Adams Fine Jewellery & Watches Tuesday 17th September 2019

FINE JEWELLERY & WATCHES
Auction Tuesday 17th September

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DONNYBROOK
www.havanaboutique.ie
2 Anglesea House, Donnybrook Road, Dublin 4 • (01) 260 2707 • info@havanaboutique.ie
Follow Us On @havanaboutique Havana Donnybrook
PRIVATE APPOINTMENTS AVAIL ABLE ON REQUEST

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AUCTION
Tuesday 17th September 2019 at 6pm
VENUE
Adam’s Salerooms,
26 St. Stephen’s Green,
Dublin
D02 X665
Ireland
SALE VIEWING SEPTEMBER 14th
- SEPTEMBER 17th
At Adam’s, 26 St. Stephen’s Green, Dublin, D02 X665

Saturday 14th
September 1:00pm - 5:00pm
Sunday 15th
September 1:00pm - 5:00pm
Monday 16th
September 10:00am - 5:00pm
Tuesday 17th
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
Private Viewing by appointment only

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Through the eyes of...
Nikki
Nikki Creedon has been involved in fashion for most of her working life and still has the same passion she started with.After
she worked with Paul Costelloe and the Irish Fashion Design Centre, she opened her own store Havana in Donnybrook in
1994. It quickly established itself as the go to shopping destination for investment pieces and contemporary design with an
edge. Havana celebrates its 25th anniversary this year!
Nikki works hard to bring her customers new and exciting designers from all over the world, stocking labels from London,
Japan, Paris, Italy and Belgium. She takes special pride in showcasing the best of Ireland’s wonderful designer knitwear. Many
brands are available exclusively to Havana and on the rails you will find designer names such as Simone Rocha, Comme des
Garcons, Rick Owens, Haider Ackerman,Ann Demeulemeester and Sphere one by Lucy Downs.
75
185
193

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LOT 2: The diamond trinity ring by Cartier, this is a beauty, I have the bracelet and would love this stunning classic to compliment it.
LOT 32:The tiny strand of natural pearls.These are a must ,as they are so simple yet so elegant, In a very cool but modern way.
LOT 56: The diamond and pearl earclips . I am an earring junky probably because I wear my hair up a lot. .These earrings sit on my ear so
beautifully .I love them.
LOT 64: My favourite piece of all,to die for.The retro 1940 gold and Aquamarine bracelet. It was truly unexpected to me to see the aqua-
marines set in such an unusual way.

LOT 75: The pair of coral diamond and gold rings byVan Cleef andArpels.They sit on your little finger , I so unexpectantly fell in love with
them .Art deco , so beautiful.
LOT 106: A pair of yellow beryl and diamond pendant earrings.These are so delicate and elegant, and with yellow being in fashion for the
past few seasons, I would have a lot of occasions to show these beauties off.
LOT 185:The emerald and diamond line bracelet. I just love anything green. I have always wanted a tennis bracelet and feel that this is such
a beautiful colour and also as it is a little more understated. I wear a lot of Black and know that the colour would add an amazing splash of
colour.
LOT 193:The Jadeite Jade ,ruby,onyx and diamond Pendant.Being lucky enough to spend a lot of time in Hong Kong andAsia,I have learned
to appreciate the beauty of Jade.This piece I feel would be magnificent with a plain white shirt.
LOT 210:The brilliant and baguette-cut diamond bracelet. I think this is probably the nicest diamond bracelet I have ever seen. Nothing to
say except exquisite.
Nikki chose...
2
56
64
106
210

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IMPORTANT INFORMATION FOR PURCHASERS
1. ESTIMATES AND RESERVES
These are shown below each lot in this sale.All amounts shown are in Euro. The figures shown are provided merely as a guide to prospective purchas-
ers.They are approximate prices which are expected, are not definitive and are subject to revision. Reserves, if any, will not be any higher than the
lower estimate.
2. PADDLE BIDDING
All intending purchasers must register for a paddle number before the auction. Please allow time for registration. Potential purchasers are recom-
mended to register on viewing days.
3. PAYMENT, DELIVERY AND PURCHASERS PREMIUM
Wednesday 18th September 2019. 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 18th September 2019 at the purchaser’s risk and expense.After this time all uncol-
lected lots will be removed to commercial storage and additional charges will apply.
Auctioneers commission on purchases is charged at the rate of 20.325% (exclusive ofVAT). Terms: Strictly cash, bankers draft or cheque drawn on an
Irish bank. Cheques will take a minimum of five workings days to clear the bank, unless they have been vouched to our satisfaction prior to the sale, or
you have a previous cheque payment history withAdam’s. Purchasers wishing to pay by credit card (Visa & MasterCard) may do so, however, it should
be noted that payments via American Express will be subject to an administrative fee of 3.65% on the invoice total. Debit cards including laser card
payments are not subject to a surcharge, there are however daily limits on Laser card payments. BankTransfer details on request. Please ensure all bank
charges are paid in addition to the invoice total, in order to avoid delays in the release of items.
Goods will only be released upon clearance through the bank of all monies due.
4. VAT REGULATIONS
All lots are sold within the auctioneersVAT margin scheme. Revenue Regulations require that the buyers premium must be invoiced at a rate which is
inclusive ofVAT. This is not recoverable by anyVAT registered buyer.
5. It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot.Whilst we make certain observations on the lot, which
are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance only and should be evaluated by
personal inspection by the bidder or a knowledgeable representative.The absence of such a reference does not imply that an item is free from defects or
restoration, nor does a reference to particular defects imply the absence of any others.The condition report is an expression of opinion only and must
not be treated as a statement of fact.
Please ensure that condition report requests are submitted before 12 noon on Tuesday 17th September as we cannot guarantee that they will be dealt
with after this time.
6. ABSENTEE BIDS
We are happy to execute absentee or written bids for bidders who are unable to attend and can arrange for bidding to be conducted by telephone.
However, these services are subject to special conditions (see conditions of sale in this catalogue). All arrangements for absentee and telephone bidding
must be made before 5pm on the day prior to sale. Cancellation of bids must be confirmed before this time and cannot be guaranteed after the auction
as commenced.
Bidding by telephone may be booked on lots with a minimum estimate of €500. Early booking is advisable as availability of lines cannot be guaranteed.
7. ALL LOTS ARE BEING SOLD UNDER THE CONDITIONS OF SALE AS PRINTED IN THIS CATALOGUE AND ON
DISPLAY IN THE SALEROOMS.

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Claire-Laurence Mestrallet BA, GIA G.G
ASSOCIATE DIRECTOR
HEAD OF JEWELLERY & WATCHES
claire@adams.ie
©PhotoCredit:Doreenkilfeather
Emma Heskin
JEWELLERY & WATCHES DEPARTMENT
emma@adams.ie

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Tuesday 17th
September 2019
1
A STAINLESS STEEL AND 18K GOLD AUTOMATIC
CALENDAR ‘SANTOS’ BRACELET WATCH,
BY CARTIER, 2000
The 25-jewel Cal. 2671 automatic movement, white dial with
black Roman numerals, black inner minute track, secret signa-
ture at 7 o’clock, date aperture at 3 o’clock, blued steel sword
hands with centre seconds, brushed and polished rectangular
case, gold bezel with 8 screws at the back, faceted sapphire
crown, bracelet with fitted brushed steel link with decorative
gold screws, signed folding clasp, case,dial and movement signed,
case no.11729**,ref.no.1185**,with recent service papers,case width
(including crown):3.3cm (Mid-Size)
€ 1,200 - 1,800
3
A GOLD ‘TRINITY’ BRACELET, BY CARTIER, 1996
Composed of a row of disc-shaped links, interspersed by three
coloured gold trinity links, in 18K gold, signed Cartier 1996,num-
bered,French assay mark,with maker’s box,length 19.8cm
€ 4,000 - 5,000
5
A PAIR OF MOTHER-OF-PEARL AND ONYX
‘MAGIC ALHAMBRA’ PENDENT EARRINGS,
BY VAN CLEEF & ARPELS
Each designed as a line of three graduated quatrefoil mother-of-
pearl or onyx motifs within a beaded surround, mounted in 18K
gold,signedVCA,numbered BL******,length 6.6cm
€ 4,000 - 5,000
2
A DIAMOND ‘TRINITY’ RING, BY CARTIER
Of tricoloured design, each hoop pavé-set throughout with round
brilliant-cut diamonds, mounted in 18K gold,diamonds approximately
1.50cts,signed Cartier,numbered,maker’s mark,with maker’s case,ring size
J¼ (52)
€ 3,500 - 4,500
4
AN ‘ALHAMBRA’ RING, BY VAN CLEEF & ARPELS
The polished onyx plaque of quatrefoil design, centrally-set with a
brilliant-cut diamonds, to a ropetwist bifurcated gold hoop, mounted
in 18K gold,signedVCA,numbered,maker’s mark,French assay mark,ring
size H
€ 1,500 - 2,000
6
A GOLD, MOTHER-OF-PEARL AND ONYX ‘MAGIC
ALHAMBRA’ NECKLACE,
The fine link chain set with five mother-of-pearl clover-shaped motifs
of varying size and one onyx clover-shaped motif, mounted in 18K gold,
signedVCA,numbered BL*****,length 42cm,pendant length 8.3cm,with
maker’s case
€ 5,000 - 7,000
3

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Tuesday 17th
September 2019
7
A RUBY AND DIAMOND LINE BRACELET
Composed of a line of claw-set oval-shaped rubies weigh-
ing 12.84cts in total, enhanced by six round brilliant and
baguette-cut diamond elements, mounted in 18K gold,diamonds
0.76ct total,French assay mark,length 17.6cm
€ 3,000 - 4,000
9
A PAIR OF DIAMOND EARSTUDS
Each round brilliant-cut diamond within a four-claw setting,
mounted in 18K yellow gold,diamonds 1.05cts total
€ 1,400 - 1,800
11
A RUBY, SAPPHIRE AND DIAMOND ‘TRINITY’ RING, BY CARTIER, 1995
The interlocking bands accented at intervals by brilliant-cut diamonds, circular-cut rubies and
similarly-cut sapphires, mounted in 18K gold,signed Cartier,maker’s marks,French assay marks,maker’s
case,ring size approximately J
€ 1,500 - 2,000
8
A LADY’S STAINLESS STEEL AND GOLD AUTOMATIC
‘SANTOS’ BRACELET WATCH, BY CARTIER, CIRCA 1990
Jewelled automatic movement, white dial with black Roman numerals,
black outer minute track, secret signature at 7, blued steel sword hands
with centre seconds, brushed and polished round case with movement
accessed through the glass, fixed gold octagonal bezel with 8 decorative
screws, faceted blue crown, fitted brushed link bracelet with deco-
rative gold screws and folding clasp, clasp, case, dial signed, serial no.
0907155..,case width (including crown):2.7cm
€ 600 - 800
10
A GOLD AND EMERALD CHARM BRACELET,
BY CARTIER
The bracelet suspending eight detachable charms including an elephant
with emerald-set eyes, a‘tank’ mini watch, a trinity ring, and five
further charms, bracelet in 18K gold, with maker’s mark & numbered,
seven charms signed, numbered, with French marks, one charm
attributed to Cartier but marks rubbed off, bracelet length 20cm,bracelet
with maker’s case,five charms with maker’s pouch
€ 4,500 - 5,500
10

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Tuesday 17th
September 2019
‘Rich and rare were the gems she wore, And a bright gold ring on her hand she bore’
Thomas Moore, Irish Poet

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Tuesday 17th
September 2019
12
AN EARLY 19TH CENTURY DIAMOND BROOCH
The openwork brooch set to the centre with a pear-shaped rose-
cut diamond, within a crescent of circular rose-cut diamonds
and surmounting a curved arrow motif, with additional rose-cut
diamond accents, within foiled closed-back setting, mounted in
gold,length 3cm
€ 700 - 900
13
A GEORGIAN DIAMOND RING, CIRCA 1820
The round plaque set with rose-cut diamonds throughout, to
openwork floral split shoulders, all in closed back settings,
mounted in silver and gold,ring size H
€ 500 - 700

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14
A MID 19TH CENTURY DIAMOND PENDANT/BROOCH, CIRCA 1860
Designed as a Maltese cross set throughout with old cushion and brilliant-cut diamonds, mounted
in silver and gold,principal diamond weighing approximately 1.80ct,remaining diamonds approximately
6.50cts,length 5.3cm
€ 6,000 - 8,000

