Adams Fine Jewellery & Watches September 18th 2018

Tuesday September 18th
2018
Fine Jewellery & Watches
ADAM’S
Est.1887

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Tuesday 18th
september 2018
4
Tuesday 18th
september 2018
LOT 177

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AUCTION
Tuesday 18th September 2018 at 6pm
VENUE
Adam’s Salerooms,
26 St. Stephen’s Green,
Dublin
D02 X665
Ireland
SALE VIEWING SEPTEMBER 15th
- 18th
At Adam’s, 26 St. Stephen’s Green, Dublin, D02 X665
Saturday 15th
September 1:00pm - 5:00pm
Sunday 16th
September 1:00pm - 5:00pm
Monday 17th
September 10:00am - 5:00pm
Tuesday 18th
September 10:00am - 4:00pm
ADAM’S
Est.1887
26 St. Stephen’s Green
Dublin D02 X665
Tel +353 1 6760261
info@adams.ie
www.adams.ie
555
Private Viewing by appointment only
h

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IMPORTANT INFORMATION FOR PURCHASERS
1. ESTIMATES AND RESERVES
These are shown below each lot in this sale.All amounts shown are in Euro. The figures shown are provided merely as a guide to prospective
purchasers.They are approximate prices which are expected, are not definitive and are subject to revision. Reserves, if any, will not be any higher
than the lower estimate.
2. PADDLE BIDDING
All intending purchasers must register for a paddle number before the auction. Please allow time for registration. Potential purchasers are recom-
mended to register on viewing days.
3. PAYMENT, DELIVERY AND PURCHASERS PREMIUM
Wednesday 19th September 2018. Under no circumstances will delivery of purchases be given whilst the auction is in progress. All purchases
must be paid for and removed from the premises not later thanWednesday 19th
September 2018 at the purchaser’s risk and expense.After this time
all uncollected lots will be removed to commercial storage and additional charges will apply.
Auctioneers commission on purchases is charged at the rate of 20% (exclusive ofVAT). Terms: Strictly cash, bankers draft or cheque drawn on
an Irish bank. Cheques will take a minimum of five workings days to clear the bank, unless they have been vouched to our satisfaction prior to
the sale, or you have a previous cheque payment history withAdam’s. Purchasers wishing to pay by credit card (Visa & MasterCard) may do so,
however, it should be noted that payments via American Express will be subject to an administrative fee of 3.65% on the invoice total. Debit
cards including laser card payments are not subject to a surcharge, there are however daily limits on Laser card payments. BankTransfer details on
request. Please ensure all bank charges are paid in addition to the invoice total, in order to avoid delays in the release of items.
Goods will only be released upon clearance through the bank of all monies due.
4. VAT REGULATIONS
All lots are sold within the auctioneersVAT margin scheme. Revenue Regulations require that the buyers premium must be invoiced at a rate
which is inclusive ofVAT. This is not recoverable by anyVAT registered buyer.
5. It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot.Whilst we make certain observations on the lot,
which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance only and should be
evaluated by personal inspection by the bidder or a knowledgeable representative.The absence of such a reference does not imply that an item is
free from defects or restoration, nor does a reference to particular defects imply the absence of any others.The condition report is an expression of
opinion only and must not be treated as a statement of fact.
Please ensure that condition report requests are submitted before 12 noon onTuesday 18th September as we cannot guarantee that they will be
dealt with after this time.
6. ABSENTEE BIDS
We are happy to execute absentee or written bids for bidders who are unable to attend and can arrange for bidding to be conducted by telephone.
However, these services are subject to special conditions (see conditions of sale in this catalogue). All arrangements for absentee and telephone
bidding must be made before 5pm on the day prior to sale. Cancellation of bids must be confirmed before this time and cannot be guaranteed after
the auction as commenced.
Bidding by telephone may be booked on lots with a minimum estimate of €500. Early booking is advisable as availability of lines cannot be guaran-
teed.
7. ALL LOTS ARE BEING SOLD UNDER THE CONDITIONS OF SALE AS PRINTED IN THIS CATALOGUE AND
ON DISPLAY IN THE SALEROOMS.

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Claire-Laurence Mestrallet BA, G.G
HEAD OF JEWELLERY & WATCHES
claire@adams.ie
CONTACTS AT ADAMS FOR THIS AUCTION
Katie McGale BCIT, MPHIL, Assoc SCSI
JEWELLERY, SILVER & WATCHES
katie@adams.ie

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Helen Cody
Through the eyes of...
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Helen Cody’s experience in the world of fashion spans almost
three decades.
Having graduated in fashion and textiles from the National
College of Art and Design in Dublin, Helen moved to Paris
to work for FrenchVogue and Azzedine Alaia, where she de-
veloped her skills as a leading stylist for fashion magazines,
music videos, television commercials and celebrities.
Helen has worked in London, Paris and NewYork for many
of the world’s leading publications.
Returning to Ireland from London after five years in 2013,
Helen re-established her fashion label with the same atten-
tion to craft and detail she is renowned for. Using only the
finest Italian and French silk, organza, cashmere and lace, her
pieces are stunningly crafted, hand-made, unique or limit-
ed editions, often taking many months to complete. First
came an acclaimed bridal collection in Spring 2014, this was
followed by a season in Ireland’s leading department store,
BrownThomas, as part of the CREATE initiative.
In January 2015, Helen was selected for the Design & Crafts
Council of Ireland’s Critical Selection Portfolio Project - she
was the first fashion designer to be included with twenty two
of Ireland’s most talented and successful creator/makers.
In March 2015 Helen was awarded the title Irish Fashion De-
signer of theYear by Image magazine and KFW. In Septem-
ber 2015 Helen was invited by the Irish consulate to travel
to Shanghai to talk about her work at the ‘Successful Design
Awards’ conference. In June 2016, she was commissioned by
the Central Bank of Ireland to create three large rugs for the
boardrooms and reception area of their new Liffey quayside headquarters, taking seven months to complete this, her biggest single
public commission to date. Helen was awarded Irish Designer of theYear by IrishTatler in October 2016 and the following year she
won Silver atThe London Design Awards. She has dressed many Irish and International celebrities for the red carpet at the Oscars,
Cannes Film Festival,theTonyAwards and numerous Irish and International premieres.
Helen’s pieces have been exhibited at the Royal College of Art, London; The Centre Culturel, Paris; The Solomon Gallery, Dublin
and in Dublin Castle as part of the DCCoI Portfolio series.
entre Culturel,he Cent
120
35
43

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Lot 34 & 120: These two pieces completely took my breath away, I was tempted to run to my
studio with them, place them on my mannequins and then design dresses worthy of them, they
are so intricately made, they need only the simplest of pieces, in black bias cut velvet. Imagine
if they could talk the stories they would tell of grand entrances in ballrooms and lavish private
dinners across France and Europe !
Lot 35: I think this little bee needs to be sitting proud on the grosgrain ribbon of a trilby, how
lovely to mix the masculine and the feminine together.
Lot 40: The colour and femininity of this delicate 19th century necklace, and it’s beautifully
crafted details, made me smile, the thought of this adorning a black silk v-neck blouse, is sure to
be a conversation piece.
Lot 43: Pearls are so eternally classical, and this ring seems utterly timeless, a piece that can be
worn every day and handed down through generations.
Lot 54: This piece really caught my eye as I have a love affair with cocktail rings and although
this is a brooch, I think it could be turned into the most striking ring, one I would be delighted to
wear with one of my evening dresses.
Lot 129: I adored the clarity and colour of the stone, but was most impressed with how the
diamonds appeared to float on their settings. Imagine waking up on Christmas morning with this
as a precious gift.
Lot 230: Oh to be able to add this as a closure to one of my dresses, a discreet but sparkling
detail at the nape of the neck, hair up, a lovely surprise at the back of a dress!
took my breath away I was tem my
hey
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ate
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ure to
n be
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99999999999999
s!
Helen chose...
detail at the nape of the neck, hair up, a love
40
54
129
230
120
129
34

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Tuesday 18th
September 2018
1
A LADY’S 18K GOLD AND DIAMOND ‘COLISÉE’
QUARTZ BRACELET WATCH, BY CARTIER
9-jewel Cal. 81 quartz movement, cream dial with Roman nu-
merals, polished blued steel sword hands, polished round case
with back secured by 2 screws, diamond-set bezel, diamond-set
crown, diamond-set t-bar lugs, black satin bracelet with 18K
gold signed folding clasp, serial no.810920xxx,Swiss assay mark’s,
case,dial and movement signed,case (including crown):2.5cm,with
maker’s case
€ 1,500 - 2,000
2
A DIAMOND PENDANT ON CHAIN
The round brilliant-cut diamond weighing approximately
1.80cts, within a four-claw setting, suspending from a trace-link
chain, mounted in 18K gold,pendant length (including bale):1.2cm,
chain length:41cm
€ 4,000 - 5,000
3
A ‘TRINITY’ BANGLE, BY CARTIER
Composed of three interlocking polished 18K tri-coloured
gold bangles, signed Cartier Paris,French assay marks,maker’s mark,
maker’s pouch,inner diameter 6.6cm
€ 4,500 - 6,500
4
AN 18K GOLD ‘PARENTESI’ RING, BY BULGARI
Of bi-coloured gold design, the sprung set with Z-links, mounted
in 18K gold,signed Bvlgari,Italian assay marks,ring size N (expandable)
€ 700 - 900
5
AN 18K GOLD OYSTER PERPETUAL DATEJUST
BRACELET WATCH, BY ROLEX, CIRCA 1985
29-jewel Cal. 2135 automatic movement, tortoiseshell colour
dial with diamond set hour markers and luminous dots, gilt
outer second divisions, polished gilt luminous baton hands,
magnified date aperture at 3 and polished tonneau form case
with screw down back and crown, fixed gold fluted bezel,
85897xx,case (including crown):2.8cm
€ 2,000 - 3,000
6
AN 18K GOLD BEAD NECKLACE, BY CARTIER
The single row of round-shaped bi-coloured gold beads, in 18K
gold,signed Cartier Italy,maker’s mark‘JC’,English hallmarks,num-
bered,length 72cm
€ 3,000 - 4,000
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Tuesday 18th
September 2018
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A DIAMOND SINGLE-STONE RING
The square step-cut diamond weighing 0.90ct, within a sur-
round of pavé-set round brilliant-cut diamonds, to a similarly-set
diamond trifurcated hoop, mounted in 18K gold,remaining diamonds
approximately 0.40ct total,ring size M½
€ 3,000 - 4,000
Accompanied by a report from the GIA laboratory in America,
stating that the diamond weighing 0.90ct, is I colour,VS2 clarity.
Report number 16608089, dated December 7th 2007
8
A DIAMOND HALF-ETERNITY RING, BY WEIR
Claw-set to the front with a line of round brilliant-cut diamonds,
to a plain hoop, mounted in platinum,diamonds approximately 0.50ct
total,signed Weir,ring size O½
€ 500 - 700
9
A PAIR OF DIAMOND HOOP EARRINGS
Each elongated hoop set with round brilliant-cut diamonds,
mounted in 18K gold,diamonds approximately 1.00ct total,length
4.2cm
€ 1,200 - 1,800
10
A PAIR OF CULTURED PEARL AND DIAMOND
EARRINGS
Each round-shaped cultured pearl of silver tint, measuring
approximately 13.82mm, caped by a spiral round brilliant-cut
diamond surmount, mounted in 18K gold,diamonds approximately
0.30ct total,length 2.3cm
€ 1,200 - 1,800
11
A DIAMOND BRACELET
Designed as an openwork line of articulated zig-zag formation, set
throughout with round brilliant-cut diamonds within collet-set-
ting, mounted in 18K gold,diamonds approximately 1.50cts,length
18.6cm
€ 1,800 - 2,200
12
AN IMPRESSIVE AQUAMARINE AND
DIAMOND COCKTAIL RING
The rectangular-cut aquamarine weighing approximately
35.00cts, between round brilliant and baguette-cut diamonds,
mounted in 18K gold,diamonds approximately 1.60cts total,ring size
M½
€ 2,000 - 3,000

