GOLD MANUAL WIND MOVEMENT WRISTWATCH,
The 17-jewel Cal 1200 manual wind movement, silvered dial, gilt baton and Arabic
numerals, dart hour markers, black outer minute track with 5 minute markers,
subsidiary seconds at 6, gilt pointed baton hands, polished 9K gold case,snap on back,
serial no.N6304*,case no.88176*,& 1286*,on black leather strap,plated buckle,dial
and movement signed,case width (including crown):3.2cm
€ 600 - 800

Tuesday 25th
64
78
A FINE CULTURED PEARL NECKLACE WITH MATCHING DIAMOND EARRINGS
Composed of a single row of Akoya cultured pearls of white tint, measuring approximately 9.49-9.91mm, finishing
with an 18K gold spherical clasp, Italian assay mark, length 45.7cm;Together with a pair of matching earrings with a
brilliant-cut diamond surmount, mounted in 18K gold,diamonds approximately 0.30ct total,Italian assay mark,length 1.9cm,
within fitted case by MagliaTreviso
€ 2,500 - 3,000
79
A PAIR OF CULTURED PEARL AND DIAMOND EARCLIPS, CIRCA 1960
Of foliate design, each set with a cultured pearl of dark grey tint and one cultured pearl of white tint, within a surround
of single and baguette-cut diamonds, mounted in 18K gold,diamonds approximately 1.50cts total,French import marks,length 3cm
€ 2,000 - 3,000

65
80
A CULTURED PEARL AND DIAMOND BRACELET, BY DAVID WEBB, CIRCA 1965
Composed of numerous graduated cultured pearls measuring approximately from 7.66 to 4.26mm, the
frontispiece highlighted with brilliant-cut diamonds between ropetwist borders, signed WEB, diamonds
approximately 2.50cts,length approximately 15.5cm
€ 7,000 - 9,000

Tuesday 25th
66
81
A FINE PAIR OF AQUAMARINE AND DIAMOND EARCLIPS,
MOUNTED BY CARTIER, CIRCA 1965
Of stylised foliate design, each set with a cut-cornered rectangular aquamarine highlighted with
brilliant and baguette-cut diamond leaves, mounted in 18K gold and platinum,aquamarines weighing
approximately 8.40 & 8.70cts,diamonds approximately 3.00cts total,signed Monture Cartier,with maker’s
mark for‘Cartier Société Anonyme’,French assay marks,with maker’s case,length 2.1cm
€ 12,000 - 18,000
A RARE COLLECTION OF
AQUAMARINE AND DIAMOND JEWELLERY,
CARTIER, CIRCA 1965

Tuesday 25th
68
82
A MAGNIFICENT AQUAMARINE AND DIAMOND BROOCH,
The elongated cut-cornered rectangular aquamarine weighing approximately
36.00cts, within a surround of brilliant and baguette-cut diamond stylised rays,
mounted in 18K and platinum, diamonds approximately 10.00cts total, signed Monture
Cartier,with maker’s mark for‘Cartier Société Anonyme’,with maker’s case,French assay marks,
length 5.3cm,width 4.3cm
€ 15,000 - 25,000
83
AN IMPRESSIVE AQUAMARINE AND DIAMOND COCKTAIL RING,
The central cut-cornered rectangular aquamarine weighing approximately
22.00cts within claw-setting, to an undulating brilliant and baguette-cut diamond
frame, mounted in platinum, diamonds approximately 1.30cts total, signed Monture
Cartier, with maker’s mark for ‘Cartier Société Anonyme’, with maker’s case, French assay
mark,ring size I½
€ 12,000 - 18,000

Tuesday 25th
70
84
A LARGE MOONSTONE AND DIAMOND PENDANT
BROOCH
Of foliate design, composed of textured gold leaves with cabochon
moonstones accented by single-cut diamonds, the central moonstone
set with a central European-cut diamond, mounted in 18K & 9K gold and
platinum,French import marks,length 7.5cm
€ 2,000 - 3,000
85
A GOLD BRACELET, CIRCA 1970
Composed of a continuous line of bamboo motif links in
brushed and textured 18K gold,Italian assay mark,length 19.7cm
€ 2,800 - 3,200
86
A SILVER BRACELET, BY HERMÈS, CIRCA 1970
The continuous fancy-link chain in textured silver with secret
clasp, signed Hermès,with French assay marks for silver,partial maker's
'G?',length 20cm
€ 550 - 650

