Adam's_Fine_Jewellery_Watches_September 2021

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ADAM’S
Est.1887
F I N E J E W E L L E R Y & W AT C H E S
Tuesday 14th
September 2021 at 6pm

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AUCTION
Tuesday 14th
September 2021 at 6pm
VENUE
Adam’s Salerooms,
26 St. Stephen’s Green,
Dublin
D02 X665
Ireland
SALE VIEWING DAYS SEPTEMBER 10th
- SEPTEMBER 14th
At Adam’s, 26 St. Stephen’s Green, Dublin, D02 X665

Friday 10th
September 10:00am - 5:00pm
Saturday 11th
September 1:00pm - 5:00pm
Sunday 12th
September 1:00pm - 5:00pm
Monday 13th
Tuesday 14th
ADAM’S
Est.1887
26 St. Stephen’s Green
Dublin D02 X665
Tel +353 1 6760261
info@adams.ie
www.adams.ie
Private Viewing by appointment only
Note the auction starts at 6pm
WWW.ADAMS.IE

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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 15th September 2021. Under no circumstances will delivery of purchases be given whilst the auction is in progress. All purchases must be
paid for and removed from the premises not later thanThursday 16th September 2021 at the purchaser’s risk and expense.After this time all uncollect-
ed lots will be removed to commercial storage and additional charges will apply.
Auctioneers commission on purchases is charged at the rate of 20.325% (exclusive ofVAT). Terms: Strictly cash, bankers draft or cheque drawn on an
Irish bank. Cheques will take a minimum of five workings days to clear the bank, unless they have been vouched to our satisfaction prior to the sale, or
you have a previous cheque payment history withAdam’s. Purchasers wishing to pay by credit card (Visa & MasterCard) may do so, however, it should
be noted that payments via American Express will be subject to an administrative fee of 3.65% on the invoice total. Debit cards including laser card
payments are not subject to a surcharge, there are however daily limits on Laser card payments. BankTransfer details on request. Please ensure all bank
charges are paid in addition to the invoice total, in order to avoid delays in the release of items.
Goods will only be released upon clearance through the bank of all monies due.
4. VAT REGULATIONS
All lots are sold within the auctioneersVAT margin scheme. Revenue Regulations require that the buyers premium must be invoiced at a rate which is
inclusive ofVAT. This is not recoverable by anyVAT registered buyer.
5. It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot.Whilst we make certain observations on the lot, which
are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance only and should be evaluated by
personal inspection by the bidder or a knowledgeable representative.The absence of such a reference does not imply that an item is free from defects or
restoration, nor does a reference to particular defects imply the absence of any others.The condition report is an expression of opinion only and must
not be treated as a statement of fact.
Please ensure that condition report requests are submitted before 12 noon on Tuesday 14th 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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CONTACTS
Brian Coyle FSCSI FRICS
CHAIRMAN
James O’Halloran BA FSCSI FRICS
MANAGING DIRECTOR
j.ohalloran@adams.ie
Stuart Cole MSCSI MRICS
DIRECTOR
s.cole@adams.ie
Amy McNamara BA
FINE ART DEPARTMENT
amymcnamara@adams.ie
Eamon O’Connor BA
DIRECTOR
e.oconnor@adams.ie
Adam Pearson BA
FINE ART DEPARTMENT
a.pearson@adams.ie
Helena Carlyle
FINE ART DEPARTMENT
h.carlyle@adams.ie
Niamh Corcoran
FINE ART DEPARTMENT
niamh@adams.ie
Lois Kelleher
JEWELLERYDEPARTMENT
lois@adams.ie
Nicholas Gore Grimes
ASSOCIATE DIRECTOR
nicholas@adams.ie
Ronan Flanagan
FINE ART DEPARTMENT
r.flanagan@adams.ie
CONTACTS AT ADAM’S
Giorgia Chissa
FINE ART DEPARTMENT
giorgia@adams.ie

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Claire-Laurence Mestrallet BA, GIA G.G
ASSOCIATE DIRECTOR
HEAD OF JEWELLERY & WATCHES
claire@adams.ie
©
Photo
Credit
:
Doreen
kilfeather

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ievo bird and flower pictures included in the sale.
s sale - contact Stuart Cole, Amy McNamara, James O’Halloran or
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The most luxurious house set in thirty six acres of luscious gardens and woodland, one hour south of Dublin.
• Beautiful 19 bedroom country house for intimate celebrations from 40 to 140
• Exclusive or non exclusive use for smaller wedding parties also available, lots of accommodation very close by for larger weddings
• Pre and Post BBQ’s, suppers, buffets and parties can be catered for in the house or in ‘The Duck Terrace Restaurant’ in the Courtyard
• Civil ceremonies and spiritual blessings in the house and gardens • Open for weddings year round
Call to make an appointment with Dawn who will be delighted to show you around.
For an immediate copy of our wedding pack go to the weddings page on our website,
fill in the enquiry form and you will receive it immediately. www.marlfieldhouse.com
Gorey, Co. Wexford
Tel: 053 9421124 | Fax: 053 9421572
Email: weddings@marlfieldhouse.ie | www.marlfieldhouse.com
The Magic of Marlfield
Don’t miss the opportunity to view one of Ireland’s most romantic country houses for your wedding day celebration
Everyone deserves a treat this year. Choose to slumber in luxurious classic rooms in this renowned Regency
period house. Or experience the newly opened pond suites. Private luxurious rooms in a uniquely natural en-
vironment surrounded by trees with picture perfect views overlooking the pond. Dine in two highly acclaimed
restaurants,The Duck Restaurant or Conservatory Restaurant. Beach, hill and forest walks, 2 km walks on
site,WexfordWalking and CyclingTrails 1 hour south of Dublin on the N11.

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Marlfield House is recognized as one of Ireland's most celebrated luxurious country house
hotels. An oasis of tranquillity and charm, this boutique hotel encompassing 25 bedrooms,
suites & garden rooms, has a luxurious yet relaxed and welcoming atmosphere. A Regency
period house, built by the Earl of the Courtown estate, the house is set in 35 acres of manicured
gardens, encompassing a large kitchen garden, rose gardens and woodland walks.The interior
bears all the signs of a much-loved manor house, filled with fresh garden flowers, gleaming
antiques, blazing fires and period paintings.
Mary & Ray Bowe lovingly restored & opened the doors to Marlfield to welcome guests
in 1978. A long-standing member of Relais & Chateaux Hotels & Ireland’s Blue Book, it has
garnered a wonderful reputation for fine food, comfort & hospitality over the past 44 years.
Their daughters Margaret and Laura took over the reins 15 years ago and continue the
development of the property and Marlfield’s long-standing hospitality.

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Through the eyes of ...
Laura Bowe
(Lot 111)This was love at first sight! I adore the ba-
guette diamonds, the abundance and quality of them
and the lustre of the jumbo emerald.A girl can dream!
(Lot 104)What a beautiful piece. I love
the lustre and earthy green shades of the
garnets, reminiscent of the colours in the
garden here at Marlfield.
(Lot 101)These cuffs are so striking and bold.What a brilliant
idea to turn a brooch into a pair of cuffs,making them so rel-
evant and chic.They would look dazzling paired with a black
cocktail dress or coat or even a contrasting colour dress.
(Lot 19) Such a pretty detailed brooch encrusted with dia-
monds. Ponies and eventing are a big part of my daughter
Hannah’s life.At 14 years old,she would look rather deca-
dent wearing this on her stock! But what a beautiful gift it
would be for her.
(Lot 115)These earrings have the absolute wow factor
but without too much bling.The titanium is so light
they feel weightless.The lustre of the sky-blue sapphires
really light up the face.

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(Lot 58)This is a true work of art and a very cool,retro piece,so
comfortable on the wrist.The watch face hidden behind the gold
trellis work is so clever.This piece is way more than just a watch!
The serpents tale and gold craftsmanship is extraordinary.
(Lot 72)This lot is the perfect classic everyday-wear bracelet.
Understated elegance and very beautiful work wear!
(Lot 59) I would never take this off! Just beautiful and easy to wear,
sitting close and flat against the wrist.a very stylish understated piece
for everyday and evening wear.
(Lot 79) I love this chunky wearable necklace and the instant glam it adds
to the face and neckline when you pop it on.This is a piece that I would
wear with a shirt and jeans during the day or a simple black evening dress.
(Lot 102) I simply could not pass on this piece.It has absolute
wow factor; the design in extraordinary, bold and modern, yet
wearable day or evening.It’s amazing to think it was designed
in the 1940s - Bulgari at the forefront of jewellery design,
then and now.
(Lot 124) Another very cool, trendy, easy wear to
wear everyday piece.I loved this on my little finger.
Its smooth curved lines make it so slick and timeless.

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FINE JEWELLERY & WATCHES
Invitation to Consign for our next
prestigious auction in December 2021
All enquiries, kindly contact Claire Mestrallet
Claire@adams.ie
An Important Single-Stone Diamond Ring
From the September 2020 Sale
Sold for €120,000