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Tuesday 18th
September 2018
13
AN AQUAMARINE AND RUBY COCKTAIL RING
The rectangular step-cut aquamarine weighing approximately
7.50cts, between a trio of circular-cut ruby shoulders, mounted in
18K gold,ring size N
€ 1,000 - 1,500
14
A PAIR OF DIAMOND PENDENT EARRINGS
Each hoop set with tapered baguette-cut diamonds, within a
further hoop of round brilliant-cut diamonds, to a similarly-cut
diamond surmount, mounted in 18K gold,diamonds approximately
1.50cts total,length 2.9cm
€ 1,500 - 2,000
15
A RUBY AND DIAMOND BAND RING
Set to the front with a line of circular-cut rubies, between a frame
of round brilliant-cut diamonds, mounted in 18K gold,rubies 0.82ct
total,diamonds 0.29ct total,ring size M
€ 1,000 - 1,500
16
Each bombé hoop set with round brilliant-cut diamonds to the
front, mounted in gold,diamonds approximately 1.00ct total,length
1.3cm
€ 500 - 700
17
A SAPPHIRE AND DIAMOND RING
The continuous row of baguette-cut sapphires within channel-set-
ting, between a border of round brilliant-cut diamonds, mounted
in 18K gold,ring size O½
€ 1,500 - 2,000
18
A PAIR OF SAPPHIRE AND DIAMOND EARRINGS
Each square plaque, set at the centre with nine princess-cut di-
amonds within a frame of square calibré-cut sapphires, mounted
in 18K gold,diamonds approximately 1.40cts total,length 1cm
€ 700 - 900
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In the sixteenth and well into the seventeenth century, Europeans sourced their gold and precious stones primarily from
the Orient, with Goa being the central hub through which these transactions traded. Much of this trade was then imported
through Lisbon in Portugal, where many French, German, Italian and Spanish jewellers based their workshops as a result.
Originally the preserve of the religious classes, exotic materials were used to create devotional material such as pendant
crosses and rosaries. However, this trend began to change towards the end of the 16th century as techniques in gemstone
cutting developed and jewellers discovered the dazzling possibilities of the cut and polished stones. Gemstones took on
a new importance and prominence, with gold and precious metals being relegated to the role of providing settings and
surrounds.
By the seventeenth century, the art of the faceted stone had been thoroughly embraced and perfected. Perhaps unsurpris-
ingly, the role of jewellery changed dramatically as a result.A once figurative symbol of religion became the decorative
display of the rich and powerful, in turn unleashing all artistic inhibitions and allowing the art of design to truly begin to
flourish.At the same time and as fashions continued to develop, jewellery became a far more feminine accessory. Highly
influenced by the popular fascination with naturalism which became steadily more popular throughout the Georgian era,
abstract and elaborate floral motifs adorned almost everything.
Also exceptionally popular at this time was the bow brooch, just like the lot on offer in this sale. Inspired by the silk and
velvet bows used to suspend pendants and crosses from the neck and bodice, the bow brooch, usually woven in an intricate
filigree of gold and silver and highlighted with precious stones, emphasised the décolletage. It was usually paired with
girandole earrings with three to five almond shaped drops, again similar to those illustrated in lot 21.
Aided by the discovery of large deposits of gold in Brazil at the start of the eighteenth century and the subsequent discov-
ery of vast diamond mines there, production of exquisite jewels continued in abundance across Europe well into the late
19th century, with advances in techniques and fashions continuing to boost the trend.
19
A 17TH CENTURY DIAMOND PENDANT/BROOCH, IBERIAN ORIGIN, CIRCA 1690
Designed as a stylised bow of open foliate design, set with variously-cut diamonds of grey tint, within closed-back settings,
later brooch fitting, mounted in gold,dimensions 5.3x3.3cm
€ 600 - 800
A COLLECTION OF RARE 17TH AND 18TH CENTURY SPANISH JEWELLERYA
Tuesday 18th
September 2018

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20
A LATE 18TH/EARLY 19TH CENTURY DIAMOND NECKLACE, IBERIAN ORIGIN
The rose-cut diamond drop pendant within gold openwork scrolling frame, suspended by graduating rose-cut
diamonds within frames of similar style, foiled closed-back settings throughout, with loops for velvet ribbon
fitting, mounted in gold,length (excluding ribbon):26.5cm
€ 3,000 - 4,000
Portuguese Brooch, late 17th century
From the Collection ofThe National Museum of AncientArt Lisbon
Source: d’Orey, Leonor, 1995, Five Centuries of Jewellery, National
Museum ofAncientArt Lisbon, Zwemmer, London, p.39
Portrait of Queen Catarina of Braganza wearing typical bow brooch paired
with girandole earrings
Source: d’Orey, Leonor, 1995, Five Centuries of Jewellery, National Museum
ofAncientArt Lisbon, Zwemmer, London, p.29

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Tuesday 18th
September 2018
21
A PAIR OF MID 18TH CENTURY DIAMOND PENDENT EARRINGS,
IBERIAN ORIGIN
Each of cascading form, set with vari-cut diamonds in closed-back settings, mounted in
silver and gold,length 7.8cm
€ 800 - 1,200
22
A PAIR OF 18TH CENTURY PEARL AND DIAMOND PENDENT
EARRINGS, IBERIAN ORIGIN
Each hoop of openwork scrolling decorations, highlighted with baroque pearls, mount-
ed in gold,dimensions 5x3cm
€ 500 - 700
Portuguese Boat-Earrings, second half of 17th century
Source: d’Orey, Leonor, 1995, Five Centuries of Jewellery, National
Museum ofAncientArt Lisbon, Zwemmer, London, p.38
An early 18th century silver, ruby and table-cut diamond baroque bow ornament, probably Spanish c.1720-1740, front and reverse.
Benjamin, John 2011, Starting to Collect Antique Jewellery,Antique Collectors’ Club Ltd., Suffolk, p.45

2020
23
A VICTORIAN GARNET SERPENT NECKLACE,
CIRCA 1880
Designed as a highly stylised flexible serpent, the textured gold
head and eyes set with oval-shaped cabochon garnets, its mouth
suspending a heart-shaped locket set with a similarly-cut garnet
and to reveal on the reverse a glazed compartment, terminating
with a graduated snake-link chain,
length 41.5cm
€ 800 - 1,200
Throughout her long reign, QueenVictoria was regarded not only as a monarch but as an icon, her changing tastes in
fashion and jewellery being widely emulated by her people.As a result, today we can quickly recognise the major movement known
widely as “Victorian Jewellery”.
On the occasion of her engagement to PrinceAlbert, he presented her with a double snake ring which he had personally designed
for her.The ring was set with an emerald, the birthstone of the Queen, and another popular trend at the time.
The snake had long been regarded as a symbol of eternity as far back as Ancient Greek and Roman times, but these two snakes
wrapping around the finger became recognised as a symbol of eternal love. Before long, serpents were adorning not only rings but
also necklaces, bracelets and bangles as exemplified by these lots.
24
A 19TH CENTURY GOLD AND GARNET HEART
LOCKET/CHARM
The heart-shaped gold clasp set to the front with an oval cabochon
garnet, to an engraved ground, the reverse with glazed locket com-
partment, mounted in gold,within velvet case,length 3cm
€ 250 - 300
25
A VICTORIAN GEM-SET BANGLE
The hinged bangle revealing at the centre an interlaced serpent
and crescent, highlighted with circular-cut rubies, a rose-cut
diamond and seed pearls, mounted in gold,with safety chain,inner
diameter 5.7cm
€ 1,000 - 1,500
26
A GEM-SET RING
Designed as two interlocking snake coils, one leading to a circu-
lar-cut diamond and the other to a similarly-cut ruby, mounted in 18K
gold,London hallmarks,ring size J½
€ 150 - 200
27
A LARGE GEORGIAN GEM-SET FOB SEAL,
CIRCA 1820
Inset with carneline agate, to foliate and applied cannetille work,
highlighted with two large oval-shaped amethysts, to smaller
turquoise cabochons and circular-cut rubies, suspended from
reeded split ring, mounted in gold,length 5cm
€ 800 - 1,000
28
A MID-VICTORIAN TURQUOISE AND SEED PEARL
BROOCH, CIRCA 1860
The domed turquoise and seed pearl motif, set centrally on a gold
mount with applied ropetwist detail and further turquoise cabo-
chons, the reverse with glazed locket compartment, mounted in gold,
length 2.8cm
€ 250 - 300
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A CULTURED PEARL NECKLACE WITH
DIAMOND CLASP
Composed of three rows of cultured pearls measuring ap-
proximately 8.13-8.08mm, to a stylised bow clasp set with
closed-back old cushion and brilliant-cut diamonds, mounted in
silver and gold,principal diamonds approximately 1.00ct,remaining
diamonds approximately 1.20cts,length approximately 40cm
€ 800 - 1,200
30
A LATE 19TH CENTURY DIAMOND AND PEARL
BANGLE, VIENNA, CIRCA 1895
The hinged bangle set to the front with a double row of graduating
old brilliant-cut diamonds, with a pearl highlight at the centre, mount-
ed in gold,diamonds approximately 1.30cts total,Austro-Hungarian assay
marks,maker’s mark‘BS’,with safety chain,inner diameter:5.5cm
€ 1,800 - 2,200
31
AN EARLY 20TH CENTURY EMERALD AND
DIAMOND BOW PENDANT, CIRCA 1900
The pierced ribbon surmount set with old single-cut dia-
monds, suspending a square-cut emerald within a similarly-cut
diamond and emerald surround and garland frame, mounted in
silver and gold,principal emerald approximately 1.00ct,diamonds
approximately 1.50cts total,the ribbon surmount is detachable,screws
Oxford Street,London.W.Diamond Merchants Estd 1796’,length
6.6cm
€ 5,000 - 6,000
32
A LATE VICTORIAN DIAMOND CRESCENT
BROOCH, CIRCA 1890
Set throughout with old brilliant, cushion and rose-cut diamonds,
mounted in silver and gold,diamonds approximately 3.00cts total,with safety
chain,length 3.8cm
€ 1,800 - 2,200
33
A LATE 19TH CENTURY DIAMOND RING,
CIRCA 1890
The three central old brilliant-cut diamonds within a floral
diamond surround, mounted in silver and gold,diamonds ap-
proximately 1.60cts total,ring size L¾
€ 1,200 - 1,800
34
A LATE 19TH CENTURY DIAMOND PIN, CIRCA 1890
Designed as a flowerhead mounted‘en tremblant’, set throughout with
old brilliant, cushion and rose-cut diamonds, to a screw back double-prong
-
head:3.3cm,length including pin:13cm
€ 1,800 - 2,200
33

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Tuesday 18th
September 2018
35
A LATE 19TH CENTURY DIAMOND BROOCH
Designed as a bee flying, the wings and body decorated with
rose-cut diamonds, mounted in silver and gold,with safety chain,
width 2.5cm
€ 600 - 800
36
A LATE 19TH CENTURY SAPPHIRE AND
DIAMOND PENDANT/BROOCH, CIRCA 1890
Of target cluster design, the circular-cut sapphire weighing approx-
imately 2.40cts within a twin old brilliant-cut diamond surround,
mounted in silver and gold,diamonds approximately 6.50cts total,length
(excl.bale):2.6cm
€ 6,000 - 8,000
37
A SYNTHETIC SAPPHIRE AND DIAMOND RING
The rectangular cushion-shaped sapphire, within a surround of
rose-cut diamonds, mounted in 18K gold,French assay mark,ring
size P½
€ 800 - 900
38
A PAIR OF OPAL AND DIAMOND PENDENT
EARRINGS, CIRCA 1880
Each pear-shaped cabochon opal, within a frame of old single-cut di-
amonds, suspending a series of similarly-cut diamond tassels, mounted
in silver and gold,diamonds approximately 1.30cts total,length 4.5cm
€ 1,500 - 2,000
39
A 19TH CENTURY EMERALD AND DIAMOND NECKLACE WITH
PENDENT EARRINGS SUITE
Set to the front with a graduating row of old brilliant-cut diamonds, suspending a
closed-back pear-shaped emerald drop, to a cable-link chain accented with a rose-cut
diamond clasp, the chain mounted in platinum,the emerald drop mounted in silver and gold,
diamonds approximately 2.50cts,French import marks,necklace length:44cm,pendant length:
2cm;Together with a pair of pendent earrings suite, mounted in platinum,silver and gold,
diamonds approximately 2.50cts,French import marks,length 6cm
€ 6,000 - 7,000
tember 2018
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€ 6,000 7,