71
87
A GOLD NECKLACE, BY MARIO BUCCELLATI,
CIRCA 1960
Composed of yellow and white gold beads in lustrous Rigato
ground, in 18K gold,signed M.Buccellati,Italian assay mark,with mak-
er’s case,length 49cm
€ 5,000 - 6,000
Born in 1891, Mario Buccellatti, began his career in the world of
Jewellery as an apprentice before opening his first boutique on Largo San-
ta Margherita in Milan in 1919.The brand has grown considerably since
the early 20th century with additional locations opening in Rome, Flor-
ence, and NewYork.The Buccellatti family have remained a key part of
the brand's development with Mario's grandsons actively involved in the
present-day company.The brand is known for its timeless aesthetic and
highly refined craftmanship, creating distinct designs in gold and silver,
often based on naturalistic motifs. Engraving is a key element of Buc-
cellati's style which can be roughly defined by five categories: rigato,
telato, segrinato, ornato and modellato.The first three are all based
around the arrangement of the lines, from finely engraved par-
allel lines to cross-hatched to overlapping in many directions.
The ornato, is based on motifs from natural world while the
modellato incorporates the more complex design technique
to produce incredibly delicate three-dimensional pieces.

Tuesday 25th
72
88
AN EMERALD AND DIAMOND BRACELET, BY PEDERZANI
Composed of twelve rows of emerald beads with two bars pavé-set with brilliant-cut dia-
monds and highlighted throughout with diamond rondelles, each terminal bar pavé-set with
similarly-cut diamonds, to a multiple hoop-link chain with pavé-set diamond clasp, mounted
in 18K gold gold,signed Pederzani,length 20.5cm (adaptable for shorter length)
€ 4,500 - 5,500
Pederzani is a renowned Italian jewellery house located in central Milan.Its founder Gino
Pederzani was originally from Verona and began his career as a clerk in jewellery shops,
where he learned about precious gemstones. In 1943 he co-founded his business with his
friend Mr. Nannini, formerly a director of a Milanese jewellers.When Mr. Nannini died in
1947, Gino Pederzani continued to run the business under his own name Pederzani. In 1976
Gino handed the business down to his two sons.A third generation of Pederzanis joined in
1990, ensuring the legacy of Gino Pederzani lives on.
89
A CORAL AND DIAMOND BANGLE
Composed of a central fluted corallium rubrum coral, between single-cut diamonds
shoulders with ropetwist detail, mounted in 18K gold,diamonds approximately 0.80ct total,
inner diameter 5.5cm
€ 2,000 - 3,000

90
AN EMERALD, DIAMOND AND CORAL NOVELTY BROOCH,
BY PEDERZANI
Modelled as a stylised duck, the oval carved cabochon emerald body with
brilliant-cut diamond surround, to the pavé-set diamond head and emerald
cabochon eye, with corallium rubrum coral beak and feet detail, mounted in
18K gold,diamonds approximately 3.00cts total,signed Pederzani,length 5.3cm
€ 5,000 - 6,000
91
AN IMPORTANT EMERALD AND DIAMOND NECKLACE
The fancy-link chain set with brilliant-cut diamonds throughout, two
baguette-cut diamond links suspending a large removable pendant set with
a pear-shaped emerald weighing approximately between 13-15.00cts within
a brilliant-cut diamond surround, mounted in 18K gold, diamonds approximately
8.00cts total, with maker’s mark, French assay mark, French import mark, necklace
length 43cm,pendant length 4.4cm,
€ 8,000 - 9,000

Tuesday 25th
93
A GOLD BRACELET, BY CHAUMET
The fancy-link bracelet with hinged clasp, in 18K gold, signed
Chaumet,numbered,with maker’s mark,length 19cm
€ 2,500 - 3,000
92
A DIAMOND BOW BROOCH, CIRCA 1990
Designed as a stylised polished oxidized gold bow, set with bril-
liant-cut diamonds in a striped formation, mounted in 18K gold,
diamonds approximately 8.00cts total, French import mark, length 6cm,
width 7.8cm
€ 3,500 - 4,500

94
A GOLD NECKLACE, BY VAN CLEEF & ARPELS
Composed of a continuous and articulated row of bombé links, in
18K gold, signed Van Cleef & Arpels, numbered, maker’s mark ‘Sté M’ for
Roger Mathon, French assay mark, with Van Cleef & Arpels case, length
41.5cm
€ 6,500 - 7,500
Roger Mathon is a French workshop that registered its mark in
1971 , 41 rue Richelieu in the 1st district of Paris.They have pro-
duced jewellery pieces for Van Cleef & Arpels and Fred amongst
others and also under their own name.