Tuesday 14th
September 2021 . Starting at 6pm
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A ‘HAPPY DIAMOND’ PENDANT NECKLACE,
BY CHOPARD, CIRCA 1995
The ropetwist chain suspending a yellow gold heart, the
scalloped border set with brilliant-cut diamonds with similar-
ly-cut diamond bale, centrally containing a glazed compart-
ment with floating collet-set brilliant-cut diamonds, mounted
in 18K gold,diamonds approximately 1.16cts total,pendant and
chain signed Chopard,numbered,both with Swiss assay mark and
European convention mark,pendant length (including bale):2.5cm,
chain length 43cm
€ 1,500 - 2,000
Retailed atWeir & Sons in Dublin.Accompanied by its origi-
nal certificate of authenticity from Chopard Genève.
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A CORAL AND GOLD NECKLACE, BY CARTIER
The circular-link row necklace, set with two polished scarab
panels together with a cabochon coral accent within col-
let-setting, mounted in 18K gold,signed Cartier,numbered,with
maker’s mark‘EB’for Blondeau,length 54.5cm
€ 3,000 - 4,000
E. Blondeau is a workshop based in Paris, located 8 Rue de
Hanovre in the 2nd district , which has done work for Cartier
amongst others.
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A TRI-COLOURED ‘TRINITY’ GOLD RING,
BY CARTIER
Composed of seven interlocking hoops of rose, yellow and
white gold, in 18K gold,signed Cartier,French assay marks,ring
size Q½
€ 800 - 1,000
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A STAINLESS STEEL, GOLD AND DIAMOND-SET
DATEJUST CALENDAR BRACELET WATCH,
BY ROLEX, CIRCA 2005
31-Jewel Cal. 3135 automatic movement adjusted to tempera-
ture and 5 positions, sunburst champagne dial with dia-
mond-set hour markers, gilt baton hands and centre seconds,
magnified date aperture at 3, polished tonneau form case with
screw down back, gold fluted bezel, gold screw down crown
fitted steel and gold Jubilee link bracelet with signed folding
clasp, serial no.F544652,ref.no.116233,case,dial and movement
signed,withWeirs & Son service mark inside case,case (including
crown):3.8cm
€ 3,000 - 5,000
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A PAIR OF DIAMOND EARCLIPS, BY CARTIER
Each thick openwork hoop with geometric pattern set
throughout with brilliant-cut diamonds, mounted in 18K gold,
diamonds approximately 3.00cts total,signed Cartier,numbered,mak-
er’s mark‘Sté J B’,French assay marks,with maker’s case,length 2.2cm
€ 5,000 - 7,000
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A DIAMOND ‘TUBOGAS SERPENTI’ RING,
BY BULGARI
Composed of a gold sprung gas-pipe link hoop, terminating in
a collet-set pear-shaped diamond, in 18K yellow gold, signed
Bvlgari, Italian assay mark, with maker’s mark for Bulgari
imported and sold in France, ring size‘adjustable’
€ 3,500 - 4,500
**Please note that this lot contains coral and is subject to CITES
regulations when exporting outside the EU**
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Tuesday 14th
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A ROCK CRYSTAL, ONYX, DIAMOND AND CULTURED PEARL PENDANT/BROOCH,
BY DAVID WEBB
The rock crystal pendant accented with brilliant-cut diamonds and onyx, suspending a tassel of cultured pearls of
white tint, measuring approximately 9.50mm, mounted in 14 & 18K gold and platinum,diamonds approximately 3.30cts
total,signedWebb,length 13.2cm
€ 3,500 - 4,500
DavidWebb began designing jewellery as a young boy growing up in North Carolina.
In 1940, he moved to NewYork at the age of seventeen and apprenticed at his uncle’s
silversmith shop, where he learned metal smiting techniques, further honing his keen
eye for jewellery design. Five years later,Webb founded his eponymous jewellery line
on Manhattan’s Madison Avenue. His brand would go on to help define the direction
ofAmerican jewellery over the next two decades.Webb’s designs standing out as one
of the few artists of the 20th century who lay claim to an aesthetic style which remains
wholly their own. Devoted clients of Webb included Jacqueline Kennedy, Elizabeth
Taylor and Estée Lauder, all of whom proudly wore his designs throughout the 1950s
and 60s.Throughout his lifetime, his pieces took centre stage on the covers of fashion
magazines such asVogue, Harper’s Bazaar, andTown & Country.
Webb’s designs are distinguished by a vivid colour palette, dimension, and meticulous atten-
tion to detail. He oversaw the whole process of jewellery making, from the initial conceptu-
alisation of the pieces to the finished product, with his entire production process sometimes
being comprised of as many as 18 steps before his designs came to fruition.Webb worked
in enamel, coral, jade, carved crystal, and gold alongside a vibrant mixture of gemstones
and pearls. He drew inspiration from a vast range of cultures and periods, founded in his
regular visits to all the museums and collections NewYork city had to offer.This included
the Metropolitan Museum of Art where Webb made a point of going weekly to study and
admire the ancient collections housed there, from the painted terracotta vases of the Bronze
Age Minoans to the papyri of the Ancient Egyptians and the gold jewellery of the Byzantine
Empire. ForWebb, a Minoan bull became a gold belt buckle, and Greek penannular bracelets
were transformed into the models for his signature gold animal bracelets.
It was this breadth of influence, boldness of design and unabashed individuality which drew
the attention of First Lady Jackie Kennedy, when she askedWebb to create theWhite House
Gifts of State in 1960. Directed to use minerals native to the United States, all seven designs
were accepted, sparking a lifetime of collaboration between the pair.When Webb passed
away in 1975, at the young age of 50, his legacy was remembered by those who admired his
work.The Duchess ofWindsor remembered him as “Faberge reborn”, whilst his friend and
associate Jackie Kennedy called him a “modern day Cellini”. In 2010, Marc Emmanuel and
Robert Sadian bought over the company, bringing DavidWebb designs into the 21st century
by faithfully restoring the jeweller’s original designs from his archives. Today, all of David
Webb’s jewellery continues to be made on the premises in New York, as it has been since
1948.

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A PAIR OF DIAMOND PENDENT EARCLIPS, BY MAUBOUSSIN
Of chandelier design, each brilliant-cut diamond surmount suspending a cascade of brilliant-cut dia-
monds, with ropetwist detailing throughout, mounted in 18K gold,diamonds approximately 6.50cts total,
signed Mauboussin Paris,maker’s mark‘Sté M’,French assay marks,length 5.2cm
€ 6,000 - 8,000
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A DIAMOND PENDANT ON CHAIN
The central brilliant-cut diamond weighing approximately 0.70ct in a four-claw setting and within
a halo of similarly-cut diamonds, to a plain bale suspending from a cable-link chain, both in 18K gold,
French import marks,remaining diamonds approximately 0.15ct total,pendant length (including bale) 1.2cm,
chain length 41.2cm
€ 1,500 - 2,000
Accompanied by a report from the CGL laboratory in Europe, stating that the diamond weighing
0.70ct is J colour,VS1 clarity. Report number 2080750156007505, dated December 19th 2018
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A DIAMOND RING, BY BOUCHERON, CIRCA 1990
The frontispiece pavé-set with brilliant-cut diamonds, to a trifurcated hoop with ropetwist detailing,
mounted in 18K gold,signed Boucheron,numbered,with maker’s mark,French assay mark,ring size J½
€ 1,200 - 1,800

Tuesday 14th
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A PAIR OF 19TH CENTURY EARSTUDS, CIRCA 1890
Each old cushion-shaped diamond within multiple claw-setting and
scalloped frame, mounted in silver and gold,diamonds approximately
2.50cts total,length 1cm
€ 5,000 - 6,000
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A LATE 19TH CENTURY DIAMOND AND
SAPPHIRE BROOCH, CIRCA 1890
The six-rayed star set throughout with old brilliant and
single-cut diamonds, each ray spaced by a collet-set
circular-cut sapphire, mounted in silver and gold,diamonds
approximately 2.00cts total,with case by‘Weldon,The Jeweller,55
Clarendon St.Dublin’,length 4.7cm
€ 600 - 800

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A FINE LATE 19TH CENTURY DIAMOND PENDANT, CIRCA 1890
Composed of a central old cushion-shaped diamond weighing approximately 2.00cts, with
similarly-cut diamond frame and bale, mounted in silver and gold,remaining diamonds approximately
8.00cts total,length (including bale):3.7cm
€ 12,000 - 14,000

Tuesday 14th
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A LATE 19TH CENTURY DIAMOND FLOWER BROOCH
Of foliate design, the leaf and bud spray set throughout with old cushion, brilliant and
rose-cut diamonds, with ribbon-bow similarly-set, mounted in silver and gold,diamonds
approximately 11cts total,French import marks,length 9cm,width 4.8cm
€ 6,500 - 7,500
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A LATE 19TH CENTURY DIAMOND BRACELET, CIRCA 1890
Of foliate design, set with old brilliant-cut diamond buds and rose-cut diamond petals,
mounted in silver and gold,diamonds approximately 5.00cts total,length 17.4cm
€ 4,000 - 5,000

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A BELLE ÉPOQUE DIAMOND PENDANT NECKLACE, CIRCA 1910
The openwork plaque of foliate design, millegrain-set throughout with old brilliant and
single-cut diamonds, centring an old marquise-shaped diamond weighing approximately
0.80ct, on a similarly set bow surmount, suspending from a later cable-link chain, remain-
ing diamonds approximately 1.50ct total,pendant length 5.4cm,chain length 43.1cm
€ 3,000 - 4,000
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AN EARLY 20TH CENTURY DIAMOND DRESS RING
Of crossover foliate design, set with two old brilliant-cut diamonds, accented by rose-cut
diamonds, within millegrain setting, mounted in 18K gold,French import mark,ring size K¾
€ 500 - 600
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AN EARLY 20TH CENTURY SAPPHIRE AND DIAMOND DRESS RING
The cushion-shaped sapphire within a four-claw setting weighing approximately 3.50cts,
within a surround of old cushion, single and rose-cut diamonds, finishing with rose-cut
diamond shoulders, millegrain detailing throughout,diamonds approximately 0.80ct total,ring
size L½
€ 4,500 - 5,500

Tuesday 14th
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AN EARLY 20TH CENTURY DIAMOND NOVELTY BROOCH, CIRCA 1925
Designed as a galloping horse, set with single-cut diamonds throughout, with a circular-cut ruby
for eye, with millegrain detailing, mounted in platinum (pin in 18K gold),French import marks,width 6cm
€ 2,200 - 2,800
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AN EARLY 20TH CENTURY DIAMOND BAR BROOCH
Composed of a continuous line of old cushion-shaped diamonds with millegrain detailing
throughout, mounted in gold,diamonds approximately 2.30cts total,width 7.6cm
€ 800 - 1,200
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AN ART DECO JADE, DIAMOND AND RUBY CLIP BROOCH, CIRCA 1935
The central jade plaque carved to depict a perched bird and flower detailing, within a pierced sur-
mount set with brilliant and fancy-cut diamonds accented by two ruby cabochons, highlighted with
a trio of brilliant-cut diamond lower mount, the reverse clip with foliate details, mounted in gold,
diamonds approximately 1.20cts total,length 4.8cm
€ 3,800 - 4,200

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A PAIR OF DIAMOND EARSTUDS
Each old cushion-shaped diamond within collet-setting and a halo of brilliant-cut diamonds with
millegrain detailing, mounted in 18K gold,Italian assay marks,diamonds approximately 4.00cts total,
length 1.2cm
€ 12,000 - 14,000
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AN EARLY 20TH CENTURY SAPPHIRE AND DIAMOND TARGET RING
The central old brilliant-cut diamond within collet-setting, to a pierced surround of calibré-cut
sapphires, between single-cut diamond shoulders, ring size K½
€ 4,000 - 5,000
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AN ART DECO SAPPHIRE AND DIAMOND BRACELET, CIRCA 1925
Of geometric design, set with fancy-cut sapphire and European-cut diamond links, interspersed by
old single-cut diamond connectors, with millegrain detailing throughout, mounted in gold,diamonds
approximately 3.40cts total,within case by‘Golay -Leresche & Fils,Golay Fils & Stahl Geneve’,length 18.2cm
€ 3,500 - 4,500

Tuesday 14th
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A DIAMOND AND GOLD PENDANT LOCKET
The ovals-shaped pendant highlighted with three old cushion-shaped diamonds to the front,
opening to reveal two glazed compartments, mounted in 18K gold,diamonds approximately 1.25cts
total,length (including bale):6.3cm
€ 1,000 - 1,500
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A GEM-SET, DIAMOND AND ENAMEL BANGLE
The frontispiece with applied blue enamel, set with a central oval-shaped blue sapphire weigh-
ing approximately 5.20cts, between two cushion-shaped yellow sapphires, possibly rubies and
two pear-shaped emeralds to further old brilliant-cut diamond accents, with beading detailing,to
a hinged clasp,mounted in gold,with security chain,inner diameter 5.7cm
€ 4,000 - 5,000

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A RUSSIAN SILVER GILT AND GOLD CIGARETTE BOX, BY THIRD ARTEL,
ST PETERSBURG, 1908-1917
The rectangular case, with pastel blue guilloché enamel, the hinged cover cast with gold laurel leaves and centred with a silver
coat of arms (possibly later addition),to a sapphire cabochon clasp,smaller compartment opening to reveal a match compartment
and strike panel, the gilt interior engraved with Cyrillic surnames, struck with marker’s mark 3rd Artel and 88.standard (zolotniks) in
Cyrillic,length 11.2cm,width 6.5cm
€ 3,000 - 4,000
The Kokoshnik mark, a woman’s head in traditional headdress, the head faces to the right and the Greek letter alpha after 1908,
St Petersburg assayerAlexander Romanov (working datesApril 1904-1912) or Konstantin Soloviev (working dates 1913-1917).
The three columns of surnames listed on the inside of the lid may relate to the individuals who commissioned the piece as a pos-
sible retirement gift.
TheThird St. Petersburg Cooperative, or Artel was a group of about thirty artisans who occasionally carried out work for the
House of Faberge. It was active between the years 1908-1917, producing a range of decorative items such as guilloché enamel
objects, miniature Easter eggs; card and cigarette cases in varying shades of pastel and opalescent white.The Artel also created
gold chased objects designed using the technique “en quatre-couleurs” which solder multiple colours in layers. It is possible that
the present example was retailed by the House of Fabergé.
Located at 48 Ekaterininskii canal, theThird St Petersburg Artel also occasionally did work for the Imperial Family. In 1915, its
head wasVasilii Nikolaevich Ivanov.
See Lowes,W. and McCanless, C. (2001) Fabergé Eggs :A Retrospective Encyclopedia. Scarecrow Press, page 182,‘Artel.Third St.
Petersburg Cooperative, or Artel.