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40
A MID-19TH CENTURY EMERALD AND DIAMOND PENDANT ON CHAIN,
CIRCA 1860
The pear-shaped emerald cabochon drop with fluted carved detail, suspended from an old brilliant and cushion-cut
diamond scrolling motif, further suspended from an emerald cabochon bead, on a later fine trace-link chain, mounted
in silver and gold,diamonds approximately 1.50cts total,emerald bead 12.17x9.56mm,French assay marks,pendant length
7.3cm
€ 5,000 - 7,000
41
AN EARLY 20TH CENTURY NATURAL PEARL AND DIAMOND DIADEM/BROOCH,
VIENNA, CIRCA 1900
Designed as a garland of floral and foliate motifs with scrolling rope, set throughout with old brilliant and single-cut
diamonds, accented with a row of graduating natural pearls, mounted in silver and gold,diamonds approximately 4.00cts
€ 6,000 - 8,000
Accompanied by a report from the GIA laboratory in America, stating that seven out of seventeen pearls ranging
from 4.58 - 7.38mm were tested and found to be natural, saltwater with no indications of treatment. Report num-
ber 2175707144, dated July 21st 2016.

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Tuesday 18th
September 20182018
8
42
AN EARLY 20TH CENTURY DIAMOND BROOCH
Of openwork geometric form, the central old cushion-shaped diamond within a surround of old cush-
ion, single, rose and brilliant-cut diamonds, mounted in gold and possibly platinum,diamonds approximately
2.20cts total,width 5.8cm
€ 800 - 1,000
43
A NATURAL PEARL AND DIAMOND CLUSTER RING, CIRCA 1910
The round-shaped natural pearl of cream tint, measuring approximately 7.41x7.33mm, within
a double surround of old single-cut diamonds and similarly-cut diamond shoulders, mounted in
18K gold and platinum,French import marks,ring size O
€ 1,000 - 1,500
Please note that the pearl was verbally tested at GCS laboratory in London on August 9th 2018,
and was confirmed to be natural, saltwater pearl.
44
AN EARLY 20TH CENTURY DIAMOND BAR BROOCH
Composed of a single-row of graduating old brilliant and cushion-shaped diamonds, within mille-
grain setting, mounted in 18K gold and possibly platinum,diamonds approximately 1.20cts total,French assay
marks,length 7.2cm
€ 600 - 800

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AN IMPRESSIVE EARLY 20TH CENTURY OPAL, DIAMOND AND
EMERALD RING, CIRCA 1910
The cushion-shaped black opal, approximately 19.68 x 15.56 x 5.6mm, within a frame
of single-cut diamonds to an openwork ornate gallery and square-cut emerald shoulders,
mounted in platinum,ring size Q
€ 8,000 - 10,000

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AN ART NOUVEAU GEM-SET AND ENAMEL
BROOCH, BY TIFFANY & CO., CIRCA 1900
The openwork oval plaque decorated with scrolled white enamel
ribbons, accented by an old round brilliant-cut diamond of yellow
tint, seven similarly-cut topaz, two chrysoberyls and one zircon,
length 3cm
€ 1,500 - 2,000
47
A DIAMOND AND ENAMEL RING
Of bombé design, set to the centre with an old cushion-shaped dia-
mond weighing approximately 0.90ct, within a surround of blue fire
enamelling to a plain hoop, mounted in 14K gold,ring size M¾
€ 500 - 700
48
A PAIR OF EARLY 20TH CENTURY DIAMOND PENDENT EARRINGS
Each old brilliant cut diamond, within collet-setting, suspended from a line of single,
rose and old brilliant-cut diamonds, mounted in gold and platinum,diamonds approximately
€ 800 - 1,000
49
AN EARLY 20TH CENTURY DIAMOND RING,
CIRCA 1910
The openwork marquise-shaped plaque, centrally-set with a round
transitional-cut diamond within a scrolling decoration frame, to a
surround of single-cut diamonds, millegrain setting throughout,
mounted in 18K gold and platinum,diamonds approximately 0.50ct total,
ring size L½
€ 1,200 - 1,400
50
A BELLE EPOQUE DIAMOND NECKLACE, CIRCA
1910
Designed as a knife-edge line suspending a graduated fringe of old
brilliant-cut diamonds, the central diamond within a millegrain
scalloped surround of old single-cut diamonds, mounted in 14K
gold,diamonds approximately 2.60cts total,length 40cm (adjustable)
€ 1,200 - 1,800
The nameTiffany & Co. – and the little blue box with which we all associate
it – is synonymous with luxury and sparkling quality. Many of us however, are not as familiar
withTiffany’s contribution to the decorative arts.
Louis ComfortTiffany was the son ofTiffany founder, Charles LouisTiffany.A well-known
artist in his own right, the young Louis joined the company in 1902 and was responsible for
establishing the “TiffanyArt Jewellery” department. Here, he directed the production of high-
ly imaginative and innovativeArt Nouveau pieces, mainly in enamel and exemplified by the
brooch included in this sale.
After his father’s death, Louis ComfortTiffany became the firm’s firstArtistic Director.A
patron of the Metropolitan Museum of Arts, as well as a founder of the NewYork Society
of FineArts, his contributions to the field were later rewarded with his appointment as a
chevalier of the Legion of Honour.TodayArt Nouveau pieces byTiffany are highly collectible
and can be seen in the collections of many museums internationally, including at the Met in
NewYork.

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AN ART DECO ROCK CRYSTAL AND DIAMOND CLIP BROOCH, CIRCA 1935
The geometric rock crystal fan set with an old brilliant-cut diamond surmount, to similarly-cut dia-
mond lower accents, mounted in gold,diamonds approximately 0.80ct total,length 3.9cm
€ 600 - 800
52
AN ART DECO EMERALD AND DIAMOND RING, CIRCA 1940
The square step-cut emerald weighing approximately 1.50cts, between old brilliant-cut diamond
shoulders, to an openwork gallery and plain hoop, mounted in platinum and 18K gold,diamonds approxi-
mately 0.60ct total,French assay marks,ring size O½
€ 2,500 - 3,500
53
AN ART DECO DIAMOND BRACELET, CIRCA 1930
Composed of openwork geometric panels, set throughout with old brilliant, single and baguette-cut
diamonds, mounted in platinum and 18K gold,diamonds approximately 8.00cts in total,French assay marks,
with safety chain,length 18.1cm
€ 5,000 - 7,000
54
AN ART DECO DIAMOND BROOCH, CIRCA 1920
Centrally collet-set with brilliant-cut diamond, within a pierced geometric design of similarly and
single-cut diamonds, within millegrain setting throughout, diamonds approximately 2.50cts total,length
4.7cm
€ 1,200 - 1,800
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A DIAMOND BRACELET, CIRCA 1950
The highly flexible bracelet, designed as continuous rows of marquise-shaped links set with old brilliant-cut diamonds,
between single-cut diamond accents, mounted in platinum,diamonds approximately 10cts total,French assay marks,length
18.5cm
€ 8,000 - 10,000
56
A LADY’S 18K GOLD AND DIAMOND COCKTAIL WATCH,
BY VACHERON & CONSTANTIN, CIRCA 1950
20-jewel manual wind movement, cream dial, black Roman hour numerals, black sword hands, brushed and polished
18K white gold case, snap on case back, diamond set octagonal bezel, integral 18K gold textured woven bracelet with
folding clasp, dial and movement signed, movement no.K1050XX,Serial no.4251XX,Swiss assay marks,maker’s mark,case
€ 2,500 - 3,500
57
A FINE DIAMOND BROOCH, CIRCA 1950
Designed as a single stylised flower, set with an old brilliant-cut diamond at the centre weighing approximately 1.00ct, to
old brilliant and single-cut diamond pistils, petals and stem, mounted in gold and platinum,remaining diamonds approximately
10cts in total,French import marks,length 5.5cm
€ 8,000 - 10,000
Vacheron Constantin, the oldest watch manufacturer in the world, was established in Geneva in 1755 by Jean-Marc
Constantin, master watchmaker. Known today as the producer of the "Kallista", one of the world's most expensive wristwatches,
the company has a legacy unmatched by any other watchmaker.
At the end of the 18th century, c.1790,Vacheron gave us the first complication - any feature in a mechanical watch beyond the
simple display of hours and minutes, for example day or date display. Less than a decade later, they produced the first en-
gine-turned dials.
Throughout a rich and sometimes turbulent history, the firm was passed through generations of theVacheron family. In 1819, the
founder's grandson Jacques BarthélémyVacheron - worn out from the constant travel necessitated by what had become a mer-
chant business - made the decision to partner with François Constantin, a fellow merchant watchmaker.
A dynamic partnership resulted in an even more dynamic product.Vacheron & Constantin extended into new markets taking
NorthAmerica by storm. Under the direction of inventor, Georges-Auguste Leschot,Vacheron & Constantin were responsible
for the standardisation of movements into calibers and won many medals and awards. In 1885, the company created the first
non-magnetic timepiece, the construction of which may have inspired the design of the company's logo, a Maltese cross which is
still in use today.
Although the company ceased to be family owned in 1987, today it maintains its international reputation and continues to push
the boundaries of invention.With stores across the world and impressive headquarters in Geneva,Vacheron Constantin boasts an
enviable array of clientele over the course of its history, from Napoleon Bonaparte to Pope Pius XI,American Presidents Eisen-
hower andTruman, and the iconic Queen of Hearts, Princess Diana. More recent fans of the brand include actress Kate Bosworth
and another American president, Bill Clinton.