Tuesday 25th
76
96
A RUBY AND DIAMOND ‘TOI ET MOI’ DRESS RING, BY PETOCHI
Of crossover design, set with two pear-shaped cabochon rubies between graduated brilliant-cut
diamond undulating borders, mounted in 18K gold,diamonds approximately 2.00cts total,signed Petochi
Roma,Italian assay mark,ring size G½
€ 2,500 - 3,500
97
A PAIR OF EMERALD AND DIAMOND EARCLIPS
Each centrally set with an oval-shaped emerald, within an octagonal frame of round brilliant-cut
diamonds, to a similarly and square-cut diamond surround and surmount, mounted in 18K gold,
diamonds approximately 1.30cts total,Italian assay marks,length 2.5cm
€ 1,500 - 2,000
95
AN EMERALD AND DIAMOND NECKLACE
The oval-shaped emerald weighing approximately 2.00cts in collet setting,
within an octagonal double frame of round brilliant-cut diamonds, to a
fancy-link gold chain set to the front with similarly-cut diamonds, mounted
in 18K gold, diamonds approximately 1.60cts total, Italian assay marks, length
40.5cm
€ 2,500 - 3,500

77
98
A FINE RUBY AND DIAMOND DEMI-PARURE BY VAN CLEEF & ARPELS, CIRCA 1980
Each designed as two superposed flowerheads, the petals pavé-set with brilliant-cut diamonds accented with a ruby
cabochon pistil, mounted in 18K gold,earrings signedVCA,ring signedVan Cleef & Arpels,each numbered,with maker’s marks
& French assay marks,with maker’s pouch,earrings length 2.4cm,ring size K½
€ 6,000 - 8,000
A similar pair of earrings sold at Christie’s Geneva in November 2014 for CHF 17,500.- (lot 33)

Tuesday 25th
78
99
A RUBY AND DIAMOND BRACELET
Composed of a continuous line of oval-shaped rubies with-
in bombé surround pavé-set with brilliant-cut diamonds,
mounted in 18K gold, diamonds approximately 8.50cts total,
length 18.4cm
€ 5,000 - 6,000
100
A DIAMOND NECKLACE, BY WEST
Composed of openwork pear-shaped links set with bril-
liant-cut diamonds and interspersed by similarly-cut dia-
mond connectors with removable pendant of similar style,
finishing with a round-link chain and diamond-set clasp,
mounted in 18K gold, diamonds approximately 8.50cts total,
signedWest,with safety gold chain,length 47cm
€ 4,000 - 5,000
101
A DIAMOND DRESS RING
Composed of two rows of brilliant-cut diamonds between
trifurcated shoulders, mounted in 14K gold, diamonds approxi-
mately 0.80ct total,ring size O
€ 800 - 1,200
102
A LADY’S 18K GOLD AND DIAMOND
‘HAPPY DIAMONDS’ WATCH, BY CHOPARD
4-jewel quartz ETA-movement 201001, oval-shaped
champagne dial with gilt hands, framed by a border of
single-cut diamonds, within an oval-shaped glazed sur-
round of seven ‘floating’ brilliant-cut diamonds within
collet-setting, all within a single-cut diamond outer bor-
der, two brilliant-cut diamond lugs, case,dial and movement
signed, on a non-original 18K gold fancy-link bracelet set with
brilliant-cut diamonds throughout, mounted in gold, diamonds
approximately 4.00cts total,case no.2218** & 519* & G429*,
case signed LUC & Swiss assay mark, case width 2.2cm, bracelet
length 17.5cm
€ 3,000 - 4,000
103
A SAPPHIRE AND DIAMOND DRESS RING
The central oval-shaped sapphire weighing approximately
3.80cts between tubular shoulders set with baguette-cut
diamonds and circular cabochon sapphire terminals, mount-
ed in 18K gold,diamonds approximately 0.70ct total,ring size L½
€ 2,000 - 3,000
Accompanied by a report from the Japanese Gemmological
Science Institute confirming that the sapphire is of natural
origin, with some colour enhancement. Report AF1361.
104
A DIAMOND BRACELET, BY WEST
Composed of openwork pear-shaped links set with bril-
liant-cut diamonds and interspersed by similarly-cut dia-
mond connectors, mounted in 18K gold, diamonds approxi-
mately 3.00cts total, signed West, with safety gold chain, length
approximately 18cm
€ 1,500 - 2,000
99