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Tuesday 17th
September 2019
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A PAIR OF LATE 19TH CENTURY NATURAL
PEARL AND DIAMOND PENDENT EARRINGS,
CIRCA 1870
The pearl drops of white tint, to rose-cut caps, suspended
from old brilliant and single-cut diamond foliate cluster ter-
minals, mounted in silver and gold,diamonds approximately 1.30cts
total,length 3.6cm
€ 2,800 - 3,200
Accompanied by a certificate letter from DSEF German Gem
Lab from Idar-Oberstein, stating that both pearl measuring
9.25 x 8.55 x 10.95mm & 9.25 x 8.80 x 10.90mm, are natu-
ral and Saltwater pearls, dated June 28th 2018
17
AN EARLY 19TH CENTURY MOURNING
PENDANT, CIRCA 1830
Set to the centre with a miniature of a young girl within a bor-
der of filigree-work, suspending a miniature padlock and key,
the reverse enclosing a lock of decorated human hair, case from
‘W.Bally & Sons Ltd,Diamonds Merchants,Market St,Manschester’,
length 5cm
€ 1,000 - 1,300
19
A PAIR OF LATE 19TH CENTURY DIAMOND
AND RUBY PENDENT BROOCHES
Each designed as a flower head, set throughout with old
single-cut diamonds and cushion-shaped rubies, suspending
three similarly-set tassels, mounted in gold,with detachable brooch
fittings on their reverse,diamonds approximately 2.50cts total,length
for each 6.8cm
€ 3,500 - 4,000
16

AN EARLY 20TH CENTURY DIAMOND AND
PEARL BROOCH/PENDANT, CIRCA 1905
The scrollwork heart set with old brilliant, single and pear-
shaped diamonds throughout, suspending a central pearl of
grey tint, accented with three pearls of white tint, mounted in
silver and gold,diamonds approximately 5.00cts total,with case from
‘Hancocks & Co.Jewellers Ltd,9,Vigo Street,LondonW.I’,length 4.6cm
€ 2,000 - 3,000
18
A MALACHITE AND GOLD NECKLACE
The fancy-link gold chain with a malachite bead on each termi-
nal with openwork and beaded detail caps to a central movable
gold link, mounted in 15K gold,length 40.5cm (adjustable)
€ 400 - 500
20
A 19TH CENTURY CONTINENTAL GOLD LINK
CHAIN WITH ROCK CRYSTAL FOB
The faceted rock crystal intaglio depicting a classical male fig-
ure within an oval bezel and hung from a fancy-link chatelaine
with floral cast terminal and circular suspension loop, mounted
in 15K gold,length 15cm
€ 1,200 - 1,800

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Tuesday 17th
September 2019
22
A DIAMOND CROSS-OVER RING
The two European-cut diamonds set between single-cut diamond shoulders, mounted in 18K gold,two
principal diamonds weighing approximately 1.30ct each,ring size O
€ 4,000 - 6,000
21
A LATE 19TH CENTURY DIAMOND BRACELET, CIRCA 1890
Of openwork design, the highly flexible bracelet set with graduated old cushion and round-cut
diamonds, between borders of rose-cut diamonds, mounted in gold,French assay marks,maker’s mark
‘TC’,diamonds approximately 5-6cts total,length 18.5cm
€ 8,000 - 9,000

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23
A LATE 19TH CENTURY DIAMOND SERPENT BANGLE, RUSSIAN, CIRCA 1890
Designed as an interlocking snake, the eyes highlighted with old-cut diamonds, the head embellished
with a row of graduated rose-cut diamonds, engraved scales detail throughout, mounted in gold,Russian
marks for Moscow before 1889,maker’s mark BA forViktor Aarne (active 1880-1904),inner diameter 6.3cm
€ 7,000 - 9,000

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Tuesday 17th
September 2019
Art Nouveau was the first truly international design movement of the twentieth century and owing to its close association with the
work of Louis ComfortTiffany became known as theTiffany Style inAmerica. It was popular between 1890-1910, during the period
known as the belle époque. Jewellery was one of the most important expansions of this movement and the industry underwent a stylistic
revolution.
Soft, sinuous lines and organic forms inspired by flora and fauna characterise the jewellery of this period.To decorate these natural motifs,
jewellers favoured the use of smaller gemstones rather than larger, more dramatic diamonds as seen in the previous centuries.The decora-
tive femininity and elegance of this period could be beautifully described through pastel enamels, miniature gemstones, and curved metal
lines, making jewellery the perfect medium to express the spirit of theArt Nouveau.
Louis ComfortTiffany took up the study of enamels and jewellery more than 20 years after he established his reputation in the decora-
tive arts. He was always eager to conquer new artistic terrain.As an artist who participated in major expositions of the day in Paris and
elsewhere,Tiffany was well acquainted with European, primarily French and Belgian,Art Nouveau jewellers of the age, including René
Lalique, HenriVerver and PhilipWolfers.
Louis Comfort joinedTiffany in 1902 and established the “TiffanyArt Jewellery” department.This new division was headed up by Julia
Munson and was responsible for the production of highly imaginative and innovativeArt Nouveau pieces.Tiffany’s design studios and work-
shops forged their international reputation and establishedAmerican metalworking and jewellery skills on a level with those of Europe.
Tiffany’s jewellery success was recognised at the International Exhibitions in Paris with multiple awards gifted to them circa 1900s.
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.
Collectors and jewellers worldwide seek out vintageTiffany estate jewellery, such as the 14ct gold mesh purse featuring sapphire cabo-
chons and seed pearls, because of the craftsmanship, beauty and how well it retains value.The gold mesh is beautifully interlinked.The
delicate floral detail etched in the frame of the purse is typical of theArt Nouveau style of this 1910 piece.
24
AN EARLY 20TH CENTURY GOLD, SAPPHIRE AND PEARL
COIN PURSE, BY TIFFANY & CO. CIRCA 1900
Designed as a delicate fine gold woven mesh purse enhanced by two cab-
ochon sapphires on the clasp and strap, with a seed pearl tassel and floral
engraved closure, to a mesh-link wrist-strap, in 14K gold,signedTiffany & Co.,
length 29.5cm
€ 1,200 - 1,800

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25
AN EARLY 20TH CENTURY GOLD AND DIAMOND TIE
PIN
Modelled as the profile of a lady, the hat decorated with three old
single-cut diamonds, the face detailed with enamel, mounted in 14K gold,
length 6.5cm
26
AN ART NOUVEAU DIAMOND BROOCH, CIRCA 1900
Of stylised foliate design, the‘whiplash’ scrolls set throughout with old
brilliant and rose-cut diamonds and terminating in three larger old bril-
liant-cut diamonds, suspending a similarly-cut diamond lower mount,
mounted in 18K gold,principal diamond weighing approximately 1.05ct,
remaining diamonds approximately 1.50cts total,with Austrian import mark
(1872-1902),within fitted case,length 2.5cm,width 3.4cm,
€ 3,000 - 4,000
27
AN EARLY 20TH CENTURY GOLD CHAIN NECKLACE
The long fancy-link chain necklace, in 18K gold,French import mark,length
approximately 159cm
€ 1,500 - 2,000

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Tuesday 17th
September 2019
28
A BELLE EPOQUE DIAMOND AND PEARL
PENDANT ON CHAIN, CIRCA 1910
The openwork scalloped disc with knife-wire and garland
decorations, set throughout with old brilliant and single-cut
diamonds, accented by a central pearl, suspending from a
delicate trace-link chain, the pendant mounted in 14K gold,
diamonds approximately 4.50cts total,pendant length 4.9cm,chain
length 46.4cm
€ 2,000 - 3,000
** Please note that the pearl has not been tested for natural
origin
30
AN EARLY 20TH CENTURY DIAMOND
PENDANT ON CHAIN
The old European-cut diamond weighing approximately
2.50cts, suspended from an articulated line of single-cut dia-
monds within collet-setting, to a surmount set with a central
old European-cut diamond weighing approximately 0.80ct
and further single-cut diamonds within garland design, to a
fine trace-link chain, mounted in 14K gold,remaining diamonds
approximately 0.70ct total,pendant length 3.9cm,chain length
49.5cm
€ 4,000 - 5,000
32
AN EARLY 20TH CENTURY NATURAL PEARL
NECKLACE
The single-row of graduated natural pearls measuring 1.7
- 4.8mm, to barrel-shaped clasp highlighted with rose-cut
diamonds, length approximately 41.5cm with safety chain,cased by
‘Alfred Hamel Fabricant,Avenue de L’Opéra 28,Paris’
€ 800 - 1,200
Accompanied by a report fromThe Gem & Pearl Laboratory
in London, stating that the pearls are natural, saltwater and
one natural, freshwater. Report number 10591, dated Decem-
ber 19th 2014
29
AN EARLY 20TH CENTURY EMERALD AND
DIAMOND RING
The kite-shaped emerald set between two old brilliant-cut
diamonds, to similarly and rose-cut diamond scrolled shoulders,
mounted in gold and platinum,two main diamonds approximately
0.50ct total,ring size L¾
€ 800 - 1,000
31
A PAIR OF DIAMOND PENDENT EARRINGS
Each pear-shaped plaque set with single-cut diamonds, suspend-
ing from an openwork wireknife suspension, to a similarly-cut
diamond surmount on round-shaped plaque within millegrain
setting, diamonds approximately 0.70ct total,length 3.4cm
€ 400 - 600
33
AN EARLY 20TH CENTURY AMETHYST AND
DIAMOND DRESS RING
The elongated bombé plaque, centrally set with three circu-
lar-cut amethysts within collet-setting, to an openwork bril-
liant-cut diamond surround, the gallery with floral openwork
decorations, within millegrain setting throughout, mounted in
gold,diamonds approximately 0.50ct total,ring size H
€ 1,500 - 2,500
(The hoop consists of a mechanism which opens, see catalogue’s
illustration)

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Tuesday 17th
September 2019
34
AN EARLY 20TH CENTURY AQUAMARINE
AND DIAMOND PENDANT ON CHAIN
The square step-cut aquamarine weighing approximately
12.50cts with a single-cut diamond surmount and bale within
millegrain setting, suspending from a later fine trace-link
chain, pendant mounted in gold,chain in 18K gold,pendant length
3.5cm,chain length 40.5cm
€ 1,500 - 2,000
36
A PAIR OF EARLY 20TH CENTURY
AQUAMARINE AND DIAMOND PENDENT
EARRINGS
Each pear-shaped aquamarine drop with a round brilliant-cut
diamond cap, suspending from a marquise-shaped diamond
and triangle-shaped aquamarine surmount, within millegrain
setting, mounted in platinum,diamonds approximately 0.90ct total,
length 6cm
€ 2,200 - 2,800
38
A PAIR OF DIAMOND EARRINGS
Each round-shaped plaque set with old brilliant and Europe-
an-cut diamonds throughout, within millegrain setting, mount-
ed in 18K gold,diamonds approximately 1.80cts total,length 1.2cm
€ 1,400 - 1,800
35
Each old round-cut diamond within multiple-claw setting sus-
pending from two graduated old single-cut diamonds, mounted
in 18K gold and platinum,diamonds approximately 0.45ct total,
French assay marks,length 1.5cm
€ 300 - 500
37
A BELLE EPOQUE DIAMOND AND PEARL
PENDANT ON CHAIN, CIRCA 1910
Of garland design, the openwork ribbons set with old and
rose-cut diamonds with a pearl highlight at the centre, sus-
pending an articulated knifewire chain interspersed with sim-
ilarly-cut diamonds, to a fine trace-link chain, mounted in gold
& platinum,diamonds approximately 1.50cts,French assay marks,
pendant width 4.8cm
€ 1,500 - 2,000
39
A DIAMOND BROOCH, FIRST QUARTER OF
20TH CENTURY
Designed as a ribbon, set throughout with old brilliant, cushion
and single-cut diamonds, mounted in 18K gold and platinum,dia-
monds approximately 2.60cts total,French assay marks,length 3.5cm
€ 2,000 - 3,000