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A FINE DIAMOND ‘CASCADE’ BROOCH, CIRCA 1950
Designed as a stylised diamond bow, embellished with articulated tassels set with marquise,
baguette and round brilliant-cut diamonds, mounted in platinum, diamonds approximately 8.00cts
total,length 6.5cm,width 4.6cm
€ 6,000 - 8,000
59
A RUBY AND DIAMOND RING
Of target design, centrally set with an old brilliant-cut diamond weighing approximately 0.90ct
within a surround of calibré-cut rubies, to single-cut diamond shoulders, ring size L¾
€ 2,200 - 2,800
60
A PAIR OF RUBY AND DIAMOND EARCLIPS
Each oval-shaped cabochon ruby cluster set within a round and baguette-cut diamond tied ribbon,
mounted in 18K gold and platinum,diamonds approximately 4.50cts total,French assay marks,maker’s mark,
length 4cm
€ 5,000 - 6,000
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The house of Mauboussinbegan its days in a humble workshop in the Rue Greneta area in central Paris.
Initially established by a Mr Rocher, the firm was taken over by his partner Jean Baptiste Noury in 1869. Having survived the first
years of business through a period of tough economic and political instability, Noury began to exhibit the firm’s crafts at inter-
national exhibitions and fairs which were popular throughout France and across Europe during the late 19th century.This move
proved to be crucial in terms of building recognition for the brand, particularly when in 1878 he was awarded a bronze medal at
the‘Exposition Universelle’ in Paris.
Around this time, Noury’s young nephew Georges Mauboussin was quietly working in the background as an apprentice at the firm.
Mauboussin moved quickly through the ranks, taking over the management of the workshops in 1883 and taking sole control of the
company by 1898.This innovative young man was keenly aware of the need to adhere to the social norms important to his audience
and his tireless efforts to align the brand with the social spirit of the time became the key to creating the house that we now know.
In 1923, he moved the firm to Rue de Choiseul, taking his place near to the opera district and holding his own against competitors
such as Cartier and Boucheron.At this point, in spite of the brewing excitement of the RoaringTwenties, Mauboussin’s clients
remained fiercely private so Mauboussin located his new showrooms on the first floor, away from the prying eyes of the public.
When it came to what they wore however, these same clients had a taste for the exotic and for the brilliance of the Parisian Art
Deco style. Mauboussin again delivered, his skilled workshops constantly sourcing and manipulating the most innovative materials
in bold colours - from jade and shellac from the Far East to mother-of-pearl, pearls, coral and lapis lazuli from the Middle East and
carved coloured stones from India - to create magnificent stylised forms such as the famedTutti Frutti brooches and geometric
monochrome sautoirs for which the house is still known and recognised.
Throughout this time, Mauboussin exhibited widely, showcasing pieces from Milan to Buenos Aires, constantly winning awards for
his designs and his tireless work in contributing to the decorative arts, and all the while building the name of his brand. In fact these
exhibitions were so successful in terms of marketing and promotion, that Mauboussin held three exhibitions of his own during the
late twenties, showcasing the range and quality of gems and precious stones available at his Paris store.These exhibitions drew wide
attention including that of the Prince ofWales and the Maharajas of Kapurthala and Indore. Indeed it would be the business of these
clients that would help to support the firm through the economic struggles which would follow with the SecondWorldWar.
Prior to this however, in 1928, Georges’ son, Pierre, opened new stores in NewYork, London and BuenosAires.These led to a very
prosperous collaboration in 1936 with the NewYork jewellerTrabert & Hoeffer, which, under the nameTrabert & Hoeffer-Mau-
boussin Inc., set up a flagship store at 407 Park Avenue and later opened branches across the US. It was around this time that the
famous “Reflections” line of the 1930s was launched and it immediately enthralled Hollywood’s golden girls including Marlene
Dietrich, Paulette Godard and Audrey Hepburn. High-end magazines such asVogue, Harper’s Bazaar and L’Officiel also regularly
featured pieces created by Mauboussin as accessories to gowns by designers such as Lucien Lelong. Captured by famous photogra-
phers such as Horst and George Hoyningen-Huene, these served to further enhance the glittering image being broadcast across the
world of La Maison Mauboussin.
Following the period of the SecondWorldWar, there was a distinct change in taste and a move away from theArt Deco style. Mau-
boussin was quick to adapt to the new appetite for chunkier, less restrained pieces inspired by a fresh post-war optimism. By the
1950s, luxury was making a comeback with the prolific use of diamonds and precious stones adorning pieces in the form of coils
and scrolls.The piece being offered in this sale is a classic example of this bold and fantastical style. It is set in a typical fine platinum
setting (Paris as the international capital for expertise in jewellery, had been producing platinum settings since the late 19th cen-
tury) and the lightness of this setting affords and supports the boldness of the design and the number of diamonds without causing
discomfort to the wearer. Once again it is a piece which embodies the spirit of its time.
Throughout the 1940s and 50s, as the economic landscape continued to improve, Mauboussin’s client base began to expand as
disposable income rose amongst the middle class. Suddenly there was no longer a need for secrecy or privacy when shopping and
the windows of Mauboussin’s new store at 20 PlaceVendôme were opened up in 1946. By 1955, in a bid to embrace the democra-
tization of fine jewellery and echoing the move of their neighboursVan Cleef & Arpels, the firm opened a new‘boutique’ offering
pieces produced on a larger scale and at a more affordable price.This new clientele however still understood the value of the brand
and its heritage and was highly selective when it came to quality. It marked the beginning of a new era in jewellery marketing and
production.
Today, La Maison Mauboussin remains an independent house - a remarkable achievement in an era when almost all family-owned
jewellers have been taken over by multinational conglomerates. Owned since 2002 by Dominique Fremont, it has stores in Paris,
Japan, Singapore and NewYork and as a brand, it still remains firmly attuned to the needs and spirit of the time.
(Opposite page) Image of Mauboussin’s showrooms from a 1920s advertisement. From 1923, this building located between the Rue de Choiseul
and the Rue Monsigny was home to the brand, and contained the salerooms, the designer’s studio and the workshops.
De Cerval, Marguerite and Mooney, Sheila, 1992, Mauboussin, Editions du Regard, Paris, p.14

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PROPERTY OF A CONTINENTAL LADY
A MAGNIFICENT DIAMOND RIVIERE NECKLACE, BY MAUBOUSSIN, CIRCA 1955
Designed as two graduating rows of round brilliant and baguette-cut diamonds, each side accented by a stylised ribbon of
similarly-cut diamonds, mounted in platinum,diamonds 53.06cts total,signed Mauboussin,maker’s mark,French assay marks,case
stamped‘Mauboussin,20 Place Vandôme,Paris’,length approximately 38cm
€ 120,000 - 180,000
According to the invoice of Mauboussin PlaceVendôme Paris, dated February 20th 1962, the necklace comprises of 19
principal round brilliant-cut diamonds weighing 19.67cts in total, 62 remaining round brilliant-cut diamonds weighing
12.07cts in total and 117 baguette-cut diamonds weighing 21.32cts in total,‘all of top quality’.
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A model wears a pair of detachable diamond clips on a hat, circa 1950.The style is similar to that of the coils adorning the necklace in this sale.
De Cerval, Marguerite and Mooney, Sheila, 1992, Mauboussin, Editions du Regard, Paris, p.185
rca 1950.The style is similar to that of the coils adorning the necklace in this sale.
n, Editions du Regard, Paris, p.185
y

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Andrew Grima
Born in Rome and raised in London,Andrew Grima was a popular figure at the glittering parties and events of 1960s London, his
glamorous shop in Jermyn street almost as alluring as the man within.The self-taught designer is widely accredited with having rev-
olutionised jewellery design of the 20th century. Set apart from his contemporaries by his lack of artistic or other formal training,
he is said to have considered this a great advantage as it made him a “pure designer”, limited only by the bounds of his imagination.
His flamboyant and outlandish designs allowed the precious stones with which he was working to shine in their raw and brilliant
state, unconfined by typical cuts and traditional technical methods of production.
A close friend of Princess Margaret and her then husband, Lord Snowden, Grima produced a brooch of lichen cast in gold for the
Princess.This caught the eye of Prince Phillip who subsequently purchased a ruby and gold flower brooch for the Queen, one which
she still wears regularly today. Both of these pieces are similar in concept and design to the leaf brooch on offer in this sale.
Other well-known clients of the day included Barbara Hepworth and Jacqueline Onassis while pieces were also regularly modelled
by the likes of Ursula Andress, as well as Jean Shrimpton on the cover ofVogue in 1965. Present day fans include fashion designers
Miuccia Prada and Marc Jacobs.
Grima’s contribution to the art of jewellery design has been highly commended internationally. He is the only jeweller to have been
awarded the Duke of Edinburgh Prize for Elegant Design and his service to the industry was recognised withThe Queen’sAward
for Export. He also won the De Beers Diamonds International Award a record of thirteen times.
TodayAndrew is survived by his wife Jojo and daughter Francesca who continue to run the business, producing a small collection
of 20 to 30 pieces a year, as well as some bespoke commissions. Each piece is created by the same goldsmiths who have worked for
Grima for over forty years and so the spirit and imagination of the great designer is kept alive and imbued in each piece.
A similar brooch by Grima set with citrines, c.1963, from the Grima
archives. Image courtesy of Jojo Grima.
“Queen Elizabeth II wears her carved ruby and gold brooch by
Grima, gifted to her by Prince Philip.”

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A GEM-SET AND GOLD LEAF BROOCH, BY ANDREW GRIMA, 1963
Designed as a textured gold leaf, highlighted with pear-shaped aquamarines, blue sapphires and a
diamond, mounted in 18K gold,with maker’s mark HJCo.,London hallmarks for 1963,French import mark,
length 5.5cm
€ 2,500 - 3,500
63
A GOLD AND AMETHYST BROOCH, BY ANDREW GRIMA, 1964
The rough crystal amethyst, within three textured gold claws, in 18K gold,maker’s mark‘HJCo.’,
English hallmarks for 1964,width 6cm
€ 1,800 - 2,200

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A DIAMOND DRESS RING, CIRCA 1960
Designed as a stylised bouquet of flowers set with a central
round brilliant-cut diamond, within a surround of similarly and
single-cut diamonds, between diamond leaf shoulders, mounted
in gold,principal diamond approximately 0.70ct,remaining diamonds
approximately 1.20cts total,ring size O¾
€ 1,500 - 2,000
65
A TURQUOISE AND DIAMOND BROOCH,
CIRCA 1960
Designed as an oval-shaped cabochon turquoise spray with round bril-
liant-cut diamond highlights, mounted in 18K gold,diamonds approximate-
ly 0.80ct total,French assay mark,length 5.3cm
€ 3,000 - 4,000

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66
A NOVELTY BROOCH BY KUTCHINSKY, 1969
Designed as a fluffy duck, the eyes set with round cabochon emerald, the beak
and feet with orangy-red enamelling, mounted in 18K gold,signed Kutchinsky,
English hallmarks 1969,with maker’s case,length 5.2cm
€ 800 - 1,200
67
AN AQUAMARINE AND GEM-SET COCKTAIL RING, CIRCA 1970
The rectangular step-cut aquamarine weighing approximately 19.00cts, within an
eight-claw setting, the textured gold gallery highlighted with oval and circular-cut
sapphires and diamonds, mounted in 18K gold,diamonds approximately 0.40ct total,
maker’s mark,French import mark,ring size L½
€ 2,500 - 3,500
A family business established in London in 1893, Kutchinsky is well
known for its flamboyant and outlandish designs during the 1940s and 50s.The
family, who had previously served as jewellers to the court of Ludwig of Bavaria,
fled their home country of Poland, before arriving and settling in East London.
Similar to the French house Mauboussin, Kutchinsky embraced the spirit of the
post-war era producing lavish pieces heavily adorned with diamonds and brightly
coloured gems.The brand is particularly discernible for its slightly wacky
ornithological figures, usually styled in 18 carat gold, and exemplified by this
delightful lot.
ak
well
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aria,
on.
the
ghtly
s

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68
A PAIR OF TURQUOISE AND DIAMOND EARCLIPS, CIRCA 1970
Each earclip set with a trio of cabochon turquoise, frame with round brilliant-cut
diamonds, mounted in gold,diamonds approximately 3.00cts total,length 3.5cm
€ 1,500 - 2,000
69
A CORAL AND DIAMOND DRESS RING
The oval-shaped coral corallium rubrum cabochon, within an openwork scrolling gold
frame and single-cut diamond accents, mounted in gold,ring size U
€ 450 - 550
** Please note that this lot contains coral and is subject to CITES regulations when
exporting outside of the EU

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70
The round brilliant-cut diamond weighing 4.56cts within a six-claw setting to a plain hoop,
mounted in 18K gold and platinum,French assay marks,ring size L¼
€ 22,000 - 32,000

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A FINE LAPIS LAZULI, GOLD AND DIAMOND NECKLACE
The two rows of round-shaped lapis lazuli beads, with two polished gold connector clasps
decorated with round brilliant-cut diamonds, mounted in 18K gold,diamonds approximately 1.00ct
total,Italian assay marks,length approximately 73cm
€ 3,500 - 4,500
72
A LAPIS LAZULI AND DIAMOND DRESS RING
The collet-set cabochon lapis lazuli within a frame of brilliant-cut diamonds, to a bombé reed-
ed polished hoop, mounted in 18K gold,diamonds approximately 0.40ct total,ring size L
€ 800 - 1,000
73
AN ENAMEL AND DIAMOND FLOWER BROOCH, BY CARTIER,
CIRCA 1960
The petals decorated with royal blue guilloché enamel, with textured gold tips, the wirework
stamen highlighted with round brilliant-cut diamonds, mounted in 18K gold,diamonds approxi-
mately 0.70ct total,signed Cartier Paris,numbered,French assay marks,maker’s mark,length 5.7cm
€ 2,500 - 3,500
74
A PAIR OF LAPIS LAZULI AND DIAMOND EARCLIPS
Each collet-set cabochon lapis lazuli, within a scrolling frame of polished gold and brilliant-cut
diamonds, mounted in 18K gold,diamonds approximately 0.30ct total,length 3cm
€ 1,000 - 1,500