Tuesday 25th
80
105
A DIAMOND BRACELET
The articulated bracelet set throughout with brilliant-cut diamonds within claw-setting,
between borders of gold polished spheres, mounted in 18K gold,diamonds approximately
15-17cts total,Italian assay mark,length 18.7cm
€ 12,000 - 18,000

81
106
AN IMPORTANT DIAMOND NECKLACE
The articulated necklace set throughout with brilliant-cut diamonds within claw-setting,
between borders of gold polished spheres, mounted in 18K gold,diamonds approximately
36-38cts total,length 40.5cm
€ 22,000 - 28,000

Tuesday 25th
82
107
A CORAL, EMERALD AND DIAMOND PENDANT
Designed as a Japanese Noh mask carved in coral with brilliant-cut diamond for eyes
and teeth, within a textured gold frame highlighted with pear-shaped emeralds and
brilliant-cut diamond accents, mounted in gold,length 5.5cm
€ 1,200 - 1,800

83
108
A CULTURED PEARL AND DIAMOND BRACELET
Composed of seven rows of cultured pearls of cream tint measuring
approximately 5.50mm, to an oval-shaped clasp, the centre pavé-set
with single-cut diamonds within a textured gold frame, mounted in 18K
gold and platinum,length 17.3cm
€ 1,700 - 2,300
109
A GOLD BRACELET, CIRCA 1960
The highly articulated fancy-link bracelet, highlighted with three rose gold baton-link lozenges,
in 18K gold,length 17.8cm
€ 3,000 - 4,000

Tuesday 25th
84

Tuesday 25th
86
110
A RARE EMERALD AND ENAMEL ‘PANTHÈRE’ RING, BY CARTIER, CIRCA 1980
Designed as two roaring panthers facing each other, their coat embellished with black enamel spots, with circular-cut
emeralds for eyes, mounted in 18K gold,signed Cartier,numbered,maker’s mark,French assay mark,with maker’s case,ring size
L¾ (size 52)
€ 10,500 - 13,500
The 20th century was a pivotal era for the status of women within society.Persevering through two world wars,women were granted
greater responsibilities within the workplace and were able to assume roles previously reserved solely for men.Years of strife finally
resulted in the female right to vote and, gradually, the gender equality gap began to lessen. Striding alongside these changes was Cart-
ier, leading the way with jewellery design set to embody and empower the modern woman. In particular, Cartier's Panthère design
announced itself as the ultimate accessory for the confident feminist.The exotic allure and charm of the big cat acted as a testament
to female beauty whilst its intelligence and strength stood proudly for the reawakening of women in society.
Initially, inspiration from the big cats could be seen in interior design where their prints were used prolifically in soft furnishings.
However, it was not long before the idea slipped into other areas of fashion and, in 1914, Cartier paid its first tribute to the panther in
a marketing image for an upcoming jewellery exhibition. Louis Cartier commissioned George Barbier to create 'Dame à la Panthère',
an image depicting a goddess-like lady standing with a recumbent panther at her feet. In the same year, the leopard's spots were spied
on a Cartier wristwatch, demurely paving the way for bigger designs to come.
In 1913, Louis Cartier had hired Jeanne Toussaint as Director of Bags, Accessories and Objects but, inspired by her creativity and
intuitive knowledge of upcoming trends, Cartier later took her into the jewellery department. Fondly, Cartier began to call her 'La
Panthère', a creature which she epitomised by her rebellious spirit, sharp mind and infinite charm, helped along by the full-length
panther coat which she frequently wore. Cartier's first figural representation of the panther came in a gift from Louis to Jeanne, a
cigarette case beautifully adorned with a leopard set between two trees.
Having spent twenty years imparting his knowledge on jewellery techniques, settings and gemstones, Cartier relinquished his title
as Creative Director of Jewellery and establishedToussaint in his place.At a time when there were very few women in positions of
leadership, Cartier was firmly moving alongside modernist ideals and putting his faith in 'La Panthère'.
Working closely with Cartier's designer Peter Lemarchand,Toussaint set about bringing her emblematic animal to life and she en-
couraged her designers to spend time in Paris' zoo, sketching the cats from all angles. In 1935, the first three-dimensional depiction
of a panther was realised in the form of a ring bearing a central ruby set to either side with a panther head. Just over ten years later,
the panther became an icon when the Duke ofWindsor commissioned a brooch for his wife,Wallis Simpson. For the first time, the
panther was presented in full, its elegant figure regally set atop a 116.74 carat emerald.The following year, the Duchess purchased
a second panther brooch and, soon after, Cartier's cats could be seen prowling the bodies of influential women across the world.A
continuous patron, Mrs. Simpson bought many pieces from Cartier and her 1952 panther bracelet set a world record when it was
sold in 2010 for an incredible $4.4million.
Toussaint's reinvention of the panther continued to inspire throughout her career, her reign as Creative Director seeing the first pan-
ther head earrings, panther bangles and a myriad of brooches. Eventually persuaded by age,Toussaint retired in 1970, leaving behind
nearly four decades worth of innovative design. Her panther collection had become an integral part of Cartier's jewellery division
and it is continued today with customers repeatedly delighting in the strength of the panther.