Tuesday 17th
September 2019
28
40
Each old brilliant-cut diamond weighing approximately 0.90ct
within collet-set setting, to a similarly-cut diamond surmount,
mounted in gold,remaining diamonds approximately 1.50cts total,
length 3cm
€ 3,500 - 4,500
42
A GOLD AND DIAMOND BROOCH
The yellow gold bow, centrally set with round brilliant-cut
diamonds to further diamond terminals, mounted in 14K gold,
length 4cm
€ 500 - 600
44
A DIAMOND SINGLE-STONE RING
The old cushion-shaped diamond weighing approximately
2.30cts, mounted in 18K gold,ring size K½
€ 5,000 - 6,000
41
A CULTURED PEARL, RUBY AND DIAMOND
NECKLACE
Composed of three rows of graduated cultured pearls at the
centre, with single-cut diamond and circular-cut ruby connec-
tors on each side, continuing with two rows of cultured pearls
with smaller connectors of similar style, mounted in 18K gold
and platinum,diamonds approximately 1.50cts total,French assay
marks,length approximately 39cm
€ 2,500 - 3,500
43
Each designed as a stylised acorn, set throughout with bril-
liant-cut diamonds, highlighted with a gold engraved leaf,
mounted in gold,diamonds approximately 1.20cts total,length 2cm
€ 1,000 - 1,500
45
A DIAMOND ETERNITY RING, CIRCA 1950
The continuous row of single-cut diamonds, with engraved
scroll detailing to the sides, diamonds approximately 0.90ct total,
engraved‘Gamil 17.06.1954’,ring size L¼
€ 300 - 500
42
43

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Tuesday 17th
September 2019
46
AN ART DECO SINGLE-STONE DIAMOND RING
The rectangular step-cut diamonds weighing approximately
1.60cts, between tapering shoulders of baguette-cut diamonds,
mounted in 18K gold and platinum,ring size N¾;Together with a
thin plain wedding band, ring size O
€ 4,000 - 5,000
48
A GEM-SET, DIAMOND AND PLATINUM CHARM
BRACELET
The fancy-link platinum chain suspending eleven diamond-set
charms including a star, bunny, a sledge, a treble clef etc... one
charm accented with a calibré-cut diamond and ruby, with safety
chain, length 18.5cm
€ 3,500 - 4,500
47
AN EARLY 20TH CENTURY SAPPHIRE AND
DIAMOND TARGET RING
Set with an old brilliant-cut diamond weighing approximately 0.60ct
within a surround of calibré-cut sapphires and rose-cut diamonds,
within millegrain setting, mounted 18K gold,ring size N
€ 1,400 - 1,800
49
A PAIR OF ONYX AND DIAMOND PENDANT
EARRINGS, FIRST QUARTER OF THE CENTURY
Each onyx drop highlighted with a round brilliant-cut diamond cap, to
a graduated European-cut diamond surmount, length 4.5cm
€ 1,400 - 1,800

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Tuesday 17th
September 2019
50
A CORAL, ENAMEL AND DIAMOND BLACKAMOOR BROOCH,
BY CARTIER, CIRCA 1935
The black enamelled bust wearing seed pearl earrings, on a reeded gold neck and
wearing a cream enamel turban with coral corallium rubrum highlight and rose-
cut diamond detail, mounted in 18K gold,signed Cartier Paris,numbered,French assay
marks,with Cartier case (not original),length 3.2cm
€ 4,000 - 5,000
The house of Cartier was founded in Paris in 1847 by Louis-François Cartier.A family venture, soon saw the
growth of Cartier and the expansion to London and NewYork, with subsequent generations taking the
helm.
Cartier has established itself as one of the world’s preeminent crafters of high-end, modern, and
vintage jewellery. Its watches have adorned the wrists of celebrities and royalty alike, with
King EdwardVII of England once referring to Cartier as “the jeweller of kings and the king of
jewellers.”
Cartier’s extensive collections are known to embody revival,Art Deco, and more contempo-
rary styles, making them a sought-after commodity for generations both past and present.
JeanneToussaint was made Creative Director for jewellery in 1933 and she continued to work
for Cartier until her retirement in 1970. The working relationship between Louis Cartier and
Toussaint was very successful, with Cartier imparting his knowledge of gemstones, diamonds,
settings and technique, andToussaint bringing her joie de vivre, relentless creativity and eye for
contemporary fashions. By the time she retired from Cartier in 1970,Toussaint had established
her legacy as an artistic visionary; always experimenting, exploring and creating jewels for those
with a worldly outlook and an eye on the future.
Cartier is a notable creator of pieces depicting elaborate Blackamoor heads, which had been
introduced by theVenetian form of Nardi. Blackamoor jewellery, also known as
Moretti jewellery, was particularly popular during the 17th and 18th
centuries and it is believed that it was originally created as amulets to
ward off evil, or invasion by the Moors into Italy.
Cartier first released their Blackamoor brooches in the early
1930’s. Blackamoor brooches depict black figures within the
design, they are typically male with a head covering, usually a
turban and covered in rich jewels and gold leaf. Early examples
often have European racial features, apart from the colour.They are
typically enamelled, carved from ebony or painted black to contrast
with the bright colours of the embellishments. Depictions may only repre-
sent the head, or head and shoulders, facing the viewer in a symmetrical pose.
The brooch on sale atAdams is a lovely example of a typical Blackamoor brooch, made of
black enamel, detailing a white enamel turban and surrounded by precious gems, including
coral, seed pearls and diamond.The head faces the viewer in a symmetrical pose and sits on a
yellow gold reeded neck.
**Please note that this lot contains coral and is subject to CITES regulations when exporting outside of the EU

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51
AN ART DECO SAPPHIRE AND DIAMOND BRACELET, CIRCA 1925
The articulated strap of geometric design, set European and single-cut diamonds accented with calibré-cut
sapphires, within millegrain setting and floral engraving borders, mounted in platinum,diamonds approximately
6.00cts total,with security chain, length 18.2cm
€ 8,000 - 9,000

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AN IMPORTANT ART DECO DIAMOND AND EMERALD BRACELET, CIRCA 1925
Of geometric openwork design, centring a rectangular-cut diamond weighing approximately 1.15cts,
embellished by European-cut diamonds throughout with baguette-cut diamond highlights, enhanced with
two square cut-cornered emeralds, within millegrain setting throughout, mounted in platinum and gold,
remaining diamonds approximately 18.50cts total, length 17.3cm
€ 25,000 - 35,000
The Art Deco period is one of the most popular and lasting design periods in the history of jewellery,
spanning from the early 1920’s through to 1935.Art Deco jewellery can be identified by its geometric
form, filigree work and bold colours. Diamonds were extremely popular and were often teamed with
bright rubies, sapphires and emeralds, but one of the most defining signatures of this period is the use of
black onyx paired with white diamonds.

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53
AN ART DECO AGATE, ENAMEL AND DIAMOND MOUNTED DESK CLOCK, CIRCA 1935
Of squared-shape with silvered dial,Arabic numerals with stylised hands embellished with rose-cut diamond
highlights, within a narrow white enamelled surround, with easel-back stand, with maker’s marks‘MC’or‘MG’,
contained within its original fitted case with its easel-back stand,length 9.2cm,width 8.8cm
€ 1,200 - 1,800

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A SILVER CIGARETTE CASE, BY MELLERIO DIT MELLER, CIRCA 1925
The plain polished silver case, the cover inset with a gold caleche highlighted with calibré-cut sapphires and a
ruby, driving through engravedAvenue des Champs Elysees with flying birds, the clasp decorated with a line
of calibré-cut sapphires, signed Mellerio dit Meller,numbered,maker’s marks,French assay marks,length 12cm,width
8cm
€ 1,000 - 1,500
Mellerio dits Meller is the sole surviving French independent luxury jeweller, and the oldest jewellery house in the world, spanning
over four centuries and across fourteen generations.
Often cited as the jeweller to queens, the Maison is deeply rooted in French aristocracy, formally established in 1613 with aid of a decree granted
by Marie de Medici to Jean-Marie Mellerio.This decree elevated Mellerio dits Meller’s status in Paris, however it is the Maison’s historic focus on
design ingenuity and top-quality craftsmanship that has led to its longevity. From humble beginnings in theVigezzoValley of northern Italy, the
Mellerio family would fast attract a vast clientele of nobility, from MarieAntoinette, to Queen Isabella of Spain.
The story goes that in 1613, Jacques Pido, a junior chimney sweep at the Louvre, overheard a plan to assassinate a young King Louis XIII, son of
Marie de Medici. Passing this knowledge to Jean-Marie Mellerio, Mellerio immediately reported the plot to Marie de Medici who handsomely
awarded him with privileges to conduct trade freely throughout the kingdom. Such a decree, for‘services rendered to the Kingdom of France,’
set the Mellerio Maison on the path to notoriety which they would continually pave for generations to come.
In 1815, under the direction of Jean-Baptiste Mellerio, Mellerio dits Meller became the first jewellery boutique to open on Rue de la Paix.Their
address has remained unchanged since this date, despite continued monumental cultural and social shifts, making the brand a true part of the
physical and cultural landscape of Paris. During Jean-Baptiste’s directorship, and under Louis-Phillipe’s reign, Mellerio dits Meller became the
official supplier of the Royal family.
Such royal patronage was similarly extended to Mellerio dits Meller elsewhere in Europe. In 1867 the Maison was appointed as the official sup-
plier of jewellery to the Italian King, and later, in 1888, gained the same title to the Court of Netherlands.
Beyond historic significance, the Maison has been lauded for its constant reinvention, remaining at the forefront of technological advancements in
jewellery design and experimenting with transformable designs. It is this duality which informs the way in which Mellerio dits Meller design is
appreciated, frequently showcased at renowned events such as the Universal Exhibition of Paris and the Great London Exposition.
One such example of this is the exploration of the intricacies of nature, paramount in Mellerio design since the nineteenth century. In 1854,
Mellerio dits Meller patented a flexible stem mechanism for their jewellery to more viscerally resemble the delicate details of flora and fauna.
The celebrated 1867 Mellerio peacock brooch highlights this, with acutely set minute diamonds onto the curvature of a spindly‘feathered’ tail
made of fine gold.This creation was exhibited alongside a rock garden tiara, later bequeathed by Queen Isabel II of Spain, at the Paris Universal
Exhibition.The tiara experiments in material, made with platinum, marking the first time in history that platinum was used in jewellery design.
Operated today by Laure-Isabella Mellerio, the fourteenth generation to run the family business, Mellerio dits Meller remains a force in in-
ternational jewellery design.The family name has become ingrained into the lasting cultural legacy of luxury Parisian design, which they have
ultimately helped to mould.

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55
A DIAMOND FLOWER BROOCH, CIRCA 1955
The flowerhead set with old round brilliant-cut diamond pistils
mounted‘en tremblant’, completed by a series of old brilliant
and single-cut diamond petals, within millegrain setting, mounted
in platinum,principal diamond approximately 0.70ct,remaining dia-
monds approximately 6.00cts total,length 6cm
€ 4,000 - 6,000
57
A PAIR OF AGATE AND DIAMOND PENDENT
EARRINGS, CIRCA 1955
The engraved green agate drops, each with round brilliant-cut
diamond cap, suspended by an articulated line of similarly-cut
diamonds from a round brilliant and single-cut diamond floral
cluster surmount, mounted in gold,numbered,diamonds approximate-
ly 2.25cts total,length 4.7cm
€ 1,800 - 2,200
59
A DIAMOND SCROLL CLIP BROOCH, CIRCA 1945
Of stylised scroll design, set throughout with brilliant and ba-
guette-cut diamonds, mounted in 10K gold,diamonds approximately
2.60cts total,length 2.9cm
€ 600 - 800
56
A PAIR OF CULTURED PEARL AND DIAMOND
EARCLIPS, CIRCA 1960
Each of foliate design set throughout with round brilliant, single
and baguette-cut diamonds, accented with a drilled cultured pearl
of cream tint, mounted in 18K gold,diamonds approximately 5.50cts
total,French import marks,length 3.7cm
€ 3,000 - 4,000
58
A DIAMOND DOUBLE-CLIP BROOCH, CIRCA 1950,
FRENCH
Of scrolling design, issuing sprays of brilliant, single and ba-
guette-cut diamonds, mounted in 18K gold and platinum,French assay
marks,diamonds approximately 6.00cts total,each clip length 3cm,both
clips as one brooch: width 6.3cm
€ 4,000 - 5,000
60
A LADY’S 18K GOLD AND DIAMOND-SET
COCKTAIL WATCH, BY OMEGA, CIRCA 1960
The 17-jewel Cal. 620 manual wind movement, silvered dial with
applied bi-coloured hour markers, round polished case with dia-
mond-set bezel and snap on back, fitted maker’s integral bracelet
with locking clasp, case,dial and movement signed,mov.no.241060**,
case no.71**,French assay mark,case width (including crown):2.3cm,
length 17cm
€ 800 - 1,200