Tuesday 14th
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A PAIR OF GOLD CUFFLINKS, BY HERMÈS, CIRCA 1940
Each circular plaque with reeded borders, to a stylised bow-tie terminal with dot detailing via cable-link connectors, mounted
in 18K gold,signed Hermès Paris,maker’s mark‘SAM’for Strauss,Allard & Meyer,French assay marks,length 2.2cm
€ 1,000 - 1,500
Strauss,Allard & Meyer were one of the most important box makers, (also making paper-cutters & objects de vertu), in Paris
between the two wars (1919-1941).They worked forVan Cleef & Arpels, Cartier, Boucheron, Janesich and Hermès amongst
others and they were located 19 Rue Louis le Grand in the 2nd district of Paris, then 11 place desVosges in the 4th district.
28
AN ENAMEL AND GOLD CIGARETTE CASE, CIRCA 1955
The hinged flip top decorated with rows of arched black enamel between black linear bor-
ders, plain black enamel sides and polished gold interior, in 18K gold,French assay marks,length
9.9cm,width 8.3cm & depth 1.7cm
€ 5,000 - 6,000

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A SAPPHIRE, RUBY AND DIAMOND DRESS CLIP/ BROOCH, BY VAN CLEEF & ARPELS,
CIRCA 1945
Designed as an adorable small bird, the body highlighted with single-cut diamonds within star motifs, a circular
ruby for eye, the crest embellished with circular-cut sapphires and the tail with calibré-cut sapphires, mounted
in 18K gold,signedVan Cleef & Arpels,numbered,with maker’s mark,French assay marks,length 2.3cm,width 2.3cm
€ 7,500 - 8,500
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A GOLD RETRO BRACELET, CIRCA 1955
Composed of an articulated line of spherical links between beading borders, in 18K gold,with Italian assay mark
(partly rubbed) forTorino,between 1944-1968’,length 22.7cm
€ 5,200 - 5,800

Tuesday 14th
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A CARNELIAN AND GOLD BRACELET, BY GEORGES LENFANT, CIRCA 1955
Composed of fancy polished gold links interspersed by carnelian sugarloaves, mounted in 18K gold,with maker’s mark‘GL’for
Georges Lenfant,French assay marks,length 20.3cm
€ 7,000 - 8,000
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A GOLD RETRO RING, CIRCA 1950
Of bombé design with ropetwist detailing, mounted in 18K gold,possibly French
(marks partly rubbed),ring size M
€ 1,400 - 1,800
Georges Lenfant was born into the world of French jewellery design and he quickly became a master of his trade.Growing up,
he undertook several apprenticeships before studying jewellery in Paris and abroad. In 1900, Georges set up his own workshop at
47 rue des Petits-Champs,minutes away from his patrons at the PlaceVendome and Rue de la Paix.He was well established by 1903
and was listed in a publication of the Revue de la Bijouterie,Joaillerie,Orfevrerie of that year.His creative designs and flawless exe-
cution put him in demand with the larger jewellery houses and,in a bid not to be forgotten behind infamous names such as Cartier,
Mellerio dits Meller andVan Cleef &Arpels,Georges established a maker’s mark in 1909 and proceeded to stamp each piece before
it lefts his workshop. In 1915, Georges was joined in the firm by his son Jacques who, at the age of just eleven, was eager to learn
the art of jewellery.
Neither Georges nor Jacques shied away from collaboration and the Georges Lenfant company had been working with Sandoz for
many years when, in 1927, Gustave-Roger Sandoz sold his business to Georges under the condition that his son, Gerard Sandoz,
remained as artistic director.Between them,they created striking examples ofArt Moderne jewellery,their work infused with bold
lines,bright colours and contrasting shapes.
Following the end ofWWII,Lenfant took overVerger Freres.This heralded a new collaboration withVacheron Constantin,who had
been working withVerger Freres for some time. Constantin and Lenfant busied themselves with watch design and, together, they
created pieces for Hermes.
In2003,GeorgesLenfantwasboughtbyBouderandceasedtooperate.However,piecesbearingtheLenfantmarkcontinuetoprove
popular,their numerous collaborations meaning that there is a design to suit everyone.

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A DIAMOND AND ENAMEL ‘LUDO HEXAGONE’ DRESS CLIP, BY VAN CLEEF & ARPELS, CIRCA 1937
Designed as a stylised buckle of hexagonal-shaped links, each centring a single-cut diamond, the arched clasp pavé-set with old
European-cut diamonds between black enamel borders, signedVan Cleef & Arpels,numbered,with maker’s mark‘Pery & Fils’,French
assay marks,length 3.7cm,width 2.8cm
€ 12,000 - 18,000
For a comparable piece, Bennett, D. and Mascetti, D., eds. (2003) Understanding Jewellery.Antique Collectors’ Club, Suffolk.
The iconic Ludo bracelet first emerged from the workshop of Van Cleef & Arpels in 1935. It was christened after the youngest
of the four brothers behind the founding of the business, LouisArpels, who was fondly known as‘Ludo’ by his close family and
friends.The bracelet was the Maison’s first design in a brick-link mesh format and centred around an intricate clasp inspired by
a belt buckle.The first ever collection’s muse, HélèneArpels – Louis’ wife – would slip the bracelet over long black gloves to
highlight the lines of the gold brickwork or later wear a Ludo clip on her lapel. Over time,Van Cleef & Arpels experimented
with the design pattern of the links. One such variation which became particularly popular was the beehive pattern, composed
of a mosaic of small articulated hexagons in polished gold.
Since the 1930s, a number of iterations of the Ludo have developed, with the iconic design transitioning between bracelets,
watches, or lapel pins such as this lot.Whether brooch or bracelet, the Ludo always incorporates a buckle-like element as the
decorative focus, an ode to the haute couture trends of the 1930s.The buckle clasp sometimes remains unadorned but can more
often be seen studded with various gemstones in an ornamental motif and set with brilliants, baguette diamonds or cabochon
rubies.The Ludo style has remained relevant and popular ever since its initial creation, becoming an emblematic piece of the
Maison. Its sleek and timeless aesthetic and graceful silhouette have been recently reimagined byVan Cleef & Arpels, who
launched a brand new collection of the Ludo style last year in 2020, featuring three head-turning bracelets and one or two
watches whose dial can be detached and worn as a clip on the lapel, in a full-circle moment for the Maison’s and celebrating
HélèneArpels, the original Ludo muse.

Tuesday 14th
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34
A RETRO SAPPHIRE AND GOLD BRACELET, BY CAZZANIGA, ROMA, CIRCA 1940
The large bombé gold links with reeded detailing throughout, accented in the centre by circular-cut sapphires within star motifs,
mounted in 18K gold,Italian assay mark for‘Giorgio Angelo Cazzaniga in Rome between 1934-1944’,with original maker’s case,length 20.3cm
€ 6,500 - 7,500
The firm of Cazzaniga was founded byAngelo Giorgio Cazzaniga (d.1976) in 1920.Born in Rome,he grew up in the villa belonging
toacousinofTsarNicholasIIashisfatherwasmanageroftheprince’sestate.Hischildhoodandadolescencewerethereforespentsurrounded
by the vast collection of artworks belonging to the young Russian patron,PrinceAbamelek Lazarev.This upbringing proceeded to have a pro-
found impact on both his initial choice of career as an apprentice goldsmith in Milan as well as the creation of his jewellery pieces later in life.
He opened his first jewellery store near theTrevi fountain, in the heart of Rome in 1929. Cazzaniga’s pieces encapsulated the art of classical
and Baroque Rome and were inspired by the sculpture of Bernini and Francesco Borromini, amongst others.The influence of his childhood
was never far away.The elaborate ornamental and almost architectural style of Cazzaniga’s jewellery throughout his career reveals a unifying
motif which shows a continuous underlying reference to the artistic foundations of his youth.
Giorgio’s two sons Paolo and Roberto followed him into the jewellery business, with both opening their respective stores under the same
name. Paolo started his own company in Rome in 1973 and Roberto opened a store in 1979 on NewYork’s MadisonAvenue, but this sub-
sequently closed in 1981.
Paolo continued to run the firm he started in Rome under the Cazzaniga name. He continued the legacy left by his father creating jewel-
lery in a neo-Baroque style. Paolo worked most often in gold with precious gemstones. His primary inspiration derived from studying the
artwork of the Byzantine era, the Florentine Renaissance and just like his father, Baroque Rome. During the 1970’s, the house of Cazzaniga
experienced a revival and heightened success on the international scene under the directorship of Paolo. Paolo inherited an innate passion
for jewellery that was inherited from his father, and he has made it his mission to dedicate his time to solidifying what has become known as
a distinct Cazzaniga style.
Today the Gioielleria Cazzaniga is led by Paolo and his son Giorgio, the latter of whom represents the third generation in a line of talented
jewellers and goldsmiths.Together, the duo caters for a clientele that is largely international and collaborate with the best representatives of
Italian goldsmiths to continue the Cazzaniga legacy.
Below is an original sketch by Cazzaniga’s founderAngelo Giorgio Cazzaniga from the jeweller’s archives.The two sketches shown date to the
early 1950s.The drawing on the right displays the workings of a model design almost identical to the bracelet in this sale,and exhibit the fine
draughtsmanship of the jeweller, even in the initial stages of his designs.Written below the drawing on the right are the original dimensions
and price point decided by Cazzaniga.Translated from the Italian, the text says,‘7 pieces at 20cm’, with the price set at £4000 Italian Lire,
the equivalent to around €30,000 today.

31
©
Cazzaniga
archives,
Rome,
Italy

Tuesday 14th
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35
A GOLD NECKLACE, CIRCA 1950
The fancy-link double chain necklace with openwork gold connectors, the
frontispiece of similar design suspending gold tassels, mounted in 18K gold,with
maker’s mark‘MS’,French assay marks,length 42cm
€ 3,000 - 4,000

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36
A RETRO TANK BRACELET, CIRCA 1940
The gold polished‘tank-track’ links, in 18K gold,maker’s mark‘MG’,French assay marks,length 19cm
€ 3,500 - 4,500
37
A GOLD BRACELET, BY MICHELETTO, CIRCA 1940
Designed as a series of interlocking polished gold links,in 18K gold,with Italian assay mark for‘Micheletto between 1934-1944’,length 22cm
€ 3,500 - 4,500
ItalianJewellersMichelettoboastawealthofexperienceintheartofjewellerydatingbackfivegenerationstothelate19thcentury.Attheendof
the nineteenth century,two Milanese families – the Locatellis and the Canevaris – established a goldsmiths workshop which soon developed into a successful
jewellery house.The name of Micheletto derives from the handing over of ownership as Locatelli’s daughter married Emilio Micheletto, who proceeded to
take over the family business.
Throughout the 1920s and 30s, Micheletto goldsmiths worked for important brands such asVan Cleef &Arpels and continued to flourish during the 1940s
despite theWorldWar,making a name for the company in the jewellery sector.The 60s,70s and 80s saw Micheletto expand to the United States,where they
received recognition by private clients and Hollywood stars on the red carpet.Their foundations as goldsmiths have meant Micheletto created pieces which
accentuated the malleable attributes of the metal, even as the firm expanded into the creation of fine jewellery.The craftsmanship involved in such work is
clearly evident in this 1940s piece.The rich yellow gold is worked into intricate layers of interlocking spurs to make up this chunky, yet elegant Micheletto
bracelet.