Tuesday 25th
88
112
A SAPHIRE AND DIAMOND DRESS-SET
Comprising of a pair of cufflinks and four shirt studs, each set to the centre with French-cut
sapphires, to an outer surround of brilliant-cut diamonds, with millegrain detailing throughout,
mounted in platinum,with suede case.
€ 2,500 - 3,500
111
A STAINLESS STEEL AND GOLD 'CONSTELLATION' BRACELET WATCH,
BY OMEGA, CIRCA 1985
6 jewels GMT Cal-1432 quartz movement, white dial, dot markers with Arabic numerals, lumi-
nous hands, gold bezel with black Roman chapters, snap on back, integral steel and gold bracelet
with deployant clasp, case,dial and movement signed,case no.39610**,ref.no.DB39610**,with box
and papers,4 spare links,case width 3.2cm
€ 800 - 1,200

89
113
A STAINLESS STEEL AUTOMATIC SUBMARINER WRISTWATCH,
31-jewel Cal. 3135 self winding movement adjusted to temperature and position,
black dial with dot and baton numerals, date aperture 3, polished skeleton hands
with luminous fill, unidirectional calibrated rotating black bezel, tonneau case
with screw down back and crown, Oyster bracelet with locking deployant clasp,case,
dial and movement signed,serial no.S6673**,ref.166**,case width (including crown):
4.3cm
€ 6,000 - 8,000

Tuesday 25th
90
114
A FINE 18K GOLD AND DIAMOND-SET ‘NEPTUNE’ WRISTWATCH, BY PATEK PHILIPPE
The 7-jewel E-19 C quartz movement, cream silvered dial with gold Roman numerals for 6, 9 and 12 o’clock and
applied diamond-set numerals, luminous hands, date aperture at 3 o’clock, circular case with screw back, 18K gold
Patek Philippe bracelet with hidden deployant clasp, crown and clasp with logo,case,dial and movement signed,Swiss assay
mark,ref.no.48XX/1J-0XX,Movement no.15384XX/40417XX,with original Patek Philippe certificate of origin dated 2005,
with service papers from Patek Philippe dated 2018,with maker’s pouch,case width (including crown):2.9cm
€ 4,000 - 6,000
Launched in 1996, the Neptune collection displays a sporty design with elegant lines, as its slogan confirms it “Ideal
for sportswear, the supremely elegant Neptune is, at the same time, the perfect dress watch”.

Tuesday 25th
92
115
A DIAMOND CROSS PENDANT, BY THEO FENNELL
The openwork Latin cross pendant pavé-set with brilliant-cut diamonds throughout,
mounted in 18K gold, signed Fennell London, with maker’s mark, English hallmarks, diamonds
approximately 0.70ct total,length (including bale):5.5cm
€ 1,200 - 1,800
117
A DIAMOND DRESS RING
Of scrolling design, the central old European-cut diamond weighing approximately
0.90-1.00ct, highlighted with similarly-cut diamonds, mounted in 18K gold, remaining
diamonds approximately 0.30ct total,ring size P¾
€ 1,200 - 1,800
116
A SAPPHIRE AND DIAMOND RING
Composed of an oval-shaped sapphire at the centre within collet-setting, between
calibré-cut sapphires and square-cut diamonds and borders of brilliant-cut diamonds,
mounted in 18K gold,ring size K
€ 1,200 - 1,800