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61
A RETRO GOLD BRACELET, CIRCA 1940
The flexible bracelet set with 5 rows of bi-coloured gold faceted links, in 18K gold,length 19.5cm
€ 1,500 - 2,500
62
A RETRO GEM-SET AND GOLD RING
The articulated belt strap design, composed of brick links, the buckle decorated with calibré-cut
rubies, to a single-cut diamond clasp, mounted in gold,length 7.7cm,ring size (adjustable)
€ 300 - 500
The term ‘retro’ in the context of jewellery defines an era of design which reacted to the unprecedented cultural changes as a
consequence of WorldWar II. From the austerity experienced during the war, to the economic boom and steadfast reconstruction of
new wealth following, no period in history has seen such societal shifts of this magnitude.Thus, each piece of retro jewellery is commu-
nicative of complex transitional era, possessing an incomparably distinct air of history that is inimitable today.
Adorning oneself in jewellery continued to be in fashion throughout the war, remaining as a valuable source of portable capital in a
time of uncertainty, though how this was achieved was changed. Rather than ceasing output, jewellery houses reinterpreted popularised
1930’s designs, renowned for their joie de vivre spirit of creativity.The continuing interest in this motto of‘live and forget the past’,
marked an effort to bring a sense of exaltation into an era marred by war through fashion, in spite of a scarcity of materials. Jewellery
design found influence in the avant-garde art deco forms of the 1930’s, while complementarily manipulating the functional aesthetics of
industrial design to create boldly geometric and sculptural pieces.
Retro bracelets, amongst the most popular jewels of the 1940’s, boldly reflect the unique nature of the era like none other.
Van Cleef & Arpel’s honeycomb bracelet of the preceding decade continued to maintain widespread appeal for their wide geometric
bands made up of repetitious hexagonal links with bold clasps. Such forms were reinterpreted in the 1940’s by venerable houses such as
Cartier. Cartier’s‘tank’ chains fast became a popular source of influence for bracelet linking, inspired by industry and a broader vision of
futurism.
The design of the retro gold bracelet presented byAdam’s responds clearly to these infamous precursors. From the wide width of the
band, made up of five alternating rows of bi-colour gold links, to the angular light reflective shape of each rectilinear link, it is a truly
dynamic 40’s retro piece.

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A RETRO GOLD AND BLUE TOPAZ ‘ESCALIER’ BRACELET,
CIRCA 1945
The highly articulated gold links, each set with a foiled square-cut blue topaz,
mounted in 14K gold,length 19.7cm
€ 2,800 - 3,800
63
A LADY’S 18K GOLD MANUAL WIND RETRO BRACELET WATCH,
BY UNIVERSAL, CIRCA 1940
The Cal. 244 manual wind movement, champagne dial with applied gilt baton and
hour markers and Arabic for 12, gilt hands, polished round case with snap on back,
fitted 18K gold polished tank bracelet with folding clasp and security chain, case no.
1164155160...,bracelet width 1.9cm
€ 1,500 - 2,000

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65
A PAIR OF GOLD CUFFLINKS WITH SHIRT BUTTONS
1955
Each bridled horse-head with engraving detail, and fancy-link chain
connectors, mounted in 9K gold,maker’s mark‘A&W’;Together with
three gold shirt buttons en suite, English Hallmarks from Birmingham
1955,both with cases from‘Garrard & Co.Ltd,112,Regent StreetWI’
€ 900 - 1,100
67
A GOLD AND ENAMEL CELLESTIAL MONEY CLIP
Of circular shape, in the form of a sun dial, with ropetwist band-
ing, the centre panel inlaid with signs of the zodiac, lunar and
sunburst, scattered stars on a midnight blue ground, contained
within a segmented outer ring filled with Roman numerals numbered
I to XXIIII,mounted in 18K gold,length 4.7cm
€ 800 - 1,000
69
A GOLD AND DIAMOND BLACKAMOOR
BROOCH, CIRCA 1955
The carved ebony head of a man, the tunic with floral engraving
and round brilliant-cut diamond accents, the turban embellished
with further engraved scrolling decorations, with similarly-cut
diamond accents and a seed pearl, the reverse with further
engraved decorations, mounted in silver and gold,Italian assay mark,
French assay mark,length 3.6cm
€ 800 - 1,200
66
A GOLD CHARM BRACELET
The disc-link bracelet suspending eight gold charms including
a kettle, a key, a volley ball etc..., chain and charms in 9K gold,
length 17cm
€ 400 - 600
68
AN 18K GOLD OPEN FACE KEYLESS MANUAL
WIND POCKET WATCH, BY IWC, CIRCA 1940
The manual movement with silvered dial, with raise baton and
dot numerals, subsidiary seconds, gilt hands, within a plain case
with hoop bow, dial and movement signed,mov.no.10856**,Case
no.11608**,dial signed‘InternationalWatch Co.Schaffenhausen’&‘
Mobec-Zurich’, width 4.5cm
€ 600 - 800
70
A GOLD AND CULTURED PEARL NECKLACE
The continuous long fancy-chain links with ropetwist details,
interspersed by cultured pearls of cream tint, mounted in 18K gold,
length 94.8cm
€ 800 - 1,000
**This necklace can be divided into two smaller necklaces mea-
suring 41.3cm & 53.5cm
The blackamoor is a decorative motif depicting exoticized figures ofAfrican men typically dressed
in turbans and adorned with rich jewels and gold leaf.The motif is aVenetian tradition, dating back
to the Early Modern period when it emerged as an artistic response to the European encounter with
the Moors, the dark-skinned Muslims from NorthAfrica and the Middle East who came to occupy
various parts of Europe.
In recent history the blackamoor has been a source of controversy, however, it is considered to be a
collectible within the art world. Notable collectors and wearers of blackamoor jewellery are the late
Vogue editor DianaVreeland and the former director of the Museum ofAfrican Diaspora in San Fran-
cisco, Denise BradleyTyson.“Every time I wear one,”Tyson says,“they always provoke a response and
provide me with an opportunity to educate about the history of the Moors.”

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71
A LADY’S 18K GOLD AND DIAMOND-SET COCKTAIL WATCH, BY CARTIER, CIRCA 1960
The 15-jewel manual wind movement with lozenge-shaped cream dial with baton markers and blued steel hands, within
a bezel set with round brilliant-cut diamonds, on an 18K gold mesh-link bracelet watch, dial and movement signed,mov.no.
12282..,case no.1528..,French assay marks,diamonds approximately 1.00ct total,with maker’s box,width 2.1cm
€ 5,000 - 7,000

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72
A GOLD AND DIAMOND BRACELET, BY CARTIER, CIRCA 1960
Each bombé-shaped of ropetwist detail link, interspersed by two round brilliant-cut diamonds, mounted
in 18K gold and platinum,diamonds approximately 3.50cts total,signed Cartier Paris,numbered,French assay
marks,length 16.8cm
€ 5,000 - 7,000
73
A GOLD AND DIAMOND BROOCH, BY CARTIER, CIRCA 1960
Designed as a floral spray with bombé-shaped ropetwist details, embellished with round brilliant-cut
diamonds, mounted in 18K gold,diamonds approximately 2.60cts total,signed Cartier Paris,numbered,French
assay marks,maker’s mark (partly rubbed),length 4.9cm
€ 4,000 - 6,000

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74
A GOLD AND DIAMOND BROOCH, BY VOURAKIS, CIRCA 1965
Designed as a stylised foliate spray, each leaf set with round brilliant-cut diamonds, with-
in textured gold borders, mounted in gold,diamonds approximately 6.00cts total,width 4.6cm,
with maker’s case,length 4.3cm
€ 2,500 - 3,500
76
A PAIR OF GOLD AND DIAMOND EARCLIPS, BY VOURAKIS
Each composed of graduating gold polished beads, embellished with three central rows of
round brilliant-cut diamonds, mounted in 18K gold,signedVourakis,length 1.9cm
€ 800 - 1,200
75
TWO ‘PHILIPPINES’ DRESS RINGS, BY VAN CLEEF & ARPELS,
CIRCA 1970
EachV-shaped design, one set with a pink coral plaque accented with round brilliant-cut
diamonds, the other set with similarly-cut diamonds at the frontispiece, both mounted in
18K gold,diamonds approximately 1.50cts total,both signedVCA,both numbered,both with maker’s
marks,both with French assay marks,ring size both I½
€ 3,000 - 5,000
Vourakis, one of Greece’s most renowned and creative jewellers, was set up by IoannisVourakis in 1926.The company was established in
Athens and remains in the same location and family ever since.One of the founding principles was to provide a truly personal level of service
to their clients. Each piece was designed and made for individual customers, resulting in beautiful unique designs.The firm still takes pride
in its loyalty to their clientele,which has ensured the continued patronage from future generations.
During the 1960 and 1970s,it is said thatVourakis used the same workshop asVan Cleef andArpels amongst others,no doubt their designs
during this period were of very similar style.They are passionate for the absolute quality of both the materials and craftsmanship. Vourakis
pieces became synonymous for quality,authenticity and beauty and this holds true today.
**Please note that this lot contains coral and is subject to CITES regulations when exporting outside of the EU

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78
A GOLD AND GEM-SET NOVELTY BROOCH,
CIRCA 1960
Designed as a Lion, with textured fur, wirework mane and tail, circu-
lar-cut sapphire and diamond set eye and black enamel snout, mounted in
18K gold,French assay mark,maker’s mark‘Sté R’,with velvet pouch from Fred
Paris,length 3.8cm
€ 600 - 800
77
A GOLD AND EMERALD NOVELTY BROOCH, BY MEISTER
The textured gold frog with an emerald cabochon body and round brilliant-cut diamond for eyes, mounted in
18K gold,emerald approximately 30.00cts,signed‘EM’for Emil Meister,length 4.5cm,width 4cm
€ 3,000 - 4,000
79
A PAIR OF DIAMOND EARCLIPS, BY SCHLUMBERGER FOR TIFFANY & CO.
Each designed as gold rope rays highlighted with round brilliant-cut diamonds, mounted in 18K gold,
diamonds approximately 0.80ct,signed‘Tiffany Schlumberger’,length 3.3cm
€ 2,000 - 3,000
JeanSchlumberger(1907-1987)startedhiscareerinParisinthe1930sasadesignerofcostumejewelleryfortherenownedcouturierElsaSchiaparelli
and by the end of the decade he was creating fine jewellery for a discerning clientele.In 1939 he joined forces with Nicholas Bongard and together they
opened a jewellery shop at 745 FifthAvenue.Schlumberger looked to nature for inspiration and the pieces that made him famous and so well loved,were
ariotofcolouredgems,enamelandyellowgold.
Tiffany & Co.,under the direction of Walter Hoving,recruited Schlumberger in 1955 with hopes to breathe new life into the company and create a new
look.SchlumbergerwasoneofonlyfourjewellersthatTiffanyhasallowedtosigntheirworkanditwashisplayfulimaginationthatmountedajewelledbird
ontopofthefamousTiffanyYellowDiamond.
SchlumbergerbringstohisartclassicdesignprinciplesoftheRenaissance,’reportedTheBlueBookof1986.DianaVreeland,therespectededitorofVogue,
wrote that Schlumberger appreciated‘the miracle of jewels,which for him are the ways and means to the realisation of his dreams’.Created in his studio
onthemezzaninelevelofTiffany’sFifthAvenueflagshipstore,hisdesignsbecamederigueurforfashionablewomenofthetimeincludingDianaVreeland,
BabePaleyElizabethTaylorandAudreyHepburn.Schlumbergerretiredinthelate1970sanddiedin1987,butmorethanahundredofhisdesignscontinue
tobemadebyTiffanyartisans.
Schlumberger pieces have not only held their value at auction but continue to increase in general,such as the diamond and yellow gold ear clips on offer
atAdam’s.These classic ear clips, composed of twisted lines of yellow gold decorated with bright white diamonds are a delight to the eye and a stylish
investmentpiece.