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75
AN 18K GOLD EVENING CLUTCH BAG, CIRCA 1955
Of basket-weave design, the hinged lid opening to reveal a mirror, in 18K gold,with velvet pouch,
dimensions 18.7x 8.8 x 3.7cm
€ 7,000 - 8,000
76
A GEM-SET AND GOLD BROOCH, BY BOUCHERON, CIRCA 1960
Designed as a flower, the brilliant-cut diamond and circular-cut sapphire stamen, completed
with openwork gold polished leaves, mounted in 18K gold,signed Boucheron,numbered,length
3.8cm
€ 500 - 700
77
AN 18K GOLD COMPACT CASE, BY CARTIER, CIRCA 1955
Of rectangular basketweave design, the hinged lid opening to reveal a mirror and powder
well, in 18K gold,signed Cartier,numbered,French assay marks,maker’s marks,dimensions 6x8x1.9cm
€ 3,000 - 4,000
ned as a flower, the brilliant-cut diamond and circular-cut sapphire stamen, completedsign
penwork gold polished leaves,th op mounted in 18K gold,signed Boucheron,numbered,length
8cm
70000 -
8K GOLD COMPACT CASE, BY CARTIER, CIRCA 1955N 18
sign, the hinged lid opening to reveal a mirror and powderrectangular basketweave desrect
ll, numbered,French assay marks,maker’s marks,dimensions 6x8x1.9cmmin 18K gold,signed Cartier,
,000 - 4,000

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AN 18K GOLD TUBOGAS NECKLACE AND BRACELET SUITE
Comprising a tubogas tapered necklace and wide bracelet, in 18K gold,Italian assay marks,
lengths:bracelet 19.7cm,necklace 41.5cm,inner diameter:bracelet 6.5cm,necklace 14.4cm
€ 6,000 - 8,000

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AN IVORY AND GOLD PENDANT NECKLACE, BY VAN CLEEF & ARPELS, CIRCA 1970
The circular pendant composed of bone, inlaid with gold accents, framed and suspended by a textured gold wheat
chain, mounted in 18K gold,signedVCA,numbered,French assay marks,maker’s mark,pendant length 8.7cm,diameter 6.7cm,
necklace length 62.4cm
€ 4,500 - 6,500
** Please note that this lot contains ivory.The United States Government has banned the importation of ivory
into the USA.
80
A GEM-SET NOVELTY BROOCH, CIRCA 1960
Designed as a playful seal, the body set in 18K gold textured panels, the eye with cabochon emerald highlighted
with a single-cut diamond eyebrow, the nose decorated with a round brilliant-cut diamond,mounted in 18K gold
and platinum,French assay marks,length 3.9cm
€ 800 - 1,000
81
A GOLD BRACELET
The highly flexible bracelet, composed of polished square and pyramid-shaped stud gold links, in bi-coloured 18K
gold,French assay marks,cased by Boucheron,length 18.8cm
€ 2,000 - 3,000
82
A GOLD SUITE, BY LALAOUNIS, GREECE
The earrings of polished radiating design interspersed with a textured finish;The ring of oval shape with a ham-
mered finished motif, both mounted in 18K gold,maker’s marks,with maker’s case,earring length 3.6cm,ring size M½
€ 1,500 - 2,500

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83
A BONE AND DIAMOND NECKLACE
Composed of a row of round polished bone beads, each inter-
spersed with single-cut diamond rondelles, mounted in silver and
gold,diamonds approximately 1.30cts total,length 46.6cm
€ 1,000 - 1,500
84
A BUDDHA CHARM/PENDANT
Depicting theVarada Mudra, seated with right palm out-
stretched, fingers pointing downwards and signifying‘gener-
osity, morality, patience, effort and meditative concentration’,
the reverse of the figure embossed with further symbolism,
and contained within a chased and engraved gold framed and
glazed case pendant, length 3.5cm
€ 250 - 300
85
AN AMETHYST AND GOLD NECKLACE WITH DIAMOND CLASP
Composed of a row of amethyst beads, interspersed with polished gold links to the front,
terminating with a gold and single-cut diamond spherical bead clasp, mounted in 14K gold,length
47.5cm
€ 250 - 350
86
A ‘HAPPY DIAMOND’ PENDANT NECKLACE,
BY CHOPARD
The annular pendant glazed to reveal 5 collet-set brilliant-cut
‘floating’ diamonds, within a similarly-cut diamond surround
and mother-of-pearl frame, to a further cabochon ruby accent,
on a fancy-link chain, mounted in 18K gold,diamonds approximately
necklace length 54.5cm
€ 3,000 - 4,000
87
AN AMETHYST COCKTAIL RING
The rectangular cushion-shaped amethyst within a double six-
claw setting, to a bifurcated gold hoop, ring size K
€ 400 - 600
83
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88
AN 18K GOLD ‘ERMETO’ TRAVEL CLOCK, BY MOVADO
Jewelled manual wind movement, silvered dial with applied gilt baton numerals and hands, signed
‘Movado’, sliding engine turned case, in 18K gold,Swiss assay marks,maker’s mark,numbered,width (closed):
4.6cm,width (open):6.5cm
€ 1,800 - 2,200
Swiss watchmaker Achille Ditesheim established Movado in 1881
in La Chaux-de-Fonds in the Jura mountains.As a maker, he specialised in travel
watches and chose the name‘Movado’ for its meaning “always in motion”.
Similarly, when designing the cased‘Ermeto’ line, he chose the name for its
meaning -‘Ermeto’ translates from Greek as‘sealed’.This seal or case when
opened and closed would at the same time wind the mechanism on all models
produced from 1927 on.
The style was later developed, including variations in decoration and purpose.
This model is fitted with a stand - an ideal travel companion to prop on your
nightstand when flying long-distance!
89
AN 18K GOLD ‘CALATRAVA’ MANUAL WIND BRACELET WATCH,
BY PATEK PHILIPPE
18-jewel Cal-215 manual wind movement, adjusted to heat, cold, isochronism and five positions with
Gyromax balance, white enamel dial with Roman numerals and feuille hands, subsidiary seconds, sap-
phire crystal, 18K gold circular two-piece case with hobnail bezel to integral fine mesh gold bracelet,
serial no.29742xx,ref.no.391xx,case,dial,movement and clasp signed,Swiss assay marks,case (including crown):
3.5cm
€ 5,000 - 7,000
90
A LADY’S 18K GOLD AND DIAMOND QUARTZ BRACELET WATCH,
BY PIAGET, CIRCA 1980
4-jewel quartz 857P movement, champagne dial with applied diamond dot quarters, black dagger
hands, brushed and polished case, the back held by 4 screws, bezel set with brilliant and calibré-cut di-
amonds, fitted articulated textured 18K gold bracelet with folding clasp, case,dial and movement signed,
serial no.4112xx,ref.no.89520xx,Swiss assay marks,French import marks,case 2.2cm
€ 1,200 - 1,800

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91
A LADY’S STAINLESS STEEL ‘TANK FRANCAISE’
QUARTZ BRACELET WATCH, BY CARTIER, 2010
4-jewel Cal. 057 quartz movement, cream dial with black
Roman numerals, black inner minute track with five min-
ute markers, secret signature at 10, 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.2384,
case,dial and movement signed,with Cartier box,instruction booklet,
(including crown):2.4cm
€ 1,500 - 2,000
92
A LADY’S 18K GOLD ‘MISS PROTOCOLE’
QUARTZ WRISTWATCH, BY PIAGET, CIRCA 2005
4-jewel quartz 54P movement, mother-of-pearl dial with blackArabic
quarters, polished leaf hands, ridged rectangular case with back secured
by four screws, hinged lugs, fitted Piaget black strap and Piaget 18K gold
clasp, serial no.88494x case,dial,movement signed,case (including crown):
1.9cm,with Piaget pouch
€ 1,500 - 2,000

61
93
AN 18K GOLD MANUAL WIND ‘GONDOLO’ WRISTWATCH,
BY PATEK PHILIPPE, CIRCA 2005
18-jewel Cal. 215 manual wind movement adjusted to heat, cold, isochronism and five posi-
tions, Gyromax balance, cream dial with black oxidised Roman numerals, subsidiary dial at 6
for running seconds, brushed and polished 18K white gold rectangular case with back secured
by four screws, signed crown, on black leather strap, signed 18K white gold buckle, case,dial
and movement signed,Mov.no.1.884.0xx,ref.no.501x,case no.4.217.5xx,with maker’s case and box,
accompanied with archive papers,Swiss assay marks,case (including crown):2.7cm
€ 6,500 - 8,500

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Tuesday 18th
September 2018
94
A BLACK JET AND DIAMOND ‘VICTORIA’ PENDANT,
BY POMELLATO
The oval-shaped pendant set with engraved black jet, to a rose-cut diamond
bale, mounted in 18K gold,signed Pomellato,Italian assay mark,length 3.9cm
€ 500 - 700
95
A COLOURED DIAMOND ‘SABBIA’ DRESS RING,
BY POMELLATO
The thick hoop set with round brilliant-cut coloured diamonds throughout,
mounted in 18K gold,signed Pomellato,Italian assay mark,ring size P¼
€ 2,000 - 3,000
96
A GOLD CHAIN NECKLACE, BY POMELLATO
The Pomellato‘DNA-links’, in 18K gold,signed Pomellato,Italian assay mark,length
47.5cm
€ 1,200 - 1,800
62
CO
BY PO
The thick h
mounted in 18
€ 2,000 - 3,0000
96
A GOLD CHAIN NECKLACE, BY P
The Pomellato‘DNA-links’, in 18K gold,signe
47.5cm
€ 1,200 - 1,800

63
97
A FINE DIAMOND LINE NECKLACE, BY CARTIER
The continuous line of round brilliant-cut diamonds weighing approx-
imately 18-20cts in total, mounted in 18K gold,signed Cartier,numbered,
French assay mark,maker’s mark,Cartier pouch,length 39.5cm
€ 25,000 - 35,000

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September 2018
98
A DIAMOND RING
The old brilliant-cut diamond within a multiple claw-setting, to
a plain hoop, mounted in 18K rose gold,ring size L
€ 300 - 500
99
A DIAMOND ETERNITY RING
The continuous row of round brilliant-cut diamond, within
millegrain setting, mounted in 18K rose gold,diamonds approxi-
mately 0.40ct total,ring size M
€ 500 - 700
100
A PAIR OF DIAMOND AND QUARTZ PENDENT
EARRINGS
Each cushion mixed-cut quartz of brown tint, within a frame of
brilliant-cut diamonds and a rose-cut diamond accent, suspend-
ing from a similarly-cut diamond surmount, mounted in silver and
gold,diamonds approximately 0.70ct total,length 4.2cm
€ 800 - 1,000
101
The circular glazed crystal compartment pendant, containing
loose baguette-cut diamonds of cognac tint, suspended from
a gold bead-link chain, mounted in 18K gold,Italian assay marks,
pendant length (including bale):2.6cm,chain length:42.2cm
€ 1,000 - 1,500
102
A DIAMOND HALF-ETERNITY RING, BY WEIR
Set to the front with a thin row of round brilliant-cut diamonds,
mounted in platinum,diamonds approximately 0.15ct total,signedWeir,
ring size O
€ 200 - 300
103
A RUBY ETERNITY RING
The continuous row of circular-cut rubies with claw-setting,
mounted in 18K gold,ring size L
€ 500 - 700
2018
99