Tuesday 14th
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38
AN IMPORTANT EMERALD AND DIAMOND BRACELET, CIRCA 1945
Of geometric openwork design, centring graduated cabochon emeralds, within a surround of European
and baguette-cut diamonds, mounted in platinum, diamonds approximately 30.00cts total, emeralds approximately
45.00cts total,length 18.3cm
€ 30,000 - 40,000

Tuesday 14th
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39
A DIAMOND DRESS RING, CIRCA 1940
Composed of two old cushion-shaped diamonds within four-
claw setting, to a scrolling detailing gallery, mounted in 18K gold,
diamonds approximately 2.00cts total, Italian assay marks between
‘1934-1944’for Balossi & Cavalieri in Milan,ring size L¼
€ 3,500 - 4,000
40
A PAIR OF DIAMOND EARCLIPS, CIRCA 1950
Of scrolling design, set throughout with European, single and
baguette-cut diamonds, mounted in platinum, diamonds approxi-
mately 3.40cts total,length 2.5cm
€ 1,200 - 1,800

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41
Of odeonesque design, set with old brilliant, cushion and single-cut diamonds, mounted in platinum,diamonds
approximately 3.00cts total,ring size O½
€ 2,800 - 3,200
42
A RUBY LINE BRACELET, BY TIFFANY & CO., CIRCA 1940
Composed of a continuous line of calibré-cut rubies, mounted in platinum,signedTiffany & Co.,length 17.5cm
€ 7,000 - 9,000
Accompanied by a report from GCS laboratory in London, stating that the bracelet contains 60 rubies, 45
were found to be of Burmese origin with no indications of heating, 15 were found to be synthetic. Report
number 81301-64, datedApril 13th 2021

Tuesday 14th
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43
A LADY’S DIAMOND COCKTAIL WATCH, BY PONCIN PARIS, CIRCA 1960
The 17-jewel manual wind movement, circular cream dial with gilt dots and stars for numerals, polished gold case with
snap back and scalloped bezel set with brilliant-cut diamonds, to a mesh-link fitted bracelet, mounted in 18K gold,dial,case
signed‘Poncin Paris’,case no.49.969,movement signed ElogaWatch Company,French assay marks,length 16cm,width 1.9cm
€ 1,500 - 2,000
44
A RETRO DIAMOND RING, CIRCA 1950
Of domed openwork design, set with old brilliant-cut diamonds, mounted in 18K rose gold, diamonds approximately 1.60cts
total,with French maker’s mark,ring size J¼
€ 1,500 - 2,000
Born inVerona in 1856,CarloWeingrill began his career early,earning an apprenticeship in a goldsmith’s shop at the age of eleven.After over a
decade of training,Carlo established his own workshop in his hometown in 1879.It specialised in making the finest 18K gold jewels using the highest
quality materials and craftsmanship.
From the beginning Carlo employed goldsmiths who handcrafted their jewellery rather than using machines.The importance of this kind of artistry
and exceptional knowledge of one material was very important to the vision of theWeingrill brand.This tradition of expertise continues within
the company and the jewellery produced are timeless pieces, wearable works of art such as heavy gold link chains and bracelets which fit the body
perfectly.While intricate in their composition,such as the complex interlinked design of the bracelet in this sale,they are comfortable and also highly
elegant everyday pieces.
After Carlo’s death in 1924,the company was taken over by his two sonsArmando and Gastone.They set about expanding this artisan company into
a major international name which gained worldwide prestige for its workmanship.However,despite its success,the house has always remained tied
to its history,with the fourth generation of theWeingrill family,Carlofilippo,now head of the company.
Gold has always been the mainstay of the company’s designs,eschewing diamonds and coloured gemstones,which are used sparingly.The distinctive
warm yellow tone of the Italian gold has become synonymous with the house,withWeingrill designing some of the most famous signature gold jew-
ellery of the 20th century.For Cartier they created theTrinity bangles,the gold cuff bracelets forTiffany and probably most notably the tubogas-style
bracelets,necklaces and rings for Bulgari.

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46
A GOLD BRACELET, BY CARLO WEINGRILL, CIRCA 1960
Designed as a series of circular intertwined links with textured gold detailing, each connected with reeded polished gold
links, in 18K gold,with maker’s mark for CarloWeingrill,Italian assay mark‘15Vr’registered forWeingrill between 1944-68,length
21.5cm
€ 4,500 - 5,500
45
A DIAMOND BROOCH, BY RAYMOND TEMPLIER, CIRCA 1960
Composed of a stylised flowerhead, the polished gold petals with ropetwist
detailing throughout, centring brilliant and single-cut diamond pistils to further
similarly-cut diamond accents, mounted in 18K gold,diamonds approximately 2.50cts
cts,maker’s mark‘PRT’for Paul & RaymondTemplier,French assay marks,length 5.8cm
€ 5,000 - 6,000
For a comparable diamond brooch, Laurence Mouillefarine &Véronique Ristelhue-
ber (2005) RaymondTemplier,le bijou moderne,Norma Editions, page 189 (photo no. 3,
dated 1962-63. Collection particuliere) .
The Parisian jewellery Raymond Templier (1891-1968) was one of a small group of innovative Art
Deco designers known as ‘bijoutiers-artistes’. These were innovative, radical, artist jewellers in contrast
to the ‘bijoutiers-joaillers’ in France in the first quarter of the 20th century, the latter of whom encompassed
the more moderate amd well established and famous jewellery houses. Templier came from a traditional jewel-
lery family and grew up around the family business which his grandfather Charles had founded in 1849. However, after he joined the Templier firm in
1919, Raymond was determined to redefine Maison Templier in order to produce more innovative and for its time, radical designs. Bijoutiers-artistes
such as Templier produced work in a minimal, geometric style that looked towards contemporary artistic movemts such as Cubism and were inspired
by the imagery of industrial production and the machine age. Similarly, Art Deco’s love of geometric form which had initially flourished in the worlds
of architectural design and the visual arts throughout the 1920s and 30s, similarly became absorbed into jewellery design and influenced the work of
Templier. The geometric motifs of Templier’s jewellery thus reflect the dynamism of modern urban culture and the mechanised world, earning him
the reputation of ‘architect of the jewel’.
In 1929, Templier helped found the French Union of Modern Artists, a collective that also included Charlotte Perriand, Robert Mallet-Stevens, Eileen
Grey and Sonia Delaunay. The aim of this association was to promote and uphold modern art, which Templier believed had to originate from contem-
porary life. He and his fellow jewellers produced monumental pieces including imposing bangles, sculptural rings and large pendants. He became one of
theleadingproponentsinFranceoftheArt Modernemovement andcreatedsomeofthemosticonicpiecesoftheperiodsuchasthediademandearrings
worn by the actress Brigitte Helm in the 1928 film L’Argent.
Templier officially took over his father’s business in 1935, allowing him free reign on the business he had long strived to establish as a house which
championed Modern and Art Deco design. Following the Second World War, Templier continued to make pieces, including the lot in this sale from
the 1960s. In his later years, Templier made a return to the somewhat more traditional approach of his ancestors. Although he continued to be inspired
by the Art Deco period of the 1920s and 30s, his later work transitioned from pieces that were almost entirely free of decorative ornamentation, to
creations which of the more classical style, albeit still celebrating the Modernist style. As such, Templier exhibited his skill at acclimatising to his envi-
ronment and catering for a new generation of clientele in the 1960s. The post-war period witnessed a shortage in platinum, so jewellers such as Templier
made a return to gold. Although his style remained largely abstract in jewellery terms, Templier’s designs of this era are less figurative and were inspired
by smoother lines drawn from nature. Today, Raymond Templier’s jewellery forms part of some of the world’s most famous museums including the
V&A in London, The Met and the Musee des Arts Decoratifs in Paris. Raymond died in 1968 and is remembered for both his pioneering of the Modern-
ist jewellery as well as his unique skill of combining in his later pieces a sense of traditionalism alongside a subtle twist of Art Deco.

Tuesday 14th
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47
A DIAMOND AND RUBY BROOCH, CIRCA 1950
Designed as a stylised flower, the petals set with transitional-cut diamonds, with
marquise-shaped diamond and ruby for pistils, the leaves decorated with single-cut
diamonds, the stems highlighted with calibré-cut diamonds and rubies, with further
circular-cut ruby accents, mounted in platinum, diamonds approximately 6.50cts total,
length 7.5cm,width 4.3cm
€ 3,500 - 4,500
48
The marquise plaque set with brilliant-cut diamonds throughout, between similar-
ly-cut diamond shoulders, mounted in 18K gold, diamonds approximately 2.00cts total,
French assay mark,ring size H¾
€ 1,800 - 2,200

41
49
A RUBY AND DIAMOND NECKLACE, CIRCA 1960
The central bombé flowerhead set with circular-cut rubies within a surround of brilliant-cut
diamonds, suspending from a fancy-link chain set with similarly-cut diamonds, interspersed by
four additional flowerheads similarly-set,mounted in 18K gold,diamonds approximately 12.00cts total,
maker’s mark‘LR’,French assay marks,length approximately 38cm
€ 8,000 - 9,000

Tuesday 14th
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50
A DIAMOND DRESS RING,
BY DIETER BRETTERBAUER, CIRCA 1970
Of marquise shape, set with baguette-cut diamonds at the cen-
tre within a brilliant-cut diamond surround, mounted in 14K
gold,diamonds approximately 2.50cts total,with maker’s mark‘db’for
Bretterbauer,ring size N
€ 2,500 - 3,000
52
Of floral design, centring a brilliant-cut diamond with sin-
gle-cut diamond petals, mounted in 18K gold, diamonds approxi-
mately 0.60ct in total,French assay mark,ring size H
€ 1,000 - 1,500
51
A CULTURED PEARL NECKLACE WITH
DIAMOND CLASP, CIRCA 1960
Composed of five rows of graduated Akoya cultured pearls of
cream tint measuring approximately 5.07-8.73mm, finishing
with a clasp set with brilliant, single and baguette-cut dia-
monds, mounted in 18K gold and platinum,diamonds approximately
3.50cts total,shortest length 43.5cm,longest length 50.5cm
€ 5,000 - 6,000
53
A PAIR OF EMERALD AND DIAMOND
PENDENT EARRINGS
Each surmount set with a trio of square-cut emerald within
a surround of brilliant-cut diamonds, suspending similarly-cut
emeralds and diamonds, mounted in 18K gold, diamonds approxi-
mately 3.00cts total,length 5.3cm
€ 1,500 - 2,000
Located inVelden amWörthersee,Austria, the showrooms of Bretterbauer Juweliere offer the discerning client a chance to
purchase something innovative, unique and, above all, beautiful.A family run business, Bretterbauer was established over forty years
ago. Each creation is designed by either Dieter or Helmut Bretterbauer and handmade by the company.The raw materials are pur-
chased exclusively from conflict-free sources, with each diamond and gem carefully chosen for its superior quality.
Pieces by Bretterbauer Juweliere have been exhibited worldwide and the company has been presented with the Diamond Interna-
tionalAward. Rightfully proud of their work, each item is either stamped or signed by the designer and accompanied by a certificate
of authenticity.