93
118
A LADY'S STAINLESS STEEL 'TANK FRANÇAISE' BRACELET WATCH,
BY CARTIER, CIRCA 2000
20-jewel Cal. 120 automatic ETA 2000-1 movement, guilloché engraved silvered dial with
black Roman numerals, black inner minute track with five minute markers, secret signa-
ture at 7, date aperture at 6, blued steel sword hands, brushed and polished rectangular
case with back secured by 4 screws, fitted brushed and polished link bracelet with signed
double folding clasp, cabochon sapphire crown, ref.no.2302,case no.113540**,case,dial and
movement signed, with Cartier box, instruction booklet, international guarantee certificate and three
spare links,case width (including crown):3.2cm
€ 1,200 - 1,800

Tuesday 25th
94
119
A DIAMOND AND LAPIS LAZULI RING, BY VAN CLEEF & ARPELS
Designed as‘two butterflies between the finger’, each centring upon a marquise-shaped diamond,
to the wings set with brilliant-cut diamonds or polished lapis lazuli, mounted in 18K gold,signed VCA,
numbered,maker’s mark,with maker’s case and outer box,ring size M (53)
€ 12,500 - 14,500
Accompanied by its certificate of authenticity fromVan Cleef & Arpels in Monaco, datedJuly30th
2019
120
A DIAMOND PENDANT NECKLACE, BY VAN CLEEF & ARPELS
The fine trace-link gold chain supporting a stylised butterfly, the wings pavé-set with brilliant-cut
diamonds, the body set with a marquise-shaped diamond, with a further brilliant-cut diamond accent
on chain, mounted in 18K gold,signedVCA,numbered,maker’s mark,with maker’s case and outer box,chain
lengths 40.5cm & 45.5cm,pendant length 1.8cm
€ 7,500 - 8,500
Accompanied by its certificate of authenticity fromVan Cleef & Arpels in Dubai, dated March 24th
2019

Tuesday 25th
96
121
A PAIR OF DIAMOND HOOP EARRINGS, BY CARTIER
Each hoop set with a uniform series of brilliant-cut diamonds,mounted in 18K gold,
diamonds approximately 2.20cts total,signed Cartier,numbered,with maker’s box,length 3.4cm
€ 7,000 - 8,000
Accompanied by its certificate of authenticity from Cartier in Kyoto, dated September
24th 2008
122
A SWEET DIAMOND SINGLE-STONE RING, BY CARTIER
The central brilliant-cut diamond weighing approximately 0.10ct within collet-set-
ting, to a tri-coloured gold twisted hoop, mounted in 18K gold,signed Cartier Paris,num-
bered,French assay mark,with Cartier case,ring size F½
€ 600 - 700
123
A DIAMOND ‘TRINITY’ RING, BY CARTIER
Designed as three interlocking bands, one pavé-set with brilliant-cut diamonds
throughout, one in black ceramic and one in plain polished platinum, mounted in 18K
gold,platinum and ceramic,signed Cartier,numbered,maker’s mark,with Cartier case,ring size
approx.K½ (51)
€ 2,700 - 3,200

97
124
A DIAMOND ‘PERLES DE DIAMANTS’ CHOKER NECKLACE,
BY CARTIER
Comprising three strands of polished spherical beads of drapery style, intermit-
tently set with briliant-cut diamonds, mounted in 18K gold,diamonds approximately
4.50cts total,signed Cartier,numbered,with maker’s mark,French assay mark,with
Cartier case,shortest length 37.5cm
€10,000 - 13,000