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‘Colour is what gives jewels their worth. They light up and enhance the face. Nothing is more elegant
than a black skirt and sweater worn with a sparkling multi-stones necklace’
Christian Dior

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81
A MAGNIFICENT SAPPHIRE, DIAMOND AND TURQUOISE PENDANT/BROOCH,
BY VAN CLEEF & ARPELS, CIRCA 1960
Designed as a single stylised flower centring on a cluster of round brilliant-cut diamonds, embellished with oval-
shaped cabochon sapphires and turquoises with further similarly-cut diamond accents, with a baguette-cut diamond
stem, mounted in 18K gold and platinum,diamonds approximately 5.50ctscts total,signedVCA,numbered,maker’s mark,French
assay marks,with maker’s pouch,length 5.3cm
€ 55,000 - 65,000
A RARE PRIVATE COLLECTION OF
A CONTINENTAL LADY
On June 16th 1906Van Cleef & Arpels opened the doors to their first boutique at number 22, PlaceVendôme. Next door to Lalique, op-
posite the Ritz and a stones throw from Boucheron, this would prove to be the first of many boutiques that the highly successful Maison
would open around the world during the 20th Century.
Today the Maison continues to create innovative and stylish jewellery whilst also seeking inspiration in their extensive archives. Several
retrospective exhibitions have been staged around the world over the last few years ensuring thatVan Cleef & Arpels jewellery remains as
celebrated today as it has been over the last 110 years.
Van Cleef and Arpels has had a strong history of wooing celebrities and famous clientele.When Grace Kelly married Prince Rainier of
Monaco in 1956 they chose a beautiful suite of pearl and diamond jewellery from the NewYork boutique, soon after naming the firm
as an‘Official Supplier to the Principality of Monaco’. High profile clients continued to patronise the Maison including the Duchess of
Windsor, Barbara Hutton, Her Imperial Highness Princess Soraya and the Empress Farah Pahlavi for whomVCA made a stunning corona-
tion crown and necklace in 1967. One of the most famous brands to grace the red carpet,Van Cleef & Arpels jewellery dazzles at all the
major award ceremonies.At the 2015 Oscars, Margot Robbie wore an iconic Zip necklace.
The ability to be classic, yet creatively flexible defines the style of Van Cleef & Arpels.You can be guaranteed that aVC&A piece will
be of a high standard in terms of design, quality of stones and the craftmanship.TheVan Cleef and Arpel designs of the 1960s and 1970s
were characterized by a profusion of shapes, colours and striking combinations of hard and precious stones.TheArpels brothers returned
from their travels aroundAsia with some remarkable stones and sources of inspiration.
80
A MAGNIFICENT SAPPHIRE, DIAMOND AND TURQUOISE BRACELET,
The articulated band set throughout with round brilliant-cut diamonds, oval-shaped cabochon sapphires, pear
and oval-shaped cabochon turquoises, mounted in 18K gold and platinum,diamonds approximately 3.50cts total,
signedVCA,numbered,maker’s mark,French assay marks,with maker’s pouch,length 19cm
€ 55,000 - 75,000
This collection was purchased atVan Cleef & Arpels and has remained within the family ever since.

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82
A FINE PAIR OF SAPPHIRE, DIAMOND AND TURQUOISE EARCLIPS,
Each designed as a floral spray, the central round brilliant-cut diamond cluster, highlighted with oval-shaped
cabochon sapphires and turquoises, mounted in 18K gold,diamonds approximately 4.00cts total,signedVCA,num-
bered,maker’s mark,French assay marks,with maker’s pouch,length 3.5cm
€ 30,000 - 40,000

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83
A RARE GEM-SET COCKTAIL RING, BY VAN CLEEF & ARPELS, CIRCA 1960
The elongated turquoise cabochon within multiple claw-setting, embellished with a round brilliant-cut
diamond surround, to a further circular-cut sapphire surround, mounted in 18K gold,diamonds approxi-
mately 2.50cts,signedVCA,numbered,maker’s mark,with maker’s pouch,ring size L¾
€ 30,000 - 40,000

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85
A FINE PAIR OF GOLD AND DIAMOND HOOP EARCLIPS, BY VAN CLEEF & ARPELS,
CIRCA 1970

COMMANDE SPECIALE
Each reeded gold hoop, highlighted with three rows of graduating round brilliant-cut diamonds, mounted in 18K gold,dia-
monds approximately 3.50cts total,signedVCA,numbered,French assay marks,length 4.5cm
€ 12,000 - 18,000
TheseVan Cleef & Arpels earrings and brooches are truly one-of-a-kind pieces with an elusive provenance.They
were each made specifically for a privateVan Cleef & Arpels client in the 1970s, and thus, are not stylistically bound to any
particular collection.
1970s fashion saw the establishment of a new dichotomy between unique, one off creations and more informal stylish
designs, deviating from the traditional distinction between diamond evening wear and more wearable gold day wear.Van
Cleef &Arpels were the first to understand this new demand, experimenting with mixed textures, colour and abstracted
designs.
In these earrings and brooch presented byAdam’s, every aspect of the design is considered and individualised for the
client.Van Cleef & Arpel’s signature parure‘twist’ designs appear reinterpreted in the striking juxtaposition of pavé dia-
monds amidst textured gold.These materials dynamically twist alongside one another with grace, creating asymmetric and
voluminous forms that are both entirely unique yet emblematic of their decade.
84
A FINE GOLD AND DIAMOND BROOCH, BY VAN CLEEF & ARPELS, CIRCA 1970
COMMANDE SPECIALE
Designed as three reeded gold interlocking hoops, each highlighted with graduating round brilliant-cut diamonds, mounted
in 18K gold,diamonds approximately 4.50cts total,signedVCA,numbered,French assay marks on brooch and pin,with maker's pouch,
length 6cm,width 4.7cm
€ 10,000 - 15,000

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86
A GEM-SET BROOCH, BY CHAUMET, CIRCA 1970
Designed as a cluster of textured gold abstract hoops, set at the
centre with a marquise-shaped emerald and highlighted with old-
cut diamonds, mounted in 18K gold,diamonds approximately 0.50ct,
signed Chaumet Paris,French assay marks,length 4cm
€ 2,500 - 3,500
87
A TOURMALINE AND DIAMOND COCKTAIL
RING, CIRCA 1970
The rectangular-cut tourmaline weighing approximately
15.00cts, between round brilliant-cut diamond shoulders, to an
abstract 18K gold mount,ring size N
€ 1,800 - 2,200
Established in 1780, Chaumet brings centuries of experience to producing jewellery and watches that are the very essence of Parisian
luxury.The High Jewellery savoir-faire of the House has been passed down through generations of jewellers for more than 235 years.
René Morin joined Chaumet in 1962 and set out to embrace the unconventional, marking the ’70s as an era of experimentation. Familiar
themes, such as odes to nature, remain as prominent as always but now appear with a new boldness.
The 1970s designs were marked by originality and unconventional combinations of diamonds and precious stones mounted on yellow
gold, now on offer in a new boutique concept.
The brooch in our sale embodies the originality of the 70’s designs, the textured yellow gold almost looks as if it were knotted up to
create an abstract frame.The juxtaposition of the precious stones amidst gold frame creates contrast and makes a bold statement.

57
88
AN AQUAMARINE AND DIAMOND PENDANT/BROOCH, BY ALAN MARTIN GARD, 1971
Of gold openwork abstract design, set centrally with a cushion mixed-cut aquamarine weighing approximately 30cts,
highlighted with round brilliant-cut diamonds throughout, mounted in 18K gold,diamonds approximately 1.80cts,with maker’s
mark‘AMG’,London hallmarks for 1971,length 6.5cm,width 4.8cm
€ 6,000 - 8,000
Alan Martin Gard was born in Finsborough, London in 1935. He served a seven-year apprenticeship with the jewel-
ler Crombies of Bond Street, after which, he worked with big names suchAnrdrew Grima and Hooper Bolton. Gard and
Grima were contempories and friends and worked together for four years in the early 60’s
Gard set up his own business in 1964. His creative pieces used texture and gemstones, taking inspiration from nature and
organic contemporary design. He was at his height of popularity in the 1970s making thousands of pieces, both commis-
sions and collections, selling them to national and international clients. Several pieces were sold through Hooper Bolton
Alan Gard has had many successful exhibitions at both Goldsmiths Hall and Design Centre London, as well as various
exhibitions inAmerica. He has won various prizes in De Beers engagement ring design contest and designed all the jew-
ellery and medals for the films‘Nicholas and Alexandra’ and‘Modesty Blaise’. His discretion and ability to model ideas
enables him to create for stars and high profile clients.
Alan is well established in the London hierarchy of top-quality jewellers and has acquired a flawless reputation through
his unique creations and exceptional pieces. He perpetuates original design: colour declension, baroque collections and
classical retro
He is still based in London, now located at 14 St. Cross Street, Hatton Garden, where he trades under the name Alan
Gard Ltd. signing his piecesAMG. Every piece of jewellery is accompanied with a warranty certificate and a document
signed by the hand of the jeweller.
The brooch on offer in our sale is in the distinctive Gard style, inspired by nature, with a bold gemstone taking centre
stage, surrounded by yellow gold and diamonds artistically representing a floral mass.

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89
A DIAMOND BAR BROOCH
The single row of round brilliant-cut diamonds, set to the
centre with a large similarly-cut diamonds weighing approxi-
mately 1.00ct, mounted in 14K gold,remaining diamonds approxi-
mately 2.00cts total,length 5.2cm
€ 2,500 - 3,500
90
A TURQUOISE, SAPPHIRE AND ENAMEL FLOWER
BROOCH, CIRCA 1965
The plique-a-jour blue enamel petals arranged around a central cluster
of turquoise cabochons and a circular-cut sapphire to the centre,
mounted on an 18K gold stem with pierced scrolling leaves,maker’s mark‘MG’,
Swiss assay marks,length 6.5cm
€ 800 - 1,200

59
91
AN EMERALD AND DIAMOND BALLERINA RING, CIRCA 1965
The square cut-cornered step-cut emerald weighing 4.93cts within an undulating surround of tapered baguette and
brilliant-cut diamonds, to a trifurcated hoop, mounted in platinum,diamonds approximately 3.50ctscts,French assay marks,
ring size L (adjustable)
€ 15,000 - 20,000
Accompanied by a report fromThe Gem & Solid Phase laboratory in France, stating that the emerald weighing
4.93cts is of Colombian origin, with minor oil enhancement. Report number 20190603-273, dated June 3rd 2019
Columbian emeralds are said to be the purest in the world, possessing a depth of colour which is unfound and
inimitable elsewhere.These have been extracted from Columbia for thousands of years, particularly in the region of
Muzo, an area that known as the‘Emerald Belt,’ made up of the Fura andTena mountain peaks.
The first to extract emeralds from Muzo were the native indigenous groups who interpreted their magnificent co-
lour to be symbolic of fertility, water, and strength.This tribe, known as the Muiscans, were amongst the four most
advanced civilisations of theAmericas during the period of conquest.They personified the Fura andTena mountains
in their legends, respectively being the first woman and man, granted knowledge and eternal youth by their deities
under a codified set of rules.Their legend concludes dramatically, withTena dying as a result of the devastation he
experienced when Fura broke the rule of fidelity for love. Stricken with grief, Fura wept for centuries in mourning.
Her tears are said to have become transformed into the devastatingly exquisite emeralds of the mountains that we see
today.
Columbian emeralds owe their stunning green colour to their composition which is predominantly made up of beryl-
lium, chromium and vanadium.The reactions between this elemental triad results in the rich grass green tone which
Columbian emeralds are so renowned for, made purer in this region by their crystallisation within fissures of sedimen-
tary rock formations.
Internationally, emeralds have long been representative of one’s wealth, status and place in society, favoured by Cleop-
atra in the final century BCE. Beyond this, they were considered to possess talismanic properties throughout antiquity,
specifically believed to protect marriages. Perhaps this significant duality of an emerald’s meaning influenced Napo-
leon Bonaparte’s 1806 gift of an emerald and diamond parure to his adopted daughter, Stéphanie, on the occasion of
her marriage. Known as the Beauharnais Emeralds, now held at theVictoria & Albert Museum in London, this parure
thrust emeralds into the spotlight where they have remained since.
A 19.77 carat Columbian emerald designed by Cartier would later become the focal piece ofWallis, Duchess ofWind-
sor’s 1936 engagement ring in her betrothal to EdwardVIII.The precious stone was similarly used in the setting of
Jacqueline Kennedy’s 1953Van Cleef & Arpels engagement ring, further adding to the emerald’s unwavering preferen-
tial use throughout history.