Tuesday 14th
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ARTIST’S JEWELS
Jewellerymadebyartistsisararity.Thisisnotsimplydowntothefactthattherehavebeenonlyaselectnumberofpaintersandsculptorswho
have managed to master the skill involved with making jewellery,but more so because the fruits of their work remain largely buried in private
collections.Artist’s jewellery may be given as a gift to a lover,passed down as a family heirloom,or simply kept by the artist themselves.Jew-
ellery of this kind is therefore imbued with a deeply personal nature which is integral to the creative process.The term‘art jewellery’ itself
signifies that the work is handmade and unique.Never mass produced,such jewellery is rather the result of a collaboration between the artist
and a jeweller who is trained in the field,or the sole efforts of the artist to step outside his or her own métier to embrace an entirely different
world.Aswithanycreativeendeavour,thejewellerybecomesanextensionoftheartist’swiderbodyofworkandoffersaninsightintoarealm
of design aside from painting or sculpture.The pieces in this sale offer just that and provide us with a glimpse into the intricate workings and
personal motivations of three prolific early 20th century artists – Jean Cocteau,André Derain and Pablo Picasso.All three worked under the
helm of goldsmith and master-craftsman François Hugo, who provided them with the tools to enable their artistic vision to flourish in
the world of jewellery-making.
The great-grandson of the eminent writerVictor Hugo and son of painter Georges Hugo, François Hugo’s well-established lineage boasts a
host of widely celebrated French cultural figures.François was born in Rovezzano,Italy,in 1899,and trained as an engineer in his early years
before entering the creative field by trying his hand at sculpture and painting. He then opened his own workshop in Paris in 1934, where he
worked as a silver and goldsmith from 1936 onwards.Throughout the SecondWorldWar and following into the late 40s and 50s, François
Hugo designed and created buttons from non-precious metals and enamel for fashion houses including Dior, Chanel, Givenchy and Lanvin.
His first attempt at creating jewellery had in fact come before theWar, in the form of a brief and experimental collaboration with his close
friendAndre Derain,but it wasn’t until later that he fully dedicated himself to perfecting the craft of silver and goldsmithing.
Francois Hugo was responsible for some of the most important collaborations in precious metals of the twentieth century. Since the 1950s,
Ateliers Hugo have famously collaborated with some of the world’s greatest artists and sparked a movement of‘Bijoux d’Artistes’.Initially,all
the artists who Hugo worked with were long-time friends,and included the likes of Max Ernst,JeanArp,Jean Cocteau,Andre Derain,Dor-
otheaTanning and Pablo Picasso amongst others.Hugo ingeniously proposed to them to make reduced versions of their works which would
becraftedinhisworkshopandcouldserveaswearablejewellery.Oversixty-fiveyearslater,François’32-year-oldgrandsonNicolasnowruns
the family business,following in his father and grandfather’s footsteps as the third generation ofAteliers Hugo to create intricate treasures and
developnewcollectionswithcontemporaryartistsattheirgoldsmithworkshopintheSouthofFrance.The65thanniversaryofAteliersHugo
was celebrated in 2020 and marked by new collaborations,including one withAmerican artist Josh Sperling,released inApril of this year.

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A RARE AND COLLECTIBLE GOLD ‘PETITE TÊTE CARRÉE’ PENDANT, BY ANDRÉ DERAIN (1880-1954)
A rare 23K gold pendant, conceived circa 1965, stamped with the artist’s signature, incised ‘Exemplaire d’auteur 1/2’, with the
Francois and Pierre Hugo reference numbered‘1702’ and‘2915’, stamped with Francois Hugo’s hallmark,by Ateliers Hugo in 2012,within
its original wooden fitted case,length 7.9cm,width 5.9cm
€ 17,000 - 23,000
For a comparable piece byAndré Derain, see see Hugo, P. and Siaud, C. (2001) Bijoux d’artistes.Artist’s Jewels,Hommage à Francois Hugo,
p. 89
Long-time friend of François Hugo, Parisian artist and sculptor André Derain (1880-1954) was one of the many creatives who set
out to create jewellery pieces at the workshop in the South of France. Alongside Henri Matisse, Derain was founder of the Fauvist
movement at the beginning of the 20th century. Derain was initially friends with Francois’ older brother Jean, but later developed
an even closer relationship with the younger of the Hugo brothers. Hugo and Derain influenced each other in both their personal
and artistic lives. Derain was best man at Hugo’s wedding to his wife Monique and remained close to the couple throughout his life.
Having devoted himself to painting in the 1920s, Derain turned increasingly to sculpture during the 1930s. Following World War
II, he modelled some medallions in terracotta which were later cast in bronze.Although Derain continued to pursue his passion for
sculptural works, his interest in jewellery design and casting emerged from his sculptural practices and was undoubtably propelled to
new heights by his friendship with Francois Hugo.
In the early days of their friendship, Derain had tried his hand at ceramics with the guide of Hugo, but the collaboration didn’t amount
to much and the pieces did not survive. In the late 1940s, Derain once more turned to Hugo to draw upon his knowledge and skill in
the creation of 10 sculptural jewels for his wife Alice Prense. Derain’s initial designs were crafted from the lead he had reused from
empty paint-tubes from his studio. Six of these jewels were intended to be made in editions of 23 karat gold by Hugo, but Derain
tragically died in a road accident in 1954 before the project could come to fruition. Hugo paid homage to the legacy of his friend and
legendary artist by eventually making editions in 1966 and 1967.

Tuesday 14th
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55
A PAIR OF GOLD CUFFLINKS, BY JEAN COCTEAU (1889-1963)
Each V-shaped plaque depicting an abstract face, with cable-link connectors to a gold polished bar, in 18K gold, signed Jean Cocteau,
stamped with Francois Hugo’s hallmark,French assay marks,within maker’s case,length 2.1cm
€ 2,000 - 3,000
For a comparable pair of cufflinks by Jean Cocteau, see Hugo, P. and Siaud, C. (2001) Bijoux d’artistes.Artist’s Jewels,Hommage à Francois
Hugo, p. 79
François Hugo’s “bijou d’artiste” collaborations emerged from a wide range of encounters. Many among his close circle of friends sought out Hugo’s
skill and expertise at different stages in their life and for a myriad of reasons.Yet the unifying theme resonating from all “bijoux d’artistes” from
Atelier Hugo was the intention of both François and his collaborators to create an exquisitely crafted and wearable piece of art. Such was the motive
behind the joint work of Jean Cocteau (1859-1963) andAtelier Hugo, when in the 1960s’s Hugo created some pieces with his long-standing friend.
At this late stage in his life, Cocteau was living in St Jean Cap Ferrat and had left behind him a prolific career as an acclaimed poet, playwright,
painter, novelist and critic. Although Cocteau and Hugo had first met almost forty years prior, it was only later in life that the two struck up a
working relationship and sought to collaborate on the creation of jewellery.This was not the first time that Cocteau had delved into the world of
jewellery-making as he had in fact been the designer behind several pieces before turning to Hugo. Cocteau’s first jewellery sketches date from the
1930s, when he created a zodiac-themed collection for Parisian jewellers Fred.
Cocteau’s collaboration with Hugo had a more personal starting point and the pieces stemmed from the aligned interests and intimate friendship
between the two.The gold was meticulously worked by Hugo in his atelier from drawings given to him by Cocteau.The result was a series of beau-
tifully designed sculptural works of wearable art in 23 and 18 karat gold and embellished with precious stones which encompass the artistic vision
of Cocteau and the masterful execution by Hugo.Together, the pair went on to create a total of 13 jewellery pieces. Many of Cocteau’s pencilled
designs represent human profiles or mystique creatures, inspired by ancient civilisations and astrological symbols. In 1961, the pieces were exhib-
ited alongside other “bijoux d’artistes” including that of JeanArp and Salvador Dali at the International Exhibition of Modern Jewellery in London,
which received an unprecedented response, drawing crowds of visitors totalling 26,000 over a month-long period.The pieces continue to attract
huge interest today.

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A RARE AND COLLECTIBLE GOLD ‘CENTAURE PHALLIQUE’ BROOCH, BY PABLO PICASSO (1881-1973)
A rare 22K gold brooch, after the design created for Jacqueline Roque, conceived circa 1960, stamped with the artist’s signature,
incised‘E.AUT 1/2’, with the Francois and Pierre Hugo reference numbered‘1521’ and‘3743’, stamped with Francois Hugo’s hallmark,
published by Ateliers Hugo in 2012,within its original wooden fitted case,length 5.7cm,width 4.4cm
€ 10,000 - 15,000
For a comparable sculptural design by Pablo Picasso,see Hugo,P.and Siaud,C.(2001) Bijoux d’artistes.Artist’s Jewels,Hommage à Francois
Hugo,p. 162
A continuous pattern from the inauguration of François Hugos’atelier,one of his first“bijou d’artiste”collaborations was made with Spanish artist Pablo
Picasso.Arguably the most important figure of the 20th century in terms of art and art movements,Picasso was best known for his painting and sculpture.
His integral part in the development of Cubism and Surrealism have been crucial to evolution of modern art.Yet Picasso’s creative pursuits waere not
solely limited to these media and his versatility as an artist is evident in how he turned his hand to alternative decorative arts such as printmaking,pottery
and jewellery design throughout his lifetime.
In creating jewellery pieces,Picasso was particularly inspired by the female muses in his life.He made necklaces worked
from shells,engraved stone amulets for his lover Dora Maar throughout the 1930s,focused on ceramic
pendants,brooches and necklaces for Françoise Gilot in the late 1940s and
later on,made a large amount of jewellery for his second wife and final
muse Jacqueline Rocque.However,his jewellery moved to new heights
upon meeting goldsmith Francois Hugo in the mid-1950s.Living in his villa,
‘La Californie’in Cannes in 1957,Picasso struck up a friendship with Hugo,
great-grandson of the eminent French writerVictor Hugo.The two moved in similar circles
and were both members of Parisian artistic group known as“Boeuf sur la toit”,which championed modernist
artistic movements.Hugo worked for the painter for one or two years before the pair ventured into a collab-
oration.Always the perfectionist,Picasso had a clear vision of the final product,yet wholly trusted Hugo’s skill
and wealth of experience in executing his demands.The partnership which developed between Picasso and Hugo had
a huge impact on the latter’s working and personal life,and shortly after the bourgeoning of their friendship,Hugo moved to
Aix-en-Provence in the south of France in order to be nearer Picasso.
Picasso had always harnessed a keen admiration for gold and became mesmerised by the metalworking process taking place in
Hugo’s goldsmithing atelier.Many works were crafted using a specific type of the repoussé technique
invented by François and aided by his son Pierre.Derived from the ancient methods of jewel-
lery-making,Francois revolutionised the process of goldsmithing,inventing the technique of“re-
poussé-ciselé”.This highly skilled and intricate method of crafting is completed by manufacturing
bronze moulds which are then used with 23 karat gold to carry out the process.He also crafted
and adapted specific tools to make sure the metal could withstand long hours of repoussage.It
was these inventions which captivated Picasso and they have been used at theAteliers Hugo ever
since.Over the course of two decades,the two artists partnered to design and create exquisite
jewellery pieces,as Picasso moved to crafting pieces in clay to working in gold upon the discovery of
Hugo’s techniques.The pieces were designed by Picasso initially in ceramic and then cast in gold by
Hugo at a later date.Much of the subject matter leant towards the portrayal of animal figures,including
bulls,fish and centaurs and the jewellery he created was permeated by the themes and interests also seen in
Picasso’s painting of this time.
The relationship Picasso had to the jewellery he created was one which was fiercely personal.
He never produced in large quantities and refused to exhibit his creations.Instead,they
were reserved for the people with whom he was most intimate and were normally given as
gifts and treasured by the receiver or else kept for Picasso himself.It was only in 1965 that
Picasso permitted the fruits of his collaborations with Hugo to be public in any way.A small
number of pieces were made and sold to a limited circle of connoisseurs and friends,whilst
some were discretely sold through an elite Parisian gallery,Le Point Cardinal.In 1967,a select number of
objects were exhibited in Hugo’sAtelier.
Picasso’s interest in gold followed him for the rest of his life and his collaborations with Hugo continued until his death in 1973.The duo also experiment-
ed in making pieces outside the realm of gold and created sculptural works,beautiful vases and plates,medallions and compotiers and some pieces in
silver.The close tie betweenAtelier Hugo and Pablo Picasso set the precedence for a host of successful collaborations between globally acclaimed artists
and the master-craftsmen of the goldsmithing studio,who were inspired by Picasso and Hugos’jewellery to work with the goldsmith’s atelier.