Tuesday 25th
98
125
A DIAMOND ‘ONE ONE TWO’ PENDANT ON
CHAIN, BY GARRARD
The heart-shaped bombé pendant pavé-set with bril-
liant-cut
diamonds, the bale set with similarly-cut diamonds,
mounted in platinum,signed garrard,maker’s mark,English
hallmarks for Sheffield 1989 ,French import marks,with mak-
er’s case,chain length 51cm,pendant length 1.9cm
€ 2,000 - 3,000
126
A DIAMOND ‘ONE ONE TWO’ RING,
BY GARRARD
Of bombé design, the frontispiece pavé-set with bril-
liant-cut dia
monds, mounted in platinum,with maker’s mark for Garrard,
English hallmarks for London 1990,French import mark,with
maker’s case,ring size I
€ 1,800 - 2,200
127
A SAPPHIRE AND DIAMOND DRESS RING
The central oval-shaped sapphire weighing approximately
3.27cts within a four-claw setting, between shield-shaped
diamond shoulders, mounted in 18K gold,diamonds approxi-
mately 0.50ct total,ring size N½
€ 2,000 - 3,000
Accompanied by a jewellery certificate stating that the
sapphire weighing 3.27cts is natural with some thermal
enhancement. Certificate no, 01029250116012, Dubai,
dated January 25th 2016
128
A DIAMOND AND SAPPHIRE CHARM
NECKLACE
The fancy-link chain suspending eleven diamond-set
charms, four
charms accented with calibré-cut or cabochon sapphires,
the charms including a golf club, an anchor, a horseshoe,
an umbrella etc... mounted in 18K gold,French import marks,
length 44cm
€ 5,500 - 6,500
129
A PAIR OF AMETHYST AND DIAMOND
PENDENT EARRINGS
Each amethyst briolette drop with brilliant-cut diamond
cap and foliate surmount, mounted 18K gold,diamonds
approximately 1.50ct total,amethysts approximately 17.00cts
total,Italian assay marks,length 5.5cm
€ 1,800 - 2,200
130
A PAIR OF MOONSTONE AND DIAMOND
EARCLIPS, BY MICHELE DELLA VALLE
Each set with a cushion-shaped cabochon moonstone,
the corners pavé-set with brilliant-cut diamonds accents,
mounted in 18K gold,moonstones weighing 56.75cts total,dia-
monds weighing 1.03cts total,signed Michele dellaValle,num-
bered,maker’s mark,maker’s pouch,length 2.1cm
€ 2,000 - 3,000
130

"I started working with waste/recycled materials in the late 90s,then there was a burgeoning interest in the
environment and ecology" recalls the Italian artist Enrica Borghi "What most attracted me to plastic was the
explosion of colours used in plastic packaging,it still fascinates me to this day".
Italian artist Enrica Borghi shot to fame in the late 90s with her striking sculptures created from novel materials - fake nails, plastic
bottles and even on occasion kitchen rags. For 30 years sustainability and the reuse of material has been central to Borghi's artistic
creations which inspires a thought-provoking commentary on the reimagined beauty of such objects and what is considered 'waste'
in today's society.
For over thirty years, Borghi exhibited all over Italy, France, Germany, Switzerland and the UK. In 2005, her work was featured
in the Museum of Modern and ContemporaryArt in Nice, starring in a solo exhibition titled “EB”.As an internationally acclaimed
artist, Borghi hosted another solo exhibition,“Second Life”, at the Estorick Collection of Modern Italian Art in London in 2013,
the show was incredibly well-received by critics locally and across the pond. Most notably, Borghi was the first female artist to host
a solo show at theVisconti-Sforza Castle in Lombardy in 2018.The show titled “Eco. Opere di Enrica Borghi” was an intriguing
retrospective of Borghi’s work throughout her three decades of activity.“Riverbero” is the latest of Borghi’s exhibitions, showing at
the Borromeo d’AddaVilla near Milan, running until June 7th.
"There is something inherently fragile to plastic" recounts Enrica "plastic only remains in our homes for a brief
moment in time before being thrown
out,discarded".
The relationship between the artist Borghi
and recycled materials is one that spans four
decades and takes centre stage in her latest
collaboration with Italian jewellery maker
Emanuela Burgener and her brand Margherita
Burgener.
Margherita Burgener Jewellery is the brain-
child of Italian designer Emanuela Burgener,
who dedicated her creations to her eldest
daughter Margherita, born in 2003. Burgener
creates limited edition and one-of-a-kind piec-
es which she produces along with her team
in her workshop in Valenza founded by the
grandfather. The exquisite craftmanship and
uniqueness of Margherita Burgener Jewellery
has landed the brand a spot amongst top jew-
ellery designers.
Both Borghi and Burgener were born in the
same small village of Macugnaga, at the foot of Monte Rosa in Northern Italy.Their professional partnership allowed Borghi and Bur-
gener to revisit their childhood memories and draw from their shared environment growing up when exploring new design concepts.
Inspiration for the new jewellery line 'Achillea' was found in shared recollections of hiking in the nearby mountains to harvest the
flowerAchillea (Yarrows in English).Achillea tells a story,a dialogue between artisanal tradition,precious metals,everyday materials,
sustainably and the love for the environment. Although Enrica has been crafting jewellery out of recycled materials for years, col-
laborating with Emanuela presented a unique opportunity to explore her ambition to combine waste materials and precious metals:
"the idea of creating a dialogue with precious material was extremely exciting for me,Emanuela's laboratory
was the perfect environment for this project to blossom".
Through this partnership, recycled materials are elevated and become precious, sustainability become luxury, and the discarded past
becomes the beautiful present.
We are delighted to offer two examples from theAchillea line in this fine jewellery sale: the Fiordaliso earclips and theAchilllea ring.
The deep cornflower blue in the Fiordaliso earclips is obtained from the repurposing of PET plastic bottles; the earclips (lot 131)
were created using a key material in Emanuela's production - Titanium, as well as gold and diamonds.The use of plastic to mimic
the outburst of blue petals typical of cornflowers is incredibly smart, and the clever usage of precious materials such as gold and
diamonds alongside the PET bottles furthers the core concept which asks us to think about what is considered precious today.
The Achillea ring, is a delicate example fashioned out of PET plastic, gold and silver (lot 132).The bush-like nature of the Achillea
flower lends itself to the creation of a striking ring like this, designed with multiple focus points materials.The effect of the recycled
plastic materials is visible in the pastel pink and green hues. Every flower head is beautifully crafted with a gold button in the centre
of each bud, perfectly placed in order to create a sense of rooted fragility.The collision of the natural world with the discarded man-
made world is perfectly embodied in this beautiful piece and is a wonderful resurrection and celebration of these materials.
ENRICA BORGHI AND EMANUELA BURGENER’S ACHILLEA:
SUSTAINABLE LUXURY