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Tuesday 17th
September 2019
92
A DIAMOND BROOCH, BY FRED PARIS
The stylised openwork foliate set with round brilliant-cut dia-
monds throughout, mounted in 18K white and yellow gold,diamonds
approximately 8.50cts total,signed Fred Paris,French assay marks,length
5.7cm
€ 5,000 - 6,000
94
A GOLD AND DIAMOND BRACELET
Composed of a double ropetwist bracelet with belt buckle and
terminal highlighted with single-cut diamonds, mounted in 14K
gold,length 20.5cm
€ 600 - 800
96
A RUBY, DIAMOND AND TURQUOISE SET,
CIRCA 1960
Composed of a pair of earclips and a ring, each cluster set with
circular-cut rubies and turquoise cabochons with a round bril-
liant-cut diamond at the centre, with gold beaded details through-
out, mounted in 18K gold,ring size J¾,earclips length 1.7cm
€ 3,000 - 3,500
93
A GEM-SET NOVELTY BROOCH,
POSSIBLY BY FRED PARIS
The stylised leopard, textured to represent fur with black enamel
spots on the body, circular-cut emerald and diamonds for eyes,
mounted in 18K gold,French assay marks,maker’s mark,unsigned,with Fred
Paris velvet pouch,length 6cm,
€ 800 - 1,000
95
A DIAMOND AND SAPPHIRE NOVELTY BROOCH,
CIRCA 1980
The brooch designed as a sitting panther, the textured gold body
embellished with single-cut diamond spots, pear-shaped sapphires
for eyes and a single-cut diamond collar, mounted in 18K gold,dia-
monds approximately 2.00cts total,length 5.7cm,width 3.3cm
€ 3,000 - 4,000
97
A FANCY-LINK GOLD AND GEM-SET BRACELET
Of continuous tapering gas-pipe design, highlighted with alternating
coral and amethyst cabochons, in 18K gold,length 19.5cm
€ 1,400 - 1,800
My creations are inspired by the life, the
light, the movement, the energy” – Fred
Samuel.
**Please note that this lot contains coral and is subject to CITES regulations when
exporting outside of the EU

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Tuesday 17th
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98
A TURBO SHELL, CULTURED PEARL AND GOLD SET,
BY SEAMAN SCHEPPS
Comprising of a pair of earclips and a brooch, each earclip composed of a
natural turbo shell enhanced with gold textured branches and gold polished
detailing, with cultured pearl terminals, together with a brooch of similar
style, each mounted in 18K gold,each signed Seaman Schepps,each with maker’s marks,
earclip length 3cm,brooch length 4.6cm
€ 2,000 - 3,000
99
A GOLD BROOCH, BY TIFFANY & CO., CIRCA 1960
The gold brooch decorated with chased radiating sprays throughout, in 14K
gold,signedTiffany & Co.,length 3.5cm
€ 650 - 750
100
A PAIR OF CLIP BROOCHES, CIRCA 1965
Each openwork floral spray clip, set with carved emerald and gold leaves, ac-
cented with round-shaped cabochon rubies and brilliant-cut diamonds, within
gold ropetwist detail, mounted in 18K gold and platinum,French assay marks,length
4cm
€ 1,800 - 2,200

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101
AN ENAMEL AND RUBY FROG BROOCH, BY DAVID WEBB
Designed as a stylised frog with smooth polished body of cream enamel, with
fine line linear detail and ruby cabochon eyes, mounted in 18K gold,signedWebb,
length 4.2cm,width 3cm
€ 5,000 - 7,000
“The list of women who own his diamond and emerald encrusted animals reads like
Who’s Who. The Duchess of Windsor, Mrs. Charles Wrightsman, and Mrs. Amory wear
his green enamel frogs.” - Eugenia Sheppard, 1964, fashion editor for the New York
Herald Tribune.
DavidWebb founded his eponymous fine jewellery line in Manhattan on July 28th 1948, at
just twenty-three. His creations have come to embody the emboldened post-war era, exuding
extravagance and excess which was hitherto disparaged.Webb stands amongst few who in the
20th century lay claim to an aesthetic style which was wholly their own.Webb’s design were
uninhibited, audacious and mesmerising, fast attracting throngs ofAmerican royalty to his 2
West 46th Street address, quickly becoming‘NewYork’s best-known secret.’ Donned by Jac-
queline Kennedy, ElizabethTaylor and Estee Lauder,Webb jewellery has presence and demand
notice, designed for those with presence in the vast city.
Little is known ofWebb’s early life, though few from his hometown ofAsheville, North Carolina,
could foresee his meteoric rise to fame just a few short years following his move to NewYork.
Webb got his start inAsheville as an apprentice to his uncle, a silversmith, before landing a job
in the Diamond District of NewYork at the age of seventeen.The independence he exhibited to
move to NewYork at this ripe age only serves to demonstrateWebb’s individuated approach to
all aspects of design. He completed all of his design work himself, from the conceptualisation
of his pieces in pencil sketches in an unmistakably‘Webb’ fashion, through to their complete
fruition.
A fascination with colour is at the core of allWebb’s work, though ultimately this is dictated
by his deep respect for form and materials.Webb’s command of geometry gave him the liber-
ty to create without compromise, likening him to an architect as well as artist. It is this duali-
ty of material and form which caught the attention of Jacqueline Kennedy, who selectedWebb
to complete seven designs for the Kennedy gifts of state which honoured minerals native the
United States.All of these were accepted by Kennedy, prompting a lasting collaborative work
relationship between the pair, with Kennedy herself comparingWebb’s ingenuity of design to
that of Cellini.
In the 1970s, venerable houses such as Cartier andVan Cleef & Arpels turned to a resurgence
of the art deco style. Conversely, inWebb’s typical self-instructed style, he drew influence
from innumerable cultures spanning across many periods, holding no reservations in his
choosing.This was the penultimate result ofWebb’s studies of artefacts, utilising the extensive
resources which NewYork city had to offer. He famously found himself on the steps of the
Metropolitan Museum of Art weekly, preoccupying his mind with bygone ancient cultures,
from the Greco-Romans to the Byzantines.Artefacts from all corners of the world were
re-envisaged byWebb.A Minoan bull would become a gold belt buckle and Greek penannular
bracelets became the models forWebb’s signature gold animal bracelets. He thrust jewellery
further away from the abstract, embracing figurative forms and volume like no other. His ex-
uberant animal creations take their place amidst a lineage of figurative animal art, successors
of everything from Cartier’s 1940s‘big cat’ jewels to the legacy of the preserved talismanic
mythological creatures he found at the Metropolitan Museum.
It is for this breadth of influence, his stark individuality and boldness of design that brands
Webb the QuintessentialAmerican Jeweller.
©RuthPeltason,DavidWebbTheQuintessentialAmericanJeweller,pp203

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102
A PAIR OF DIAMOND PENDENT EARRINGS,
BY PIAGET
Each composed of an articulated row of disc shape links, five
links highlighted with pavé-set round brilliant-cut diamonds,
mounted in 18K gold,signed Piaget,numbered,maker’s mark,length
4.3cm
€ 1,200 - 1,800
104
A ‘HAPPY DIAMOND’ PENDANT ON CHAIN,
BY CHOPARD
The heart-shaped pendant enclosing a free-floating collet-set
brilliant-cut diamond, suspending from a fine cable-link chain,
mounted in 18K gold,chain and pendant signed Chopard,pendant
numbered,pendant length 1.5cm,chain length 42.8cm
€ 700 - 900
106
A PAIR OF BERYL AND DIAMOND PENDENT
EARRINGS
Each yellow beryl briolette drop, suspending from a round
brilliant-cut diamond cap, to a square-cut diamond surmount,
mounted in 18K gold,diamonds approximately 1.00ct total,yellow
beryl 12.58cts total,length 4.7cm
€ 2,000 - 2,500
103
A CULTURED PEARL AND DIAMOND RING
The round South Sea cultured pearl of white tint measuring
approximately 13.77mm, within a square plaque set with
round brilliant-cut diamonds and baguette-cut diamonds
shoulders, mounted in 18K gold,diamonds approximately 2.00cts
total,ring size O
€ 2,500 - 3,000
105
A DIAMOND BRACELET
The articulated openwork strap bracelet set throughout with
round brilliant-cut diamonds, mounted in 18K gold,diamonds
approximately 9-10.00cts total,length 19.5cm,width 2.5cm
€ 8,000 - 10,000
107
A GOLD AND DIAMOND ‘ROSE’ BRACELET,
BY PIAGET
The fine trace-link chain with a central openwork link
designed as a rose and highlighted with a round brilliant-cut
diamond, mounted in 18K white gold,signed Piaget Rose,maker’s
mark,length 18.3cm
€ 400 - 600

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Tuesday 17th
September 2019
108
A DIAMOND LINE BRACELET
Designed as a continuous row of round brilliant-cut diamonds within claw-setting, mounted in 18K gold,
diamonds approximately 8.00cts total,length 17cm
€ 6,000 - 7,000
109
A PAIR OF DIAMOND HOOP EARRINGS
Each hoop set with a uniform series of round brilliant-cut diamonds, mounted in 18K gold,diamonds
approximately 2.80cts total,length 3.5cm
€ 2,500 - 3,000

67
110
A COLOURED SAPPHIRE AND DIAMOND DRESS
RING
The rectangular mixed cushion-cut yellow sapphire weighing 6.26cts
within a four-claw setting, set between a row of brilliant-cut
diamonds, mounted in 18K gold,diamonds approximately 0.50ct total,ring
size L½
€ 5,000 - 6,000
Accompanied by a report fromThe Gem & Pearl Laboratory in
London, stating that the sapphire weighing 6.26cts is natural, of Sri
Lankan origin, with no indications of heat treatment. Report number
17585, dated July 26th 2019
111
A FINE COLOURED SAPPHIRE AND DIAMOND
PENDANT ON CHAIN
The rectangular mixed-cut cushion-shaped yellow sapphire
weighing 17.28cts within a double four-claw setting, to a round
brilliant-cut diamond surround and bale, suspending from a trace-
link chain, mounted in 18K gold,diamonds approximately 0.90ct total,
pendant length (including bale):3cm
€ 15,000 - 20,000
London, stating that the yellow sapphire weighing 17.28cts is nat-
ural, of Sri Lankan origin with no indications of heating. Report
number 17388, dated June 18th 2019

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September 2019
112
A DIAMOND-SET ‘MAILLON PANTHERE’ NECKLACE, BY CARTIER
Of contoured form, composed of an articulated series of brick-links, highlighted with
Z-shaped links, alternately pavé-set with round brilliant-cut diamonds, mounted in 18K
gold,diamonds approximately 2.00cts total,signed Cartier,numbered,French assay mark,maker’s
mark,length approximately 42cm,with maker’s pouch
€ 5,000 - 6,000
113
A GOLD ‘MAILLON PANTHERE’ BRACELET, BY CARTIER
The articulated polished yellow gold brick-link bracelet, in 18K gold,signed Cartier,maker’s
mark‘JC’,numbered,French assay mark,with maker’s case,length 20cm
€ 1,500 - 2,500

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Tuesday 17th
September 2019
114
A GOLD AND DIAMOND NECKLACE
The articulated necklace set with bombé paisley-shaped links set with round
brilliant-cut diamonds at the centre, each interspersed with further gold links,
mounted in 18K gold,with maker’s mark diamonds approximately 3.00cts total,length
approximately 43cm
€ 3,500 - 4,500
115
A GOLD AND DIAMOND BRACELET
The articulated bracelet set with bombé paisley-shaped links, alternating with pavé-set round
brilliant-cut diamond links, mounted in 18K gold,with maker’s mark,diamonds approximately 2.50cts
total,length 19cm
€ 1,500 - 2,000

71
116
A CULTURED PEARL NECKLACE WITH GEM-SET AND DIAMOND PENDANT,
The pendant depicting a panda bear, the body embellished with circular-cut yellow sapphires, the head set with
round brilliant-cut diamonds, highlighted with circular-cut emerald eyes and a black enamel nose, suspending
from a row of cultured pearls, mounted in 18K gold,signedVCA,numbered,French assay mark,pendant length 2.9cm,
necklace length 47.5cm
€ 4,000 - 5,000

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Tuesday 17th
September 2019
117
A FINE LADY’S 18K WHITE GOLD AND DIAMOND SET AUTOMATIC ‘DATEJUST’
CALENDAR BRACELET WATCH, BY ROLEX, CIRCA 1995
29-jewel Cal. 2135 automatic movement adjusted to 5 positions and temperatures, sunburst silvered dial with
diamond set hour markers, black outer minute divisions, silver baton hands and centre seconds, magnified
date aperture at 3, brushed and polished tonneau form case with screw down Oyster back and crown, dia-
mond set bezel, fitted brushed and polished Jubilee link bracelet with signed folding clasp, ref.no.6915*,serial
no.W0135**,Case no.6900** case,dial and movement signed,case width (including crown):2.7cm
€ 8,000 - 10,000
**Accompanied by its original large maker’s case, which also serves as a jewellery case/ with Rolex silk scarf