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A GOLD NECKLACE, BY HERMÈS, CIRCA 1970
Composed of circular polished gold links interspersed by ropetwist knot-links with further square links, in 18K
gold,signed Hermès Paris,maker’s mark‘LV’for LucienVachey,French assay marks,length 40.7cm
€ 5,000 - 6,000
LucienVachey was a goldsmith as well as a sculptor. His workshop was registered 45Avenue desTernes in the
17th district of Paris from the 1960s until the 2000s. He patented‘silverplatinum’ which was a special blackened
silver alloy.The workshop produced for Hermès and Cartier amongst other famous French brands. He passed
away in February 2021 at 96 years old.

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AN 18K GOLD RETRO WATCH, BY LONGINES, CIRCA 1965
The coiled textured gold serpent bracelet with gold bombé grid highlighted with brilliant-cut diamonds
and circular-cut emeralds, opening to reveal the 17-jewelled Cal. 410 the manual wind watch, with sil-
vered engine-turn dial, baton markers for numerals and gilt hands, within a textured gold frame, dial and
movement signed Longines, mounted in 18K gold,bracelet with Italian assay mark,case with frame:3.5cm,length
of bracelet (adjustable)
€ 5,000 - 6,000
59
A GOLD BRACELET, BY GEORGES LENFANT, FOR BOUCHERON PARIS, CIRCA 1970
The polished gold strap designed to resemble embroidery, with a central gold oxidised pattern with rop-
etwist borders, signed Boucheron Paris,numbered,with maker’s mark for Georges Lenfant,French assay marks,length
17.7cm
€ 5,500 - 6,500

Tuesday 14th
50
62
A RETRO AMETHYST BROOCH, CIRCA 1940
Composed of a square-cut amethyst weighing approximately 31.50cts, within a scrolling two-toned
gold frame, mounted in gold,length 2.8cm,width 3.3cm
€ 500 - 700
60
A RETRO DIAMOND RING, CIRCA 1945
Of openwork design with scrolling detailing, the frontispiece set with a trio of transitional-cut
diamonds within millegrain setting, mounted in 18K gold,ring size O
€ 500 - 600
61
A DIAMOND BRACELET, CIRCA 1960
Composed of a series of graduated reeded links, centring a line of single-cut diamonds, mounted in
18K gold,with maker’s mark,Italian assay mark,French import marks,length 18.3cm
€ 3,000 - 4,000

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63
A SAPPHIRE AND DIAMOND BRACELET
Composed of six graduated cushion-shaped sapphires with brilliant-cut diamond and circular-cut sapphire
accents, mounted in 18K gold and platinum,maker’s marks,French import marks,main six sapphires approximately
21.00cts total,diamonds approximately 2.50cts total,length 19cm
€ 14,000 - 18,000

Tuesday 14th
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64
A PAIR OF DIAMOND EARCLIPS, BY TIFFANY & CO.
Each flowerhead decorated with brilliant-cut diamond pistils, mounted in 18K gold,diamonds
approximately 0.60ct total,signedTiffany & Co.,length 2.6cm
€ 1,000 - 1,500
65
A SAPPHIRE AND DIAMOND BRACELET
The hinged bangle with openwork bombé design, set with calibré-cut sapphires with bril-
liant-cut diamond highlights, within channel-setting throughout, mounted in 18K gold,with
maker’s mark,French assay mark,with grey velvet case,inner diameter 6cm
€ 1,200 - 1,800

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A CULTURED PEARL AND GEM-SET NECKLACE
The two cultured pearl rows fixed to a pendant set with a heart-shaped
ruby and sapphire, between brilliant-cut diamond highlights, mounted
in 18K gold,diamonds approximately 0.70ct total,French import marks,length
approximately 42cm
€ 2,500 - 3,500
67
A DIAMOND AND SAPPHIRE RING
The central brilliant-cut diamond weighing 1.50cts within semi-collet setting, within a surround of old-cut
diamonds and rectangular-cut sapphires to old brilliant-cut diaond shoulders, mounted in 18K gold,remaining
diamonds approximately 1.30cts,maker’s mark,French assay mark,ring size L
€ 7,000 - 9,000
The diamond is laser inscribed by the GIA laboratory inAmerica, numbered 1172781505, stating that the
diamond weighing 1.50cts is D colour,VVS2 clarity. Report datedAugust 18th 2016
68
A SAPPHIRE, RUBY AND DIAMOND BANGLE
The hinged bangle set with a heart-shaped sapphire at the centre weighing approximately 2.56cts between two
oval-shaped rubies weighing approximately 2.37cts total, with brilliant-cut diamond accents, mounted in 18K
gold,diamonds approximately 1.09ct total,Italian import marks,inner diameter 5.9cm
€ 3,500 - 4,500

Tuesday 14th
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69
A PAIR OF EMERALD, RUBY AND DIAMOND CUFFLINKS
Each modelled as an insect, the body set with a cabochon emerald and circular-cut rubies and bril-
liant-cut diamond wings, with cable-link chain connecting to a gold plaque, mounted in 18K gold,insect
length 2.2cm
€ 1,200 - 1,800
70
A PAIR OF INTERCHANGEABLE BATON CUFFLINKS, BY CARTIER, CIRCA 1990
Double-sided: each polished bar, accompanied by a pair of interchangeable gold, tiger’s eye or wood
batons, signed Cartier,numbered,maker’s marks‘BL’for Lestret,length 2.4cm
€ 1,800 - 2,200

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A CULTURED PEARL AND DIAMOND CUFF BANGLE, BY PEDERZANI
The frontispiece set with four brilliant-cut diamond motifs, on an expandable cuff composed
of four cultured pearls of white tint, measuring approximately 7.25mm, mounted in 18K gold,
diamonds approximately 7.00cts total,signed Pederzani,Italian assay mark,length approx.16.4cm
(adjustable)
€ 5,500 - 6,500
72
A RUBY-SET ‘ATLAS’ BANGLE, BY TIFFANY & CO., 1995
The hinged bangle with Roman numerals in relief, the frontispiece set with calibré-cut ruby
borders, mounted in 18K gold,signedTiffany & Co.1995,inner diameter 5.8cm
€ 2,000 - 3,000

Tuesday 14th
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A GOLD BRACELET, BY CHAUMET
Composed of wave links in polished gold, in 18K gold, signed
Chaumet Paris, numbered, French assay marks, maker’s mark, length
18cm
€ 2,200 - 2,800
74
A PAIR OF GOLD EARCLIPS WITH THREE RINGS
EN SUITE
Each clip of wavy bombé design in tri-coloured gold, with three
rings en suite, in 18K gold, maker’s mark ‘GA or AG’, earclips with
Italian assay mark, ring with Swiss assay marks, retailed by Ebel, with
Ebel pouch,earring length 2cm,rings size N½
€ 700 - 900

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A DIAMOND FLOWER PENDANT/BROOCH
Modelled as a stylised flower, the petals, pistils and leaves set
with brilliant-cut diamonds throughout, mounted in 18K gold,di-
amonds approximately 11.00cts total,length 6.3cm
€ 6,000 - 7,000
76
A PAIR OF DIAMOND AND COLOURED
DIAMOND BROOCHES
Each modelled as a chick, the body pavé-set with single-cut dia-
monds and circular-cut black diamond eye, mounted in gold,dia-
monds approximately 1.10ct total,length 1.9cm,width 2cm
€ 1,200 - 1,800

Tuesday 14th
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A PAIR OF GOLD EARCLIPS, BY LALAOUNIS
Each circular bombé plaque with polished and brushed gold foliate detailing, in 18K gold,
signed Lalaounis,with maker’s mark,length 3.7cm
€ 1,000 - 1,500
77
AN ENAMEL AND DIAMOND COCKTAIL RING
Designed as a lion, applied with blue enamel, single-cut diamonds for eyes and snout, the
mane and tail in textured gold, mounted in 18K gold,ring size K½
€ 2,200 - 2,800

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A GOLD COLLAR NECKLACE, BY BOUCHERON
The continuous line of reeded X-links between borders of spherical beads,
in 18K gold,signed Boucheron,numbered,with maker’s mark,length 38.3cm (with
three extra links)
€ 5,000 - 6,000
80
A DIAMOND RING, BY BOUCHERON
The frontispiece pavé-set with brilliant-cut diamonds between reeded detailing,
mounted in 18K gold,signed Boucheron,with maker’s mark‘Sté B’,numbered,French assay
mark,ring size M½
€ 1,800 - 2,200

Tuesday 14th
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81
A PAIR OF AMBER EARRINGS, BY BUCCELLATI
Each oval-shaped butterscotch amber cabochon within a lustrous Rigato
textured gold frame, mounted in 18K gold, signed Gianmaria Buccellati, length
3.4cm
€ 1,800 - 2,200
82
A GROUP OF THREE AMBER NECKLACES
Each necklace composed of graduated amber beads, one measuring approx-
imately from 10.21 to 16.14mm, one measuring approximately 12..4 to
2306mm and one measuring approximately from 5.97 to 18.85mm, lengths
approximately 86cm,68cm & 54cm,total gross weight approximately 181.70g total
€ 800 - 1,200
* Please note that the beads of the three necklaces were verbally tested at
GCS laboratory in London and were found to be Baltic, with no indications
of heating.Tested in London in July 2021