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104
A COLOURED SAPPHIRE AND DIAMOND RING
The rectangular cushion-shaped purple sapphire weighing 2.73cts,
within a surround of round brilliant-cut diamonds, mounted in 18K
rose gold,diamonds approximately 0.10ct total,ring size L½
€ 3,000 - 4,000
Accompanied by a report fromThe Gem & Pearl Laboratory in
London, stating that the sapphire weighing 2.73cts is of Sri Lankan/
Madagascar origin, with no indications of heat treatment. Further-
more, the sapphire exhibits a change of colour, appearing purple
in daylight and pink in incandescent light. Report number 15369,
dated March 2nd 2018.
105
A SAPPHIRE AND DIAMOND CLUSTER RING
The oval-shaped sapphire weighing approximately 3.50cts,
within a multiple-claw setting and a surround of round bril-
liant-cut diamonds, mounted in 18K gold,diamonds approximately
0.60ct total,ring size L½
€ 3,500 - 4,500
106
AN EMERALD AND DIAMOND RING
The square-shaped emerald weighing approximately 1.60cts within a
four-claw setting, between two half-moon and tapered baguette-cut
diamond shoulders, mounted in platinum,diamonds approximately
1.40cts total,ring size M
€ 4,000 - 5,000
107
AN EMERALD AND DIAMOND RING
The cushion-shaped emerald, weighing approximately 3.90cts,
within a double four-claw setting, between pear-shaped dia-
monds, mounted in 18K gold,diamonds approximately 0.60ct total,
ring size N
€ 4,000 - 6,000
108
A SAPPHIRE RING
The rectangular cushion-shaped sapphire weighing 5.95cts, within a
half collet-setting, to a plain polished hoop, mounted in 18K gold,ring
size L½
€ 5,500 - 6,500
Accompanied by a report fromThe Gem & Pearl Laboratory in Lon-
don, stating that the sapphire weighing 5.95cts, is of Sri Lankan origin,
with no evidence of thermal treatment. Report no. 15790, dated June
1st 2018.
109
The cushion-shaped pink sapphire weighing 4.01cts within a
four-claw setting, between half-moon shaped diamonds, mounted
in 18K gold and platinum,diamonds approximately 0.70ct total,ring
size L½
€ 7,500 - 8,500
Accompanied by a report fromThe Gem & Pearl Laboratory in
London, stating that the sapphire weighing 4.01cts, is natural,
with no indications of heat treatment. Report no. 03028, dated
July 8th 2010.

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110
AN EARLY 19TH CENTURY DIAMOND BROOCH, CIRCA 1840
Designed as a flower spray, the flowerhead, leaves, bud and stem set throughout with old rose-cut
diamonds of various shapes, to closed-back settings, mounted in silver and gold,length 7cm
€ 3,000 - 4,000
111
AN EARLY 19TH CENTURY DIAMOND BROOCH/PENDANT, CIRCA 1820
Designed as a flowerhead, set throughout with rose-cut diamonds of various shapes, to closed-back
settings,
€ 600 - 800
A FINE SINGLE OWNER COLLECTION OF
19TH & EARLY 20 CENTURY JEWELLERY

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112
A BELLE EPOQUE DIAMOND-SET CORSAGE BROOCH, CIRCA 1915
The rectangular-shaped finely pierced panel of scroll and floral design, set with a collet-set old cushion-shaped diamond
at the centre, to a surround of rose and single-cut diamonds, within millegrain detail throughout, mounted in platinum
and gold,principal diamond approximately 0.50ct,remaining diamonds approximately 1.50cts total,with case by‘Wartski,H.M
€ 2,500 - 3,500
113
A PAIR OF DIAMOND EARRINGS
Each old cushion-shaped diamond weighing approximately 3.00cts, to a similarly-cut diamond surmount, mounted in
gold,remaining diamonds approximately 0.20ct total,length 1.9cm
€ 8,000 - 12,000

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September 2018
114
A PAIR OF DIAMOND EARCLIPS, PARTLY 19TH CENTURY
Each designed as a stylised tulip flower, set throughout with rose-cut diamonds, mounted in silver
and gold,diamonds approximately 4.50cts total,length 3cm
€ 3,000 - 4,000
**These earrings were originally elements of larger 19th century pieces, which were later
transformed into earclips.
115
A LATE 19TH CENTURY DIAMOND BROOCH, CIRCA 1880
Designed as a flower spray, the flowerhead, leaves, bud and stem set throughout with old
brilliant, cushion and rose-cut diamonds, mounted in silver and gold,diamonds approximately 3.20cts
€ 1,500 - 2,000

7171
116
A LATE 19TH CENTURY DIAMOND ‘EN TREMBLANT’ FLORAL SPRAY
CORSAGE ORNAMENT BROOCH, CIRCA 1880
Set throughout with old cushion and rose-cut diamonds, the central flowerhead mounted en tremblant,
mounted in silver and gold,diamonds approximately 2.50cts total,length 9.7cm
€ 1,800 - 2,800
Trembling Jewels
In the early nineteenth century, botany was becoming hugely fashionable as a field of study with new species from all over the world be-
ing brought back to England by explorers and military travellers. Regarded as an acceptable hobby for young ladies, general knowledge
of horticulture was widespread among the upper classes. Pupils of the subject were artistically trained and were expected to reproduce
studies of flora to a high standard.This knowledge also poured across into literature and poetry of the period,WilliamWordsworth’s
“Host of Golden Daffodils” being one of the most well-known references to the subject.
It stands to reason that the jewellers and smiths of the period could not help but be influenced and inspired by this national obsession
with the natural world.At a moment when techniques in gem cutting and mounting had been honed to such a fine art in a comparative-
ly short space of time, there could be no better occasion to create an object of such beauty that it rivalled the living thing. (Fresh flowers
were also favoured as an accessory or “corsage” in the costume of the period.)
Catalogues suggest that floral bouquets were first used as patterns in English jewellery design as early as the mid-1770s. By the 1830s
and 40s, they had become sparkling works of art. However, the English may not necessarily have been the first to be inspired by the
natural world. Giardinetti (little garden) brooches and rings had been made in Italy almost a century earlier.Without doubt, those ear-
lier examples could not compare to the sheer prowess of engineering ingenuity seen in these large bouquets “en tremblant” of the early
nineteenth century.
The origins of the “en tremblant” mechanism is generally attributed to the ateliers of Paris. In this competitive era of Great Exhibitions,
many jewellers would have travelled back and forth between London and Paris (amongst other cities), both exhibiting their wares and
studying and being influenced by the trends of their foreign counterparts. It is certainly clear that there was a blurring of influences in
foliate designs and techniques.“En tremblant” literally means “trembling”.The feature, as can be seen with each of these exquisite lots,
was used to highlight individual elements of the bouquet – a single flower head seeming to quiver and shake in the breeze.The meth-
od, though delicate, was simple. Each piece would be mounted or fixed via a series of wire or gold coiled springs leaving it in constant
gentle motion.The French took this a step further and added trembling butterflies and dragonflies alighting on leaves – another trend
quickly absorbed into English fashion. Generally designed for wear in the hair (on combs), below the décolletage or around the bust (on
brooches or corsage pins), the intention was to maximise the volume of light captured and deflected in glittering sparkles, the constant
fluttering eye catching to say the least.
Unsurprisingly, this style caught the eye of Empress Eugénie of France, wife of Napoleon III. In 1855 she commissioned a large diamond
flower corsage from Parisian jeweller,Théodore Fester.According to the official catalogue from the auction of French crown jewels in
1887,‘The flowers: anemone, rose, carnation etc, are modelled from nature.This ornament divides into seven different sprigs, each
complete in design, and the complicated flowers, by mechanical contrivances, separate for the purpose of effectual cleaning. It contains
nearly 6,000 diamonds, the largest of which weighs upwards of 10 carats’. (Gere, C. and Rudoe, J. 2010, Jewellery in theAge of Queen
Victoria,A Mirror to theWorld,The British Museum Press, London, p.171)
One hundred years later, in the 1950s and 60s, Italian jeweller Bulgari produced a series of magnificent hairclips and brooches inspired
by the “en tremblant” designs of the nineteenth century. Hollywood icons were enthralled by the dazzling line and patrons included
Ingrid Bergman, Princess Soraya of Iran and ElizabethTaylor, whose then-husband Eddie Fisher gifted her one such brooch on the occa-
sion of her 30th birthday.The brooch was sold at Christies NewYork in 2011 for USD 1,142,500 (c. € 985,000).

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117
A FINE LATE 19TH CENTURY ‘EN TREMBLANT’ FLORAL
The three old cushion and rose-cut diamond flowerheads mounted en tremblant, the foliage
similarly-set, mounted in silver and gold,diamonds approximately 4.50cts in total,French import
numerous parts,length all together:26cm
€ 4,000 - 6,000

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September 2018
118
A LATE 19TH CENTURY DIAMOND ‘EN TREMBLANT’
FLORAL CORSAGE ORNAMENT BROOCH, CIRCA 1880
Set throughout with old cushion and rose-cut diamonds, two flowerheads
mounted en tremblant, diamonds approximately 2.40cts,French import marks for
€ 1,500 - 2,000
Tuesday 18th
September 2018
118
A LATE 19TH CENT
FLORAL CORSAGE
Set throughout with old
mounted en tremblant,
€ 1,500 - 2,000
74
119
A LATE 19TH CENTURY DIAMOND ‘EN TREMBLANT’
FLORAL SPRAY BROOCH, CIRCA 1880
Set throughout with old cushion and rose-cut diamonds, the central flower-
head mounted en tremblant, diamonds approximately 3.70cts total,French import
marks for silver and gold on pin,numbered 3054,length 9.7cm
€ 2,500 - 3,500

75
120
A FINE LATE 19TH CENTURY ‘EN TREMBLANT’ FLORAL
The old cushion and rose-cut diamond flowerhead mounted en tremblant, the foliage
similarly-set, mounted in silver and gold,diamonds approximately 6.50cts in total,French assay
LondonW1’,detachable into two parts,length together:15cm,shorter:9cm
€ 4,000 - 6,000
*With maker’s mark‘AF’ partly rubbed off, possibly forAlphonse Fouquet 1828-1911
120
Alphonse Fouquet (1828 – 1911), father of the better-known Georges
Fouquet, was a French jeweller who began his career serving as an apprentice in Paris
at the age of eleven.Alphonse was an obvious natural talent and in spite of years of
abuse under his master, Henri Meusnier, he eventually forged a name for himself and in
1860 opened his own atelier. Here he specialised in the creation of Renaissance revival
jewellery featuring sphinxes, nymphs and other mythological creatures. However, it is
clear thatAlphonse was also known to produce the fashionable “en tremblant” corsage
ornaments whose popularity had continued to soar throughout the nineteenth century.
A similar brooch to this lot was sold at Sotheby’s NewYork earlier this year. From the
personal collection of jeweller to the stars Fred Leighton, it sold for USD 12,500 (c. €
10,775).