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118
The round brilliant-cut diamond weighing 5.34cts within a six-claw setting, to a cross-over mount pavé-set with round
brilliant-cut diamonds, mounted in 18K gold,remaining diamonds approximately 0.70ct total,French import mark,ring size O
€ 18,000 - 22,000
Accompanied with a report from Gem & Solid Phase in France, stating that the diamond weighing 5.34cts is N colour,
VVS1 clarity. Report number 20190413-264, datedApril 15th 2019

75
119
AN RUBY AND DIAMOND BALLERINA RING, CIRCA 1970
The cushion-shaped ruby weighing 1.40cts within a frame of round brilliant-cut diamonds, to a further undulating surround
of tapered baguette-cut diamonds, terminating with a trifurcated hoop, mounted in platinum,diamonds approximately 3.01cts,
ring size K (adjustable)
€ 6,000 - 8,000
Accompanied by a report fromThe Gem & Solid Phase laboratory in France, stating that the ruby weighing 1.40cts with no
indications of heating. Report number 20190603-274, dated June 3rd 2019
** Please note that the ruby was verbally tested at GCS laboratory in London in August 2019, and was confirmed to be
natural, of Burmese origin, with no indications of heating

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Tuesday 17th
September 2019
120
A SAPPHIRE AND DIAMOND CLUSTER RING
The oval-shaped sapphire weighing 4.36cts within a four-claw
setting to a round brilliant-cut diamond surround, mounted in 18K
gold,diamonds approximately 0.70ct total,ring size L½
€ 6,000 - 7,000
London, stating that the sapphire weighing 4.36cts is natural, of
Sri Lankan, with no indications of heating. Report number 17584,
dated July 26th 2019
122
A DIAMOND NECKLACE
Composed of a S-shaped links necklace set throughout with
round brilliant-cut diamonds of various sizes, to beading details
and navette-shaped clasp, mounted in 18K gold,diamonds approxi-
mately 3.00cts,within case from Appleby,length 41.2cm
€ 2,000 - 3,000
121
A FINE SAPPHIRE AND DIAMOND PENDANT ON
CHAIN
Set with two cushion-shaped sapphires weighing 6.94cts and 5.94cts,
each within a four-claw setting and a round brilliant-cut diamond
frame, accented by an asscher and brilliant-cut diamond bale, sus-
pending from a trace-link chain, mounted in 18K gold,diamonds approxi-
mately 0.60ct total,pendant length 3.5cm
€ 10,000 - 15,000
Accompanied by two reports from the Gem & Pearl Laboratory in
London stating that both sapphires weighing 6.94cts & 5.94cts are
natural, of Sri Lankan origin with no indications of heat treatment.
Report numbers 15535 & 15536, both datedApril 6th 2019
123
A DIAMOND LINE BRACELET
The continuous row of princess-cut diamonds, mounted in 18K gold,
diamonds approximately 6.00cts,maker’s mark‘AD’,length 18.5cm
€ 3,500 - 4,500

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Tuesday 17th
September 2019
124
A GEM-SET BROOCH, BY MEISTER
Designed in the form of a butterfly, set throughout with oval-shaped
yellow sapphires, highlighted with round brilliant-cut diamonds,
mounted in 18K gold,signed Meister,length 4.2cm
€ 3,000 - 4,000
125
A COLOURED SAPPHIRE AND DIAMOND
COCKTAIL RING, BY MEISTER
The cushion-shaped green sapphire weighing approximately
6.00cts, within a round brilliant-cut diamond surround, mounted
in 18K gold,signed‘E.M’for Emil Meister,ring size I
€ 2,000 - 3,000
Accompanied with its original invoice From Meister Zurich,
stating that the sapphire weighing 5.62cts is natural, Ceylon
(Sri Lanka) origin, with no treatment. Invoice dated September
28th 2010.
Meister was founded in 1881 by Emil Meister, a bold minded goldsmith and remains a family jewellers based in Zurich, Switzerland.
For more than twenty years now, it is in the capable hands of two brothersAdrian Meister and Roland Meister, the fourth generation
to run the company.The tradition of style, top quality, competence and trust has been upheld in the company through the generations
From humble beginnings, Meister began trading jewellery and silverware in a shop in Münsterhof 16 and flourished over four gen-
erations into a powerful company, currently with 3 shops located in prestigious areas of Zurich, selling gold and diamond jewellery,
watches, silver and crystal glass objects porcelain and renowned top quality brands.
The company experienced tremendous growth between 1950 and 1980, withWalter Meister at the helm, taking the company from
strength to strength and reinforcing his commitment to top quality goldsmiths. Meister won the coveted Diamonds International
Award a total of seven times and has been a member of the Diamond International Academy since 1968.
Meister is known for its large selection of precious stones and pearls.The gemologists at Meister travel far and wide, inspecting and
purchasing beautiful stones which become the pillar of Meister jewellery.All jewellery is designed and made in house, they specialise
in using a wide range of coloured gems in striking and unusual colour combinations, which take centre stage in the classic styles and
also in the modern timeless designs.
The green sapphire and diamond gold ring and the emerald and gold frog brooch on offer in our sale, display how Meister places a
gem in a prominent position in a beautifully crafted piece of jewellery.
The yellow sapphire & diamond butterfly brooch is a lovely example of Meister’s style and creativity with coloured stones.The piece is
in perfect harmony, with the golden yellow sapphires complimenting the yellow gold frame pave-set with diamonds.
©MeisterJuwelierZurich
©MeisterJuwelierZurich

79
127
The cushion-shaped diamond weighing 1.06cts, within a round brilliant-cut diamond surround
and shoulders, mounted in 18K gold,remaining diamonds approximately 0.50ct total,ring size N;
Together with a half diamond eternity ring set with round brilliant-cut diamonds, mounted in 18K
gold,diamonds approximately 0.20ct total,ring size N½
€ 3,500 - 4,500
** Please note that the diamond weighing 1.06cts is GIA laser inscribed, number 5176534301
which states that the diamond is G colour,VVS1 clarity. GIA report dating July 25th 2014
126
A DIAMOND CROSS PENDANT ON CHAIN
The Latin cross pendant set with round brilliant-cut diamonds throughout, suspending from a fine
trace-link chain, the chain in platinum, the pendant mounted in 18K gold,diamonds approximately 1.80cts
total,pendant length 3.3cm,chain length 45.2cm
€ 800 - 1,000

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Tuesday 17th
September 2019
‘Jewellery is the perfect spice - it always complements what’s already there.’
Diane von Furstenberg

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Tuesday 17th
September 2019
128
A DIAMOND SINGLE-STONE RING WITH ETERNITY
RING
The round brilliant-cut diamond weighing 0.90ct, within a similar-
ly-cut diamond halo frame and shoulders, mounted in 18K gold,remain-
ing diamonds approximately 0.50ct total,ring size J¼;Together with a half
diamond eternity ring set with round brilliant-cut diamonds weighing
approximately 0.20ct total, mounted in 18K gold,ring size J¼
€ 2,500 - 3,500
Accompanied with a report from the GIA laboratory inAmerica, stat-
ing that the diamond weighing 0.90ct is D colour, SI2 clarity. Report
number 6135973142, datedApril 22nd 2013
129
A DIAMOND AND PINK SAPPHIRE FLOWER
BROOCH
Designed as a stylised Calla Lily, the stamen highlighted with
circular-cut pink sapphires, to round brilliant-cut diamond
petals and stem, mounted in gold,diamonds approximately 2.50cts
total,length 7.5cm
€ 800 - 1,000

83
130
A PAIR OF GEM-SET AND TITANIUM EARRINGS,
BY MARGHERITA BURGENER
Each abstract leaf design accented with circular-cut multi-co-
loured sapphires, tzavorites and diamonds throughout, the reverse
highlighted with a diamond-set heart panel, mounted in 18K gold
and blue titanium,sapphires weighing 6.30cts in total,tzavorites weigh-
ing 0.82ct total,diamonds weighing 0.49ct in total,signed Margherita
Burgener,with maker’s mark and Italian assay marks,with maker’s case,
length 2.8cm
€ 2,500 - 3,500
131
A FINE RUBELLITE AND DIAMOND DRESS RING
The oval-shaped rubellite tourmaline weighing approximately
6.50cts, within a double four-claw setting, to a bombé round
brilliant-cut diamond mount, mounted in 18K gold,French assay mark,
diamonds approximately 2.70cts total,ring size L
€ 5,000 - 6,000

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Tuesday 17th
September 2019
132
A TRINITY BANGLE, BY CARTIER
Composed of three interlocking tri-coloured 18K gold bangles,
signed Cartier,maker’s mark,numbered,inner diameter approximately
6.3cm
€ 2,200 - 2,800
134
A GEM-SET AND GOLD NECKLACE,
BY MARGHERITA BURGENER
The rutilated quartz plaque pendant within a gold frame
and highlighted with round brilliant-cut diamond borders,
suspending from a fancy-link gold chain, mounted in 18K gold,
signed Margherita Burgener,maker’s marks,Italian assay marks,with
maker’s case,pendant length 5.3cm,necklace length approximately
74cm
€ 3,500 - 4,500
133
A PAIR OF ‘PAN DI ZUCCHERO’ PENDENT EARRINGS,
BY VHERNIER
Set with four grey mother-of-pearl slices topped by sugarloaf rock
crystal cabochons, spaced by highly articulated intertwined gold
square-shaped links set at intervals, mounted in 18K gold,signedVhernier,
numbered,Italian assay marks,length 9.2cm
€ 1,800 - 2,200
135
A DIAMOND ‘SABBIA’ DRESS RING, BY POMELLATO
The curved cushion-shaped plaque, set throughout with round bril-
liant-cut diamonds, some of brown tint, a secret round brilliant-cut
diamond on the plaque’s reverse, mounted in 18K gold,diamonds approx-
imately 2.30cts total,signed Pomellato,numbered,maker’s mark,Italian assay
mark,with maker’s case,ring size H¾ (50)
€ 3,000 - 4,000

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136
TWO LEATHER AND GOLD BRACELETS,
BY ENIGMA
Each double rope leather bracelet in yellow and green colour,
with an 18K yellow clasp, both signed Enigma,Italian assay marks,
with maker’s pouch,length 38cm each
€ 500 - 700
137
A LADY’S 18K GOLD WATCH, BY LONGINES, 2012
6-jewels Quartz ETA movement, cushion-shaped case with cham-
pagne dial, baton hour markers with Roman numerals at 12 and 6,
polished gold case to a brick-link gold bracelet, case no.301551**,
Swiss assay mark,with original case and box,accompanied with its war-
ranty card and an extra link,length 17.cm
€ 700 - 900

87
138
The round brilliant-cut diamond weighing 1.23cts within a four-claw
setting, to a plain hoop, mounted in platinum,ring size L¼
€ 4,000 - 5,000
Accompanied by a report from the HRD laboratory inAntwerp,
stating that the diamond weighing 1.23cts is F colour,VS2 clarity.
Report number 07013897010 dated June 12th 2007
139
Each designed as a circular openwork plaque with scrolling
detail, suspended from a round brilliant-cut diamond surmount,
mounted in 18K gold,diamonds approximately 5.00cts total,Italian
assay marks,length 5cm
€ 3,500 - 4,500

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140
A GOLD AND DIAMOND ‘DOPPIO CUORE’
BRACELET, BY BULGARI, CIRCA 1985-90
The series of modular bicoloured-links alternately pavé-set with
round brilliant-cut diamonds, alternating with heart-shaped pol-
ished gold links, mounted 18K gold,diamonds approximately 1.50cts
total,signed Bvlgari,Italian assay marks,length 18cm
€ 2,500 - 3,000
142
A COLOURED SAPPHIRE RING
The rectangular cushion-shaped purplish-pink sapphire weighing
2.07cts within closed-back collet-setting, mounted in 18K rose
gold,ring size L¾
€ 2,800 - 3,800
Accompanied by a report fromThe Gem & Pearl Laboratory
in London, stating that the sapphire is natural, of Madagascar
origin, with no indications of heat treatment. Report number
16560, dated November 23rd 2018
144
Each bombé circular-shaped gold earring, decorated with a
heart, star and moon-shaped plaque set with round brilliant-cut
diamonds, mounted in gold,diamonds approximately 1.20cts total,
length 2.6cm
€ 800 - 1,000
141
The round brilliant-cut diamond weighing approximately 1.75cts,
within a six-claw setting, between tapered baguette-cut diamond
shoulders, mounted in 18K gold,remaining diamonds approximately
0.40ct total,ring size K½
€ 4,500 - 5,500
143
The old brilliant-cut diamond weighing approximately 0.75ct
within collet-setting to a reeded gold mount, mounted in 18K gold,
French import mark,ring size N
€ 1,200 - 1,400
145
A DIAMOND PENDANT ON CHAIN
The pear-shaped bombé plaque pendant set with round bril-
liant-cut diamonds throughout to a similarly-cut diamond bale,
suspending from a three cable-link chain, mounted in 18K rose gold,
diamonds approximately 4.50cts total,pendant length (including bale):
4.3cm,chains length 41cm
€ 3,500 - 4,500