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A PAIR OF JADE AND DIAMOND EARCLIPS, BY BUCCELLATI
Each composed of a circular carved jade plaque depicting the profile of a bird, within foliate textured gold
mount, embellished with graduated old brilliant-cut diamonds, mounted in 18K gold,diamonds approximately
5.00cts total,signed Gianmaria Buccellati,length 4.2cm
€ 12,000 - 18,000
84
AN EMERALD AND DIAMOND DRESS RING, CIRCA 1955
The central octagonal-shaped emerald weighing approximately 3.90cts,within a frame of old cushion and brilliant-cut diamonds,mounted in
18K gold,diamonds approximately 1.50cts total,ring size N½
€ 7,000 - 9,000
Accompanied by a report from CISGEM in Italy,stating that the emerald weighing approximately 3.90cts is of Colombian
origin,with moderate clarity enhancement.Report number 13015,dated February 27th 2019
The world-renowned Italian house of Buccellati is famous for its textural gold jewellery and exquisite silver objects.The family firm was founded by
Mario Buccellati (1891 – 1965), dubbed the‘Prince of Goldsmiths’ due to his indelible style and mastery of goldsmithing techniques. Buccellati’s founder
was primarily inspired by the richness of Renaissance art and drew from forgotten antique jewellery techniques of the period.Mario’s revival of traditional
tools led to the house’s highly recognisable style,blending traditional elements from 16th century Italy with the glamour of La DolceVita to grow the brand
into the household name it remains today.
Four of Mario’s five children grew up to work for the family business. His sons Luca and Gianmaria took over the reigns of the Buccellati workshop upon
the death of their father in 1965.Gianmaria inherited his father’s keen eye for detail and love of Renaissance techniques,having been apprenticed under him
from the age of fourteen.Gianmaria was highly skilled technically and of all Mario’s children,he wasthe most obvious candidate to assume the firms primary
role. From the moment he started out, his aim was to continue the transition of the business from a highly successful household name to a global jewellery
empire.Alongside his brother Luca,Gianmaria embarked on a further expansion of the business to the US and globally throughout the 1970s,opening stores
in Hong Kong,Japan and Monte Carlo.The opening of a flagship boutique in the renowned PlaceVendôme in Paris in 1979 meant Gianmaria Buccellati was
the Italian jeweller to do so,confirming his status amongst the most prestigious jewellers in the world.
Gianmaria’s designs, like those of his father, are highly distinctive.They stand out not only for their impressive attention to detail and the great wealth of
materials used,but above all for the meticulous care dedicated to the themes which inspire the pieces.The work of Gianmaria transposes elements from the
natural world into wearable jewellery. He invented a new method of working in silver to capture fine details like feathers, petals, hair, or different types of
skin, which became known as “lavaorazione a pelo” or “hair-like workmanship”.This technique crafted in the elaborate style of the Renaissance has enabled
Gianmaria’s nature-inspired pieces to come to life, becoming a signifier of the Buccellati brand.Today, most pieces are indeed still designed by members of
the Buccellati family.Gianmaria’s sonAndrea has been at the helm of the business for the past few decades as the Gianmaria now focuses his attention to the
development of his eponymous foundation. Inaugurated inVenice in 2008, the Gianmaria Buccellati Foundation is a 21st century answer to the founder of
the firm’s great wish to share his passion for the art of jewellery.The Foundation pursues academic research on the art of goldsmithing and jewellery design,
ensuring the Buccellati family continue their mission to contribute their great wealth of knowledge and experience to the world of jewellery.

Tuesday 14th
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A FANCY-COLOURED DIAMOND AND DIAMOND RING
The cushion-shaped diamond weighing 3.00cts within a double four-claw setting, to brilliant-cut diamond belt and shoulders,
mounted in platinum and 18K gold,ring size L¾
€18,000 - €22,000
Accompanied by a report from the GIA laboratory in America, stating that the diamond weighing 3.00cts is natural FancyYellow,
VVS1 clarity (with laser inscriptions). Report number 1186260235, dated February 21st 2018
Diamonds that come in colours beyond the normal colour range of D to Z are known as Fancy-Coloured Diamonds.They can
come in a myriad of colours from deep yellows and browns to as pinks, oranges, blues and greens.
Tiffany’s famous yellow diamond - a cushion-shaped CanaryYellow diamond - has firmly planted the desire for this wonderful yellow
hue to grace our fingers or neckline.Yellow diamond engagement rings sported by Hollywood stars, such as Olivia Palermo, Jennifer
Lopez, Heidi Klum and JessicaAlba prove that our adoration of yellow diamonds is steadfast.
However, this love affair with yellow diamonds is nothing new and there is a long history of extraordinary yellow diamonds that
have gained fame, both as exquisite examples of the beautiful nature of diamonds and because of the famous people who either
wore, bought or sold them. Some examples of notable yellow diamonds are The Allnatt (cushion-cut diamond, Fancy VividYellow
102.29ct),The Florentine (irregular nine-sided shape, LightYellow, 139ct),The Incomparable (shield- shaped step-cut, Fancy Brown-
ishYellow, 407.48ct)The Mouna (cushion-cut diamond, IntenseYellow, 112.53ct),The Porges (Asscher-cut,Yellow, 78.53ct) andThe
Red Cross (cushion-cut, CanaryYellow, 205.07ct).

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A PAIR OF FANCY COLOURED DIAMOND EARRINGS
Each set with a cut-cornered rectangular-shaped yellow diamond weighing 3.01 and 3.38cts, framed with brilliant-cut diamonds,
to a similarly-cut diamond surmount, mounted in platinum and 18K gold,length 3.1cm
€ 30,000 - 40,000
Accompanied by a report from the GIA laboratory in America, stating that the diamond weighing 3.01cts, is natural, Fancy Light
Yellow,VVS1 clarity (with laser inscriptions). Report number 1186256635, dated February 21, 2018.
Accompanied by a report from the GIA laboratory in America, stating that the diamond weighing 3.38cts, is natural, Fancy Light
Yellow,VS2 clarity (with laser inscriptions). Report number 2215641667, datedApril 30th 2021
Fancy coloured diamonds are far more rare than diamonds in the normal colour range.A diamond, particularly a yellow one
that shows colour that’s deeper or more intense or vivid than a Z colour stone, moves it from the ranks of normal coloured diamonds
and into the realm of fancy-coloured diamonds.This rarity has a profound impact on diamond value.
Understanding and describing colour when it comes to precious gemstones can be challenging. The 3 elements used to describe
colour are hue, tone and saturation.The hue of a stone is the basic impression of a colour. But in order to get a complete picture of
colour, you have to also consider tone and saturation.Tone is the amount of lightness or darkness in a colour and saturation is the
strength, purity or intensity of the hue.
The GIA uses an official grading system to describe the combined effect of tone and saturation on the diamonds hue.The scale is
divided into 9 categories as follows:
FaintVery Light Light Fancy Light Fancy Fancy Intense Fancy Dark FancyVivid
A diamond’s cut can have an influence on its apparent colour and the bigger the diamond, the more obvious the colour.

Tuesday 14th
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A DIAMOND LOCKET PENDANT
Of bombé heart shape, pavé-set with European-cut diamonds to the front, the reverse polished white gold opening to
reveal a compartment, suspending from a single-cut diamond bale, mounted in gold,diamonds approximately 1.60cts total,
length (including bale):3cm
€ 1,500 - 2,000
88
A MID-20TH CENTURY DIAMOND NOVELTY BROOCH, CIRCA 1960
Designed as an eagle in flight, set with single-cut diamonds throughout with millegrain detailing, mounted in platinum,
diamonds approximately 5.50cts,length 5.4cm,width 5.8cm
€ 3,000 - 4,000
90
A CULTURED PEARL AND DIAMOND DRESS RING
The central South Sea cultured pearl of white tint measuring approximately 15.75-14.84mm, between pear-shaped
diamond shoulders and pavé-set brilliant-cut diamond belt, diamonds approximately 0.80ct, ring size I½
€ 3,000 - 4,000
Accompanied by a report from LFG laboratory in Paris, stating that the pearl measuring approximately 14.87 -
1589mm, is a Seawater cultured pearl, with no indications of treatment. Report number 382521, dated June 11th 2021
87
A LATE 19TH CENTURY DIAMOND AND PEARL OPEN FACE LAPEL WATCH, CIRCA 1890
Jewelled keyless manual wind movement, white enamel dial with black Roman numerals and gilt minute track, gilt
fancy hour and minute hands, silver-topped gold case, the case back set throughout with old brilliant-cut diamonds
throughout, with similarly-cut diamond suspension bow highlighted with a pearl of grey tint, mounted in silver and 18K
gold,French import mark,diamonds approximately 7.50cts total,case no.63137,case width 2.5cm
€ 3,000 - 4,000
* Please note that the pearl has not been tested for natural origin
THE PRIVATE COLLECTION OF A NOBLE ITALIAN LADY

Tuesday 14th
66
92
AN EMERALD AND DIAMOND COCKTAIL RING
Of circular bombé design, pavé-set with brilliant-cut
diamonds and circular-cut emeralds throughout, to a plain
bifurcated hoop, mounted in gold,diamonds approximately 3.50cts
total,ring size E¼
€ 3,000 - 4,000
91
A GEM-SET AND DIAMOND ‘GIARDINETTO’
BROOCH, CIRCA 1960
Of giardinetto tutti frutti design, set with carved emeralds,
sapphires and rubies with brilliant-cut diamond highlights, the
basket embellished with similarly-cut diamonds, mounted in
18K gold and platinum,diamonds approximately 2.50cts total,width
6.2cm,length 4.2cm
€ 5,000 - 6,000

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A GEM-SET COCKTAIL RING WITH A PAIR OF EARCLIPS EN SUITE, BY PETOCHI, CIRCA 1960
Of openwork dome design set with rectangular and square-cut sapphires, emeralds and rubies, highlighted with brilliant-cut
diamonds, with a pair of earclips en suite, mounted in gold,diamonds approximately 3.00cts total,earrings signed Petochi Roma,ring
size F¾,earrings length 2.5cm
€ 3,000 - 4,000
94
A PAIR OF RUBY AND DIAMOND EARCLIPS
Of circular bombé design, each clip pavé-set with brilliant-cut diamonds and circular-cut rubies, mounted in gold,diamonds
approximately 8.50cts total,length 2.8cm
€ 5,000 - 6,000

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Tuesday 14th
A BIRD IN PARADISE...

69
The late 19th century onwards until the 1950s and 60s saw a huge fascination by jewellers with the representation of birds in jewellery.
This trend echoed the growing penchant for decorative naturalism and a passion for romanticising the natural world and derived from
the increase in major scientific expeditions,the creation of large colonial empires and the widespread popularity of taxidermy inWestern
Europe. Natural history museums, zoos and richly illustrated ornithological publications inspired a growing penchant for exotic birds
amongst the wealthy classes. Not only did birdwatching become a popular activity, but owning a bird of paradise was seen as a symbol of
status, affluence and a stamp that the individual was well-travelled. Ever-present in mythology, a constant source of inspiration for liter-
ature and the arts, exotic birds also came to be represented in the world of jewellery.As such, without necessarily owning a specimen,
wearers of ornithological jewellery thereafter invoked in their audience ideas of travel, luxury and an appreciation of the natural world.
Brooches played an especially important role in the way that bird species of all kinds remained popular for over a century of jewellery
design – from the mid-nineteenth century up until the 1960s.The sheer beauty of birds, alongside the vast diversity of their shapes, lines,
colours and poses, allowed jewellers to experiment with creating such pieces, unlike any other animal. Over time, the use of birds as
motif in jewellery design came to signify something far greater than beauty or status, and in many cases the bird was used to represent or
symbolise a cause or ideal.The turtledove was strongly connotated with love, whilst the peacock remained a clear symbol of exoticism
and luxury. DuringWorldWar II, French jewellers including Cartier created brooches of caged birds as a symbol of freedom and patrio-
tism during the German Occupation and at the time of the Liberation, several jewellers includingVan Cleef &Arpels, used birds in their
jeweller as a decided signifier of France’s new-found freedom.
As such, Pierre Sterlé, maker of this exquisite brooch pictured was certainly not alone in his fascination with depicting birds in jewel-
lery.The continued presence of ornithological species in brooches and pendants throughout the mid-20th century is testament to their
unfailing popularity amongst buyers, from the Parisian elite to his clients further afield.Yet it was Sterlé’s invention of the‘angel-thread’
technique which served to revolutionise the depiction of birds in the jewellery world. He was one of the most innovative artisans of the
20th century and whilst the use of his gold-plaiting and threading technique was most pertinent in the emulation of birds, goldsmiths
soon acquired it in a host of new designs which allowed the artist to reproduce the finesse and density of textures from the natural world.