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121
AN IMPRESSIVE LATE 19TH CENTURY ‘EN TREMBLANT’ FLOWER CORSAGE ORNAMENT
BROOCH, 1880
The three old cushion and brilliant-cut diamond flowerheads mounted en tremblant, the foliage similarly-set, termi-
nating with a stylised diamond bow, mounted in silver and gold,three principal diamonds weighing approximately 1.00-1.20cts
€ 20,000 - 30,000

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122
A CULTURED PEARL BRACELET, BY UTOPIA
Of symmetrical design, the flexible bracelet set throughout withTahitian pearls of grey tint,
measuring between 10.08 - 8.07mm, mounted in 18K gold,signed Utopia,numbered,length
18.6cm
€ 3,000 - 4,000
123
A PAIR OF DIAMOND AND ENAMEL PENDENT EARRINGS,
BY VICTOR MAYER
Each earring set with an oval-shaped diamond at the centre in a four-claw setting, within
an openwork frames of grey enamel and round brilliant-cut diamond, suspended from a
similarly-cut diamond surmount, mounted in 18K gold,diamonds approximately 1.50cts total,
length 2.8cm
€ 1,000 - 1,500
Victor Mayer (1887-1946) was born in Germany to a family of entrepreneurs and founded
his jewellery manufacture in 1890, on the cusp of the Belle Époque. Showing promise as a talented
draftsman, he first trained as a steel engraver before enrolling at the Grand Ducal School ofArts and
Crafts inVienna. He spent three years there, learning and developing the guilloché engraving and fire
enamelling techniques that are still being used to this day.These traditional techniques, which require
excellent craftsmanship and precision, have been preserved by the company for over 125 years, mak-
ingVictor Mayer the only jewellery manufacturer in Europe to produce guilloché engraving and fire
enamel to such a superior standard.
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7979
124
A DIAMOND SINGLE-STONE RING, BY JACOB
The oval-shaped diamond weighing 1.52cts within a six-claw setting, between two
trilliant-cut diamond shoulders weighing 0.83ct total, mounted in platinum,ring size
M½
€ 6,000 - 8,000
125
A CULTURED PEARL NECKLACE WITH DIAMOND CLASP
Composed of a single strand of graduated round-shaped cultured pearls of
grey tint, measuring 14.81-12.08mm, to a diamond pavé-set clasp, mount-
ed in 18K gold,diamonds approximately 0.40ct total,length 45cm
€ 2,500 - 3,500

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018
126
A ‘NIGERIA’ DIAMOND BAND RING,
BY CARTIER
The wide band with bombé centre, pavé-set with round bril-
liant-cut diamond throughout, mounted in 18K gold,diamonds approx-
imately 5.00cts total,signed Cartier,numbered,French assay mark,maker’s
€ 5,000 - 7,000
127
A DIAMOND BROOCH, BY MARGHERITA
BURGENER
Designed as a stylised feather, set throughout with round bril-
liant-cut diamonds weighing 2.74cts in total, mounted in gold and
titanium,with maker’s mark,maker’s case,length 7cm
€ 3,800 - 4,200
128
Designed as an openwork tear drop set with round brilliant-cut di-
amonds, suspending on a fine trace-link chain, mounted in 18K gold,
diamonds approximately 0.40ct total,pendant (including bale):1.9cm
€ 500 - 700
129
AN IMPRESSIVE RUBELLITE TOURMALINE
AND DIAMOND COCKTAIL RING,
BY MARGHERITA BURGENER
Set with an oval-shaped rubellite tourmaline weighing 12.08cts,
within a radiating surround of round brilliant-cut diamonds, to a
similarly-set diamond band, mounted in 18K gold,diamonds 1.70cts
total,signed Magherita Burgener,Italian assay marks,with maker’s case,
ring size K½
€ 10,000 - 15,000
130
The round brilliant-cut diamond, weighing approximately 0.60ct,
within a similarly-cut diamond frame and shoulders, mounted in
platinum,signedWeir,ring size O½
€ 800 - 1,200
131
Each hoop set with a single row of round brilliant-cut diamonds,
mounted in 18K gold,diamonds approximately 2.80cts total,inner diame-
ter 4.1cm
€ 1,800 - 2,200€ 1,800 - 2,200

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132
A DIAMOND AND GOLD CHARM BRACELET
The rectangular-link chain bracelet, highlighted with round brilliant-cut diamonds,
suspending various maritime themed charms, each set with similarly-cut diamonds,
two boats and the fish with additional circular-cut rubies and sapphire, mounted in 18K
gold,diamonds approximately 1.00ct total,Italian assay mark,length 17.8cm
€ 2,000 - 2,500
133
A RUBY AND DIAMOND RING
The oval-shaped ruby weighing approximately 2.00cts, within a double four-claw setting,
between two round brilliant-cut diamond shoulders, mounted in 18K gold,diamonds approx-
imately 1.00ct total,ring size K
€ 4,000 - 5,000
** Please note that the ruby was verbally tested at GCS laboratory in London in August
2018 and was found to be ofThai origin, with no indications of heat treatment.
132
A DIAMOND AND GOLD CHARM BRACELET
The rectangular-link chain bracelet, highlighted with round brilliant-cut diamonds,
suspending various maritime themed charms, each set with similarly-cut diamonds,
two boats and the fish with additional circular-cut rubies and sapphire, mounted in 18K
gold diamonds approximately 1 00ct total Italian assay mark length 17 8cm

83
134
A PAIR OF JADE JADEITE, CHROME DIOPSIDE AND DIAMOND
EARRINGS, BY MARGHERITA BURGENER
Each polished square jadeite jade plaque set at the centre with a rectangular step-cut
chrome diopside, within a pavé-set round brilliant-cut diamond border, mounted in 18K
gold,diamonds 0.96ct total,chrome diopside 2.80cts total,signed Margherita Burgener,maker’s
mark,Italian assay marks,maker’s case,length 2.3cm
€ 3,300 - 4,300
Until very recently diopside was well-known only in the realm of serious gemstone col-
lectors. Recently however, the forest-green chrome diopside variety, which is similar to
emerald, has begun to appear more regularly on the high-jewellery market.
135
AN 18K GOLD AND DIAMOND MANUAL WIND WATCH,
BY CHATELAIN, CIRCA 1965
17-jewel manual wind movement, the diamond-set dial with black sword hands, the 18K
gold polished case with four back screws, diamond-set bezel and gem cabochon crown, to
a leather strap bracelet and 18K gold buckle signed‘A.W’, movement signed‘Chatelain’,
movement no.2118,ref.no.16,case no.10553,Swiss assay marks,with maker’s leather box,case (in-
cluding crown:2.7cm)
€ 1,000 - 1,500
136
A PAIR OF JADEITE JADE AND DIAMOND EARRINGS, BY
MARGHERITA BURGENER
Each designed as a stylised green leaf of jadeite jade with engraved details, set with a
central line of round brilliant-cut diamonds, mounted in 18K gold,diamonds 0.14ct total,
signed Margherita Burgener,maker’s mark,Italian assay marks,with maker’s case,length 1.7cm
€ 800 - 1,200
Based in the Swiss watchmaking centre of La Chaux-de-Fonds in the Jura
mountains (also the home of Ermeto, lot 88), G&F Châtelain SA was established here
in 1947 by brothers George and Francis Châtelain.Trained by their mother in a small
workshop polishing and repairing gold parts, as the economy returned to life in the
aftermath ofWorldWar II, the brothers set up their own workshop, initially only pol-
ishing clasps for leather bracelets. Before long they began to expand their business and
expertise as jewellers and watchmakers.Today the company remains an independent
house and is well known for its dynamic watches with complex movements and also
for its jewellery lines.

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137
A SAPPHIRE AND DIAMOND DRESS RING
The oval-shaped sapphire weighing approximately 3.00cts, within a
four-claw setting and a triple frame of round brilliant-cut dia-
monds, mounted in 18K gold,diamonds approximately 0.80ct total,ring
size L
€ 2,500 - 3,500
138
A PAIR OF CULTURED PEARL AND DIAMOND
EARRINGS
Each cultured pearl of grey tint measuring approximately
10.45mm, within a scrolling border of single-cut diamonds, mount-
ed in 14K gold,length 1.5cm
€ 200 - 300
139
A DIAMOND THREE-STONE RING
The central old brilliant-cut diamond weighing approximately
0.80ct, between two similarly-cut diamond shoulders, mounted in
platinum,remaining diamonds approximately 1.40cts,ring size K¾
€ 4,500 - 5,500
140
A DIAMOND DRESS RING
Designed as a coiled snake, the body set with round brilliant-cut di-
amonds, accented with an old oval-shaped diamond crown, mounted
in 18K gold,diamonds approximately 1.10cts total,ring size O
€ 1,800 - 2,200
141
A CULTURED PEARL NECKLACE
The single row of graduating round-shaped cultured pearls of grey
tint, measuring 15.56-12.18mm, to a spherical 18K gold clasp,length
47.2cm
€ 1,500 - 2,000
142
The round brilliant-cut diamond weighing approximately 0.55ct,
between single-cut diamond leaf shoulders, mounted in 18K gold,
French assay marks,ring size (adjustable):N
€ 600 - 800

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143
A GEM SET PORTRAIT MINIATURE BROOCH/PENDANT
The oval painted portrait of a Georgian lady with red, green and white stones, glazed,
to blue enamel and seed pearl border, on 18K gold bale, length (including bale):5.2cm
€ 800 - 1,000
144
A GOLD PENDANT
The rectangular ingot pendant, in 9K gold, English hallmarks,length (including bale):
5.8cm,total gross weight approximately:29g
€ 300 - 500
145
A PAIR OF RUBY AND DIAMOND PENDENT EARRINGS
Each earring set with an oval-shaped ruby, within a frame of single-cut diamonds,
mounted in 9K gold,length 2.6cm
€ 500 - 700

8787
146
A GOLD BRACELET
The curb-link bracelet with heart-shaped padlock charm, in 9K gold
€ 600 - 800
147
Of marquise shape panel, set to the centre with a round brilliant-cut diamond
within a surround of single-cut diamonds, mounted in gold,diamonds approximately
0.70ct total,ring size O
€ 500 - 700
148
A GOLD BRACELET
The gold gate-link bracelet with heart-shaped padlock clasp, in 18K gold,with
safety chain
€ 800 - 1,000

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149
A PAIR OF DIAMOND EARSTUDS
Each collet-set round brilliant-cut diamond, weighing approx-
imately 0.50ct, mounted in 18K gold
€ 1,000 - 1,500
150
A GOLD BRACELET
Designed as a series of openwork pierced panel links with beaded
details, within borders of fancy gold links, mounted in 14K,with gold
safety chain,length approximately 21.5cm,total gross weight approximately
66.41g
€ 1,000 - 1,500
150
A GOLD BRACELET
88

8989
151
A GOLD CHARM BRACELET
The curb-link bracelet with security chain, suspending fifteen gold charms,
including a hat, a guitar, a boat, a ship’s wheel etc...the chain and the majority of
charms in 9K gold
€ 600 - 800
152
The round brilliant-cut diamond weighing approximately 1.00ct within an eight-
claw setting, to a plain hoop, mounted in 18K gold,ring size N¼
€ 1,200 - 1,800
153
A GOLD AND GEM-SET CHARM BRACELET
The fancy-link bracelet with security chain, suspending six assorted charms, including
a heart-locket, a fob, a shoe etc...mounted in 9K gold
€ 800 - 1,000

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154
A DIAMOND AND GOLD BANGLE QUARTZ WATCH
The reeded large gold bangle, set centrally with a heart-shaped watch case, the dial
and crown set with single-cut diamonds throughout, to further round brilliant-cut
diamond decorations, mounted in 18K gold,Italian assay marks,inner diameter 5.9cm,
width 4cm
€ 3,000 - 3,500
155
A GEM-SET AND GOLD ‘CIRCUS’ BANGLE WATCH
The machined central panel formed in a peak, the centre mounted with a circus
elephant balancing on a ball, the elephant set with round brilliant-cut diamonds
throughout, a gold ring around its trunk, the ball containing the watch face within
a round brilliant-cut diamond bezel and with gold dial and single-cut diamond
highlights, the glass case signed “Hoile”, flanked on either side by an enamel bal-
loon, another smaller elephant balances to the right, the entire scene surmounted
by red, blue and green enamel bunting, and contained within borders of round
brilliant-cut diamonds, the plain hinged side panels designed to wrap around the
wrist, mounted in 18K gold,diamonds approximately 4.00cts total,Italian assay marks,
inner diameter 5.2cm,total gross weight approximately 120g
€ 2,400 - 2,800

91
156
A DIAMOND AND GOLD TORQUE NECKLACE
Composed of graduating gold links of reeded design, spaced by
further polished sections, the bombé frontispiece set with two
brilliant-cut diamond elements, mounted in 18K gold,diamonds
1.90cts,Italian assay mark,inner diameter 11.8cm
€ 2,000 - 3,000
157
A PAIR OF ONYX AND DIAMOND EARCLIPS,
BY GAVELLO
Each designed as a stylised flowerhead, the petals set with onyx and round
brilliant-cut diamond highlights, mounted in 18K gold,diamonds approximately
€ 1,000 - 1,500
158
A DIAMOND LINE BRACELET
Designed as a row of collet-set brilliant-cut diamonds, mounted in 18K gold,diamonds approximately 3.60cts total,length
18.3cm
€ 1,500 - 2,000
Established in Milan in the late 1970s by Rinaldo and Martha Gavello, the brand has always
aimed to produce functional pieces that break with decorative tradition. Ergonomically focused, they
align with the natural beauty and movement of the body.Today Gavello’s skilled Italian artisan crafters
continue to seek unique materials to create pieces of simplistic beauty, fluidity and elegance, under the
directorship of Rinaldo and Martha’s daughter Elisabetta.