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Tuesday 17th
September 2019
146
A SAPPHIRE AND DIAMOND DRESS RING
The cushion-shaped weighing 5.87cts within a double four-claw setting, to round brilliant-cut
diamond shoulders, mounted in 18K gold,diamonds approximately 0.40ct total,ring size L½
€ 7,000 - 8,000
Accompanied by a report fromThe Gem & Pearl Laboratory in London, stating that the sapphire
weighing 5.57cts is natural, of Sri Lankan origin. Report number 17317, dated May 24th 2019
147
A FINE PAIR OF SAPPHIRE AND DIAMOND PENDENT EARRINGS
Each of chandelier design, set throughout with round, princess and baguette-cut diamonds,
accented by three pear-shaped sapphires, mounted in 18K gold,diamonds approximately 3.50cts total,
length 6.8cm
€ 3,500 - 4,500

91
148
The round brilliant-cut diamond weighing 2.82cts, within a four-claw setting, to a plain hoop, mounted in 18K
gold,French assay mark,ring size M½
€ 18,000 - 22,000
Accompanied by a report from the GIA laboratory in America, stating that the diamond weighing 2.82cts is H
colour,VS1 clarity. Report number 2181586108, dated July 10th 2017

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September 2019
149
A LADY’S STAINLESS STEEL ‘MADEMOISELLE’
BRACELET WATCH, BY CHANEL, CIRCA 1993
6-jewel quartz movement ETA 976001, black dial with steel
hands, polished stainless steel case, 4 screws on reverse, black
cabochon crown, with black leather strap with folding clasp, case,
dial and movement signed,case no.QS208**,ref.no.H00*,with maker’s
box and case,with certificate of authenticity,case width (including crown):
2.2cm
€ 500 - 700
151
A DIAMOND-SET RING, BY CHANEL
The crossover style ring set with round brilliant-cut diamonds
forming the word‘Chanel’, mounted in 18K gold,signed Chanel,num-
bered,maker’s mark,French assay mark,with maker’s case,ring size K
€ 1,200 - 1,800
152
A DIAMOND, JET AND JADEITE JADE ‘FRECCIA’
PENDANT ON CORD, BY ENIGMA
The elongated black jet pendant, decorated with an arrow-shaped
jadeite jade plaque, framed within round brilliant-cut diamonds,
suspending from a black satin cord with silver terminals, the
pendant mounted in 18K gold,signed Enigma,Italian assay mark,with
maker’s pouch,pendant length 5.7cm
€ 800 - 1,000
150
A DIAMOND BRACELET
The fine cable-link chain set with nine collet-set brilliant-cut
diamonds, mounted in 18K gold,diamonds approximately 1.80cts total,
Italian assay mark,length 18.2cm
€ 1,400 - 1,800

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Tuesday 17th
September 2019
153
A DIAMOND DRESS RING
The central old pear-shaped diamond weighing approximately
1.30cts, between round brilliant-cut diamond borders, to a bombé
reeded mount, mounted in 18K gold,remaining diamonds approximately
1.00ct,ring size
€ 1,500 - 2,000
155
AN OPAL, RUBY AND DIAMOND CLUSTER RING
The oval cabochon opal within a frame of circular-cut rubies
accented by four brilliant-cut diamonds, mounted in 18K gold,French
assay mark,ring size J
€ 700 - 900
157
A TURQUOISE BROOCH
Designed as a spider, the body set with two turquoise cabochons,
with circular-cut purple eyes, the legs in 14K gold,length 2.7cm
€ 200 - 300
154
A PAIR OF GOLD AND CULTURED PEARL
EARCLIPS, BY LALAOUNIS
Each textured gold reeded disc, with a central round cultured
pearl, mounted in 18K gold,maker’s marks,with maker’s case,length
1.8cm
€ 600 - 800
156
A RUBY CROSSOVER RING, BY LALAOUNIS
Of openwork bombé design, obliquely-set terminals highlighted
with circular-cut rubies, mounted in 18K gold,with maker’s mark,
with maker’s case,ring size M
€ 500 - 700
158
AN EMERALD AND DIAMOND RING
The octagonal step-cut emerald weighing approximately 1.90cts,
within a round brilliant-cut diamond frame and bifurcated shoul-
ders, mounted in 18K gold,ring size I½
€ 1,500 - 2,000

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Tuesday 17th
September 2019
159
A CULTURED PEARL AND DIAMOND DEMI-PARURE
Comprising a pendant of curved cross design, set with round brilliant-cut diamonds
and a cultured pearl of grey tint, to a fine snake-link chain, pendant mounted in 14K
gold,length 2.6cm,necklace in 18K gold,length 42cm;Together with a bracelet and a
pair of earrings of similar style, diamonds approximately 1.00ct total,bracelet length
19.4cm,earrings length 1.4cm (3)
€ 2,000 - 2,500

97
160
A CULTURED PEARL NECKLACE WITH SAPPHIRE CLASP
Composed of a single strand of round graduatedTahitian cultured pearls of grey
tint, measuring approximately 14.98 - 16.88mm, to a white sapphire pavé-set
spherical clasp mounted in 14K gold,length 46cm
€ 5,500 - 6,500
161
A PAIR OF CULTURED PEARL AND DIAMOND EARRINGS
Each round-shaped cultured pearl of grey tint measuring approximately
12.60mm & 12.84mm, highlighted with a round brilliant-cut diamond, mounted
in 18K gold,diamonds approximately 0.40ct total,length 1.6cm
€ 1,000 - 1,500

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Tuesday 17th
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162
A PAIR OF LABRADORITE PENDENT EARRINGS
Each hoop composed of circular multi-faceted labradorites, to a surmount of similar style,
mounted in silver and 18K gold,length 7.2cm
€ 350 - 450
163
AN AMETHYST LINE BRACELET WITH EARRINGS EN SUITE
The continuous line of oval-shaped amethysts, within four-claw setting, mounted in 18K
gold,length 17.4cm;Together with a pair of earrings, each oval-shaped amethyst highlighted
with a trio of round brilliant-cut diamonds, length 1.5cm
€ 600 - 800

99
164
A FANCY-LINK GOLD NECKLACE
Set throughout with fancy gold links with ropetwist detail, in 18K gold,length 48cm
€ 2,500 - 3,500

100
Tuesday 17th
September 2019
165
A PAIR OF JET AND DIAMOND EARSTUDS,
BY ENIGMA
Each jet bead highlighted with a central collet-set round bril-
liant-cut diamond, mounted in 18K gold,diamonds approximately
0.06ct each,signed Enigma,Italian assay marks,with maker’s pouch,
length 1cm
€ 300 - 500
167
A DIAMOND DRESS RING, BY ENIGMA
Designed as a stylised lip, pavé-set with round brilliant-cut dia-
monds on the lip contour, mounted polished and brushed platinum,
unsigned,Italian assay mark,with maker’s pouch,ring size N¾
€ 800 - 1,200
166
A DIAMOND COCKTAIL RING
Of bombé reeded design set with three central brilliant-cut dia-
monds weighing 0.79ct, 1.00ct and 0.73ct, mounted in 18K rose gold,
French assay mark,ring size O
€ 7,500 - 8,500
168
A DIAMOND PENDANT ON CHAIN, BY ENIGMA
Designed as a stylised lip, the upper lip pavé-set with round bril-
liant-cut diamonds, suspending from a fine trace-link chain, mounted
in 18K gold,signed Enigma,Italian assay mark,with maker’s pouch,pen-
dant width 2.5cm,chain length 41.4cm & 36.8cm
€ 800 - 1,200
Gianni Bulgari was born in 1935, the eldest son of Giorgio Bulgari and grandson of the founder, Sotirio. He led the family com-
pany as co-CEO for a number of years before taking over the full title until 1985.
He left Bulgari after selling his stake to his brothers, Nicola and Paolo in 1987 and spent the next ten years as chairman of the Italian
sportswear brand Fila.At the same time, Gianni was also working on another project of his own making. He established GB-Enigma, a
luxury watch-making company, in 1989 but it was not until 2002 that he began to solely focus on the brand.
Together with his son, Giorgio, he opened the first GB-Enigma store in Rome in 2005, and another in Geneva in 2006.The brand later
extended into fine jewellery creating lines that are immediately recognisable and individual.
Citing the decorative arts and specificallyArt Deco and Bauhaus of the 1920s and 30s as inspirations, he injected new and challenging
energy into the high jewellery market.With a focus on precious metals and superior craftsmanship, GB-Enigma reintroduced lesser
used materials such as jet and silver with a bang, working them into bold eye-catching designs. It is very much a brand of its time, de-
signed to complement the personality of the wearer.

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169
A RUBY AND DIAMOND BRACELET
The brick-links set with single-cut diamonds and calibré-cut rubies throughout, mounted in 14K gold,
length 17.5cm
€ 1,200 - 1,800
170
A GEM-SET AND DIAMOND COCKTAIL RING
The oval mixed-cut morganite, within a‘star’ surround of circular-cut tsavorites and round brilliant-cut
diamonds and similarly-cut diamond shoulders, mounted in 18K gold,French import mark,ring size M
€ 800 - 1,000

103
171
Each round brilliant-cut diamond weighing 0.50ct, within a four-
claw setting, mounted in 18K gold
€ 2,500 - 3,500
Accompanied by GIA reports from America stating that both dia-
mond weighing 0.50ct, are G colour,VS2 clarity. Reports number
2246109825 dated October 27th 2016 & 2247158831 dated Octo-
ber 27th 2016
172
A SAPPHIRE AND DIAMOND RING
The cushion-shaped sapphire weighing 4.06cts within a four-claw
setting, to brilliant-cut diamond shoulders, mounted in 18K gold,
diamonds approximately 0.40ct total,ring size L½
€ 4,000 - 5,000
London stating that the sapphire weighing 4.06cts is natural, of
Sri Lankan origin with no indications of heating. Report number
17005, dated March 26th 2019

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173
A DIAMOND PENDANT ON CHAIN
The openwork heart-shaped pendant set with round brilliant-cut diamonds and similarly-cut
diamond bale, suspending from a ropetwist chain, mounted in gold,diamonds approximately
0.60ct total,pendant length (including bale):1.7cm
€ 800 - 1,000
174
The two brilliant-cut diamonds weighing 1.01cts & 1.04cts, each within a four-claw setting,
mounted in 18K gold
€ 4,500 - 5,500
** Please note that each diamond was unset and weighed loose by the jewellery department
175
A PAIR OF GOLD AND DIAMOND RINGS, BY HANS APPENZELLER
Designed as two polished plain hoops, one ring set with a round brilliant-cut diamond on
each terminal, mounted in 18K gold,one signed Hans Appenzeller,both rings size L
€ 500 - 700
In the heart ofAmsterdam, Hans Appenzeller is designing in his own atelier the most
exciting collection of modern jewellery, pieces so timeless that the gallery offers a range of
designs spanning the last thirty years. He presents a new collection annually in gold, silver,
stainless steel, and aluminium, as well as pieces with precious and semi-precious stones.

105
176
A RUBY BEAD AND DIAMOND NECKLACE
Composed of a strand of graduated ruby beads spaced by rondelles set with round brilliant-cut dia-
monds, completed by a gold, ruby and diamond clasp, length when worn 38.5cm
€ 3,500 - 4,500
177
A RUBY AND DIAMOND DRESS RING
Of navette shape, the oval-shaped ruby weighing approximately 4.30cts within a scalloped frame of
round brilliant-cut diamonds to similarly-cut diamond shoulders, mounted in gold,diamonds approximately
1.40cts total,ring size J½
€ 2,000 - 3,000
** Please note that the ruby was verbally tested at GCS laboratory in London in August 2019 and was
found to be natural, from East Africa with residue in healed fissures (treatment)

Adams Fine Jewellery & Watches Tuesday 17th September 2019

Adams Fine Jewellery & Watches Tuesday 17th September 2019

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Adams Fine Jewellery & Watches Tuesday 17th September 2019