Tuesday 14th
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A RARE HAWK’S EYE AND DIAMOND BIRD BROOCH, BY STERLÉ, CIRCA 1955
Designed as a majestic bird, the torso composed of hawk’s eye with long articulated gold tassel tail feathers highlighted with bril-
liant-cut diamonds, with similarly-cut diamond crown, eyes and beak, mounted in 18K gold,diamonds approximately 3.00cts total,signed
Sterlé Paris,numbered 7.558,with maker’s marks,French assay marks,length 10.2cm
€ 12,000 - 18,000
Sterlé’s fascination with recreating the natural world inspired him to go above and beyond many of the goldsmiths and jewellers of
his time. Following a visit to the Egyptian Museum in Cairo in the early 1950’s and a glimpse at the intricacy of one of Cleopatra’s
bracelets,the Frenchman strove to emulate what he had seen and apply it to the creation of his designs inspired by nature. He is thus
credited with the invention of what aptly became known as his distinct‘angel wire’ or‘knitted gold’ technique, whereupon gold wire
was twisted or braided by Sterlé in such a way as to enable the artist to reproduce both the delicacy, density and movement of a birds
wings and plumage in a remarkably tactile and dynamic fashion.
For a comparable Bird brooch by Sterlé, see catalogue for the exhibition ‘Birds in Paradise’ (2019), page 101, curated by L’École,
School of JewelleryArts, withthe support ofVan Cleef & Arpels, which took place 15th May - 13th July 2019 in Paris.
Pierre Sterlé (1905-1978) was famed for his innovative approach to jewellery design, embodying the dynamics of 1950s design.
The son of a family of bankers, Sterlé trained as a jeweller in Paris under his uncle Maynier-Pinçon following the death of his father
during the First World War. In 1934, he founded his own jewellery making company and was sponsored by many large jewellery
houses located on the Place deVendome, including Boucheron, Chaumet, andVan Cleef &Arpels, who had already used his talents for
their own firms. Sterlé’s talent as a designer soon allowed him to emerge from his status as a jewellery manufacturer to a successful
jeweller and artist in his own right. His reputation was cemented when he won the De Beers DiamondAward, a major achievement in
the jewellery world, for three years running in 1953, 1954 and 1955. Sterlé’s success as an artist during this time ensured he received
large-scale recognition in France as well as on a global scale. He worked for many heads of state and royalty, including Queen Nar-
riman of Egypt and Princess Soraya of Iran and socialised with fellow avant-garde artisans in France, such as Jean Cocteau, Georges
Bracque and Salvador Dalí.
His work is distinguishable by his intricate pieces, wrought with great movement and energy, often using baguette-cut diamonds and
coloured gemstones in sweeping, curling lines. Above all, it was Sterlé’s invention of the ‘knitted-gold technique’ or ‘angel thread’
which would lead to his fame at the climax of his career in the 1950s and 1960s.The meticulous use of gold plaiting and threading en-
abled him to emulate recreate the intricacies of the natural world,from the textures of flowers and plants,to the wings and feathers of
his famous bird brooches, all executed in a strikingly tactile and dynamic way.Although a talented jeweller, Sterlé did not experience
the same level of success at business and suffered the closing of two of his own stores throughout his lifetime.Forced to close his house
in 1976, Sterlé continued his work at the Maison Chaumet, where he acted asArtistic Director until his death in 1978.

Tuesday 14th
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96
A SAPPHIRE AND DIAMOND BROOCH
Designed as a large stylised polished gold bow centring a cabochon sapphire with brilliant-cut diamond
highlights, mounted in 18K gold,length 6.6cm,width 7.1cm
€ 4,000 - 5,000

73
97
A LADY’S GOLD AND DIAMOND ‘TUBOGAS’ BRACELET WATCH, BY BULGARI
& MOVADO, CIRCA 1965
The 17-jewel manual wind movement, the silvered blue dial with baton indexes for numerals, circular
case with brilliant-cut diamond bezel, snap back, completed by an 18K gold flexible coiledTubogas bracelet,
the bracelet signed Bvlgari,dial signed Bulgari & Movado,movement signed Movado.
€ 8,000 - 12,000
By the 1960s, theTubogas watch-bracelets which Bulgari had produced in individualised designs since the
1940s had become a staple of the brand.Initially,brothers Constantino and Giorgio were not alone in exper-
imenting with the‘tubogas’ style when the technique first emerged in Italy, but no other jewellers captured
the essence of the snake-like style quite so well as Bulgari.While other jewellers had abandoned the gas
pipe-inspired look by the 1950s, Bulgari soon monopolised the creation of allTubgogas designs, grounded
in the jeweller’s master craftsmen who excelled at the dexterous, coiled and contoured technique.Thus, the
Bulgari watch paired with a coiled goldTubogas bracelet became immensely popular and has since become
an instantly recognisable Bulgari look.
Since the 1960s, renditions of theTubogas watch have starred on covers and in features in magazines all over
the world.Sophia Loren sported the watch on the red carpet,and celebrities followed suit over the next few
decades; singer Grace Jones was snapped wearing the watch at parties during the early 80s.And in the 2006
hit,Meryl Streep acted as editor in chief of a fashion magazine,wearing none other than the BulgariTubogas.

Tuesday 14th
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98
A PAIR OF EARCLIPS WITH A RING EN SUITE, BY BULGARI, CIRCA 1965
Of openwork design, composed of multiple flowerheads each centring a brilliant-cut diamond with ropetwist
detailing throughout,mounted in gold,diamonds approximately 7.50cts total,earrings signed Bvlgari,earrings length 3.2cm,
ring size F
€ 7,000 - 9,000

75
99
A FINE PAIR OF EMERALD AND DIAMOND EARCLIPS, BY BULGARI, CIRCA 1960
Each circular dome set with brilliant-cut diamonds and circular-cut emeralds, mounted in 18K gold, signed
Bvlgari,diamonds approximately 7.50cts,length 2.6cm
€ 12,000 - 18,000

Tuesday 14th
76
100
A PAIR OF SAPPHIRE AND DIAMOND CLIPS/BROOCHES, ONE BY BULGARI, CIRCA 1940
No.1: Of flowerhead design with polished gold leaves, the petals highlighted with cushion-shaped sapphires weighing approximately
16.00cts total and brilliant-cut diamonds, with similarly-cut diamond pistils,within claw-setting throughout, mounted in 18K gold,
diamonds approximately 2.50cts total,unsigned,later brooch clip fitting.
No.2:Of flowerhead design with polished gold leaves, the petals highlighted with brilliant-cut diamonds, with circular-cut sapphire
pistils and accents, mounted in 18K gold,diamonds approximately 4.00cts total,unsigned,later brooch clip fitting,length
€ 14,000 - 18,000
Together with their loose original back fittings in 18K gold (one with French assay marks, numbered 50512)
(No. 1):Accompanied by a certificate of authenticity fromAmandaTriossi, author & specialist on Bulgari, former curator of the Bul-
gari Heritage Collection and curator of all the first major Bulgari retrospective exhibitions from 2009 to 2013,stating that this brooch
was manufactured for and retailed by Bulgari and dates from the 1940s. Certificate dated 9thAugust 2021, in Rome.

Tuesday 14th
78
101
A PAIR OF DIAMOND BROOCHES, CIRCA 1955, ATTRIBUTED TO BULGARI, CONVERTED INTO A
PAIR OF DIAMOND AND GALUCHAT CUFF BRACELETS
Each black galuchat cuff with magnet clasp, centring a floral brooch (not removable) set with brilliant, baguette and single-cut dia-
monds, mounted in platinum,diamonds approximately 10.00cts total,cuff lengths 20cm,brooch lengths 3.3cm
€ 5,000 - 7,000
By family repute, both brooches were purchased at Bulgari in Rome, before being converted into galuchat cuffs.
Accompanied by a certificate fromAmandaTriossi, author & specialist on Bulgari, former curator of the Bulgari Heritage Collection
and curator of all the first major Bulgari retrospective exhibitions from 2009 to 2013. Certificate datedAugust 18th 2021.

Tuesday 14th
80
The iconic flexible gold braid of the Tubogas shape debuted in the 1940s, and has since become a signature of the
brand, seen in everything from Bulgari’s bracelets and watches to their rings. In creating the Tubogas, Bulgari took advantage of
the great malleability of yellow gold to produce a work of art, revolutionising the concept of movement in jewellery.TheTubogas
shape is formed by wrapping long bands of gold around a wood or copper core over several hours of highly skilled craftsmanship.
The technique was developed in Italy in the late 1930s and ingeniously mimics industrial gas piping.The origin of its name derives
from a clever take on the Italian tubo gas, literally translating as‘gas tube’.As the bands are coiled, their rounded contours interlock
to conceal their inner structure, creating a smooth and fluid finish.The result of such intricate craftsmanship is supple, springy and
comfortable, with the sleek and sensual appearance of a serpent’s twist which allows the metal to expand or contract with the shape
of the wearers wrist or finger. From the time of its first launch, the creation of theTubgogas bracelet marked the Roman jewellery
house as an innovator. Since then, the continued success of theTubogas is testament to its flawless design and desirability.
This particular piece is a variation of the original SerpentiTubogas bracelet which emerged in the 1950s, during which time Bulgari
began to experiment with more abstractTubogas pieces.The yellow gold bands are characteristically juxtaposed with unusual colour
combinations of contrasting precious gemstones, such as diamonds, sapphires, emeralds or coral.
The SerpentiTubogas and other forms of theTubogas silhouette continue to be hugely popular today. Despite their many incarnations
since the 1940s original bracelets and timepieces, the core craftsmanship of creating such a piece remains exactly the same. Made in
the largest jewellery manufacturing facility in Europe at Bulgari’sValenza workshop, Bulgari have since experimented with different
materials to create unique chromatic effects, including yellow gold and white gold or yellow gold and steel alternating on the wrist.
Irrespective of what development theTubogas will move towards next, it remains a beacon of jewellery innovation, a feat of crafts-
manship and an integral element of Bulgari’s design identity.

Tuesday 14th
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102
A RARE RETRO SAPPHIRE AND DIAMOND ‘TUBOGAS’ BRACELET, BY BULGARI, CIRCA 1940
The large coiled gold tubogas bracelet, with two spherical terminals highlighted with sapphire cabochons and brilliant-cut diamonds
within collet-setting, mounted in 18K gold,indistinct maker’s mark,size extendable
€ 10,000 - 15,000
Accompanied by a certificate of authenticity fromAmandaTriossi, author & specialist on Bulgari, former curator of the Bulgari Her-
itage Collection and curator of all the first major Bulgari retrospective exhibitions from 2009 to 2013, stating that this bracelet was
manufactured for and retailed by Bulgari and dates from the 1940s. Certificate dated 9thAugust 2021, in Rome.
For a comparable bracelet by Bulgari see Ludovica Rizzoli Eleuteri (1994) Twentieth-Century Jewelry, Art Nouveau to Modern Design,
Electa/Abbeville editions, page 101.

Tuesday 14th
84
103
AN IMPORTANT DIAMOND BOW BROOCH, BY BULGARI, CIRCA 1960
The three-dimensional ribbon-bow set with brilliant and baguette-cut diamonds, mounted in 18K gold and platinum,diamonds approxi-
mately 20.00cts total,signed Bvlgari,French assay marks,length 4.9cm,width 5.3cm
€ 18,000 - 28,000
For comparable brooch,AmandaTriossi (2009) Bulgari,Between Eternity And History.From 1884 to 2009,125 years of Italian