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159
A CORAL AND DIAMOND DRESS RING
The oval-shaped coral corallium rubrum cabochon, within a frame of similarly-cut
coral and round brilliant-cut diamond accents, to a multifurcated similarly-set diamond
hoop, mounted in 18K gold,diamonds approximately 1.00ct total,ring size L
€ 2,500 - 3,000
exporting outside of the EU.
160
A PAIR OF DIAMOND PENDENT EARRINGS
The round brilliant-cut diamond clusters, suspending from a similarly-set diamond
surmount, mounted in 18K gold, diamonds approximately 1.70cts total, Italian assay
marks, length 3.5cm
€ 1,200 - 1,800
161
A PAIR OF CORAL AND DIAMOND EARRINGS
Each oval-shaped coral corallium rubrum cabochon, within a frame of similarly-set
coral corallium rubrum and round brilliant-cut diamond accents, mounted in 18K gold,
diamonds approximately 0.60ct total,length 2.7cm
€ 2,500 - 3,000
exporting outside of the EU.

93
162
The round brilliant-cut diamond weighing 4.74cts, within a ten-claw setting, to a plain hoop, mounted in 18K
gold,ring size L
€ 30,000 - 40,000
93

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163
A DIAMOND AND GOLD NECKLACE
Designed as a highly flexible row of polished and textured gold star-
shaped links with round brilliant-cut diamond highlights, each inter-
spersed by a fancy-shape polished gold link with similarly-cut diamond
accents, mounted in 18K gold,diamonds approximately 2.00cts total,length
41.8cm
€ 2,500 - 3,500
164
A PAIR OF DIAMOND GOLD EARHOOPS, BY CARTIER
Each gold hoop, accented with a brilliant-cut diamond quatrefoil, mounted in 18K gold,
diamonds approximately 0.50ct total,signed Cartier,numbered,maker’s mark,French assay marks,with
Cartier box,length 3cm
€ 1,500 - 2,000
165
A DIAMOND LINE BRACELET
Designed as a continuous line of round brilliant-cut diamonds, each interspersed by gold flat links, mounted in 18K gold,
diamonds approximately 2.50ct total,length 18cm
€ 1,200 - 1,800

9595
166
The rectangular step-cut yellow sapphire weighing 17.08cts within a four-claw setting, between tapered ba-
guette-cut diamond shoulders, mounted in 18K gold,diamonds approximately 0.20ct total,ring size M
€ 15,000 - 20,000
Accompanied by a report fromThe Gem & Pearl Laboratory in London, stating that the yellow sapphire weighing
17.08cts, is of Sri Lankan origin, with no evidence of heat treatment. Report no. 15982, dated July 17th 2018.

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167
A SAPPHIRE AND DIAMOND SPRAY BROOCH,
RING AND EARCLIP SUITE, CIRCA 1960
The brooch designed as a bouquet of flowers, the blooms of
marquise-shaped sapphires with single and baguette-cut diamond
sprays, the earclips and ring en suite, brooch mounted in 14K gold,
ring and earclips mounted in 18K gold,diamonds approximately 5.00cts
total,brooch 5x5cm,earclips length 3.3cm,ring size K½,within velvet
EC1’
€ 3,000 - 4,000
168
A CULTURED PEARL, SAPPHIRE AND DIAMOND
BRACELET
Composed of a torsade comprising eleven rows of round cultured
pearls, completed by a round brilliant-cut diamond and cabochon
sapphire clasp of bow motif, mounted in 18K gold,French assay marks,
length 18cm
€ 1,500 - 2,000
169
A SAPPHIRE AND DIAMOND CLUSTER RING
The oval-shaped sapphire within a surround of round bril-
liant-cut diamonds, mounted in gold,ring size M¾
€ 800 - 1,000
170
A SAPPHIRE AND DIAMOND LINE BRACELET
The articulated line of square-cut sapphires, spaced by a row of bril-
liant-cut diamonds, mounted in gold,diamonds approximately 2.00cts total,
length 16.8cm
€ 2,500 - 3,500
171
A PAIR OF SAPPHIRE AND DIAMOND EARSTUDS
Each oval-shaped sapphire within a frame of round brilliant-cut
diamonds, length 8mm
€ 500 - 700
172
Of bombé form, set with a swirling pattern of baguette and
round brilliant-cut diamonds, mounted in 18K gold,diamonds
approximately 3.00cts total,ring size N
€ 1,800 - 2,200
Tuesday 18th
Seeepepepepepepepepeepepeppeeppepeepeeeppepepeeeppppeeepepppppepeppeepppeppppeppeppeppppeppppepepee tetetetetetetetetetetetetetetetetettetetetetteteteteteteteeteteetetetettetetetetettetettettetettteteeeettettttttttttttttttttettttteetteetetettt mmmmbmbmbmmbmbmbmbmbmbmbmbmbmbmbmbmbbbmbmbmbmmmbmbbbmbmbmbmbmmbmbmbmbmbmbbbmmbmbmmbbmbmbmmbbbmbmbmbmmbmbmmbbmmmbmmbmbmmbbbbmbbmbmbm erererereerererrrreeereerreerrrerrerrerreerrerereeeerereeeeeeereeerreerreeeereeeeeeerreeeeeeeereeeeeereeeeeereeee 2018
167
A SAPPHIRE AND DIAMOND SPRAY BROOCH
RING AND EARCLIP SUITE, CIRCA 1960

98
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September 2018
173
A CULTURED PEARL NECKLACE WITH DIAMOND
CLASP
The single row of graduated cultured pearls of peacock tint, mea-
suring approximately 11.46-10.48mm, to a single-cut diamond and
18K gold spherical clasp, length 51cm
€ 1,200 - 1,800
174
The cushion-shaped diamonds, each weighing approximately
1.10cts, within a six-claw setting, mounted in 18K gold,diameter
8.3mm
€ 4,500 - 5,500
MOND
k tint, mea-
t diamond and
AA
The cushion-shapedT
1.10cts, within a six-claw setti g1
8.3mm8
€ 4,500 - 5,500€

99
175
A SAPPHIRE AND DIAMOND RING
The oval-shaped sapphire weighing approximately 1.50cts,
within a millegrain pierced surround set with round brilliant-cut
diamonds, mounted in 18K gold,diamonds approximately 0.30ct total,
French assay mark,ring size L¼
€ 1,200 - 1,800
176
A DIAMOND BROOCH, EARCLIPS AND RING SUITE,
CIRCA 1965
The wirework design claw set with round brilliant and baguette-cut
diamonds, of tiered outline, the earclips and ring en suite, mounted in
18K gold,diamonds approximately 5.00cts in total,French assay marks,ring
size K (with resizable band),lengths:brooch 5.8cm,earclips:2.3cm
€ 3,000 - 4,000

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177
A PAIR OF GEM-SET PENDENT EARCLIPS
Each earring set with a heart-shaped blue topaz at the centre in collet-setting, within a frame of reeded
polished gold and round brilliant-cut diamond highlights, to a similarly-cut diamond surmount, mount-
ed in 18K gold,diamonds approximately 1.80cts total,Italian assay marks,length 4.5cm
€ 1,800 - 2,200
178
A GEM-SET AND GOLD NECKLACE
Composed of a series of reeded polished gold links, the front set with a collet-set heart-shaped blue
topaz weighing approximately 8.50cts within a frame of round brilliant-cut diamonds, between two
similarly-cut diamond links, each accented with a yellow cabochon tourmaline, mounted in 18K gold,
diamonds approximately 2.50cts,inner diameter approximately 11.6cm
€ 3,000 - 4,000

101101
179
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 sur-
mount, mounted in 18K gold,diamonds approximately 1.30cts total,length 2.5cm
€ 2,500 - 3,500
180
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
€ 3,000 - 4,000

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Tuesday 18th
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181

AN AMBER BEAD NECKLACE
The graduating single-row of butterscotch amber beads, measuring approximately
20.88 x 23.08 - 6.42 x 7.01mm, to a 14K gold clasp,length 49.7cm
€ 600 - 800
Please note that the amber beads were verbally tested at GCS in March 2018, these
were found to be Baltic, with no indications of heating.
182
A GEM-SET FLOWER BROOCH
Designed as a stylised flower, three petals set with rose-cut diamonds, French-cut
citrines and coloured enamel, completed by two engraved citrine petals, to a further
rose-cut diamond stem, mounted in silver and gold,with safety chain,length 4.5cm
€ 1,000 - 1,500

103
183
A PAIR OF GOLD HOOP EARRINGS, BY THEO FENNELL
Each thick reeded hoop, in 18K gold, signedTheo Fennell, English hallmarks, with
maker’s case and box, length 2cm,width 1.2cm
€ 700 - 900
184
Set throughout with round brilliant-cut diamonds in claw-setting, mounted in 18K
gold,diamonds approximately 0.80ct total,ring size O½
€ 500 - 700
185
A SET OF MULTIPLE RINGS
The centre piece ring set with borders of round brilliant-cut diamonds, accompanied
by three separate rings set to the front with either channel-set square-cut rubies,
sapphires and emeralds, mounted in 18K gold,ring sizes P½
€ 1,400 - 1,800
* Please note these rings have multiple combinations of wear.

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186
A DIAMOND NECKLACE
The single row of marquise-shaped diamonds, each interspersed with
knife-bar links, mounted in 18K gold,diamonds approximately 3.50cts total,
length 41cm
€ 2,000 - 3,000

105
187
The round brilliant-cut diamond, weighing approximately 1.20cts, within a triple
four-claw setting, to baguette and single-cut diamond shoulders, mounted in platinum,
ring size L
€ 2,000 - 3,000
188
A PAIR OF DIAMOND AND BLACK LACQUER EARCLIPS
Each designed as a bombé hoop pavé-set with brilliant-cut diamonds, interspersed
with black lacquer spots, mounted in 18K gold,diamonds approximately 4.50cts total,
Italian assay marks,length 3.5cm
€ 2,000 - 3,000
189
Designed as a continuous row of round brilliant-cut diamonds within claw-setting,
mounted in 18K gold,diamonds approximately 4.00cts total,Italian assay marks,ring size
M¼
€ 4,500 - 5,500

106
Tuesday 18th
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190
A TOURMALINE AND DIAMOND DRESS RING, BY MARGHERITA BURGENER
Designed as a flower, set with a cabochon green tourmaline at the centre weighing 3.85cts, the tex-
tured purple titanium petals highlighted with round brilliant-cut diamond pistils, mounted in titanium
and 18K gold,diamonds 0.27ct total,signed Margherita Burgener,with maker’s marks and Italian assay marks,
with maker’s case,ring size L
€ 2,000 - 3,000
191
Each round brilliant-cut diamond, within a four-claw setting, mounted in 18K gold
€ 3,000 - 4,000
Accompanied by GIA report from America, stating that one diamond weighing 0.51ct is D colour,
VS2 clarity. Report number 2217597339, dated January 21st 2016 and the other diamond weighing
0.51ct is D colour,VS2 clarity. Report number 1213595516, dated January 21st 2016.

Adams Fine Jewellery & Watches September 18th 2018

Adams Fine Jewellery & Watches September 18th 2018

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Adams Fine Jewellery & Watches September 18th 2018