101
131
A PAIR OF DIAMOND AND RECYCLABLE PLASTIC 'FIORDALISO' EARRINGS, 2020
BY MAGHERITA BURGENER & ENRICA BORGHI
Each flowerhead set with brilliant-cut diamond pistils, within a surround of blue recyclable petals, mounted on
gold,silver and titanium,with maker’s mark‘MB’for Margherita Burgener,numbered,with maker's recyclable plastic box,
length approximately 5cm
€ 2,400 - 2,800

Tuesday 25th
102
132
A GOLD, SILVER AND RECYCLABLE PLASTIC 'ACHILLEA' COCKTAIL RING, 2020
BY MAGHERITA BURGENER & ENRICA BORGHI
Of floral design, composed of flowerheads, the petals in pink and green recyclable plastic, gold pistils, mounted
on silver,with maker’s mark‘MB’for Margherita Burgener,numbered,with maker's recyclable plastic box,ring size L½ (52)
€ 2,000 - 2,500

Tuesday 25th
104
133
A CORNELIAN, DIAMOND AND TITANIUM NECKLACE, BY MARGHERITA BURGENER
Composed of a fancy-link titanium chain, the frontispiece suspending five carnelian discs, each highlighted with a brilliant-cut
diamond surmount, a further banded carnelian disc suspending from the clasp, mounted in 18K gold and titanium, signed
Margherita Burgener,with maker’s mark‘MB’,Italian assay mark,with maker’s case,length worn 45.5cm,total length 55cm
€ 2,500 - 3,500
134
A PAIR OF DIAMOND AND CARNELIAN PENDENT EARRINGS, BY MARGHERITA BURGENER
Each bombé pear-shaped surmount pavé-set with brilliant-cut diamonds of brown tint, with a similarly-cut diamond con-
nector, suspending a carnelian disc accented with further similarly-cut diamonds, mounted in 18K gold, diamonds 1.20ct total,
signed Margherita Burgener,with maker’s mark‘MB’,Italian assay marks,with maker’s case,length 4.8cm
€ 1,800 - 2,200

Tuesday 25th
106
135
A DIAMOND ETERNITY RING
Composed of a continuous row of brilliant-cut diamonds within claw-setting, mounted in
18K rose gold,Italian assay mark,diamonds approximately 3.20cts total,ring size N¾
€ 2,000 - 3,000
136
A LAPIS LAZULI RING
Of crossover design, set with two polished lapis lazuli plaques,mounted in 18K gold,signed
Shirikjian,ring size I
€ 400 - 600
137
A PAIR OF DIAMOND HOOP EARRINGS
Each hoop set with a single row of brilliant-cut diamonds, mountedin 18K rose gold,diamonds
approximately 3.30cts total,length5.6cm,inner diameter 5.2cm
€ 3,000 - 4,000

Adam's FINE JEWELLERY May 2021

Adam's FINE JEWELLERY May 2021

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Adam's FINE JEWELLERY May 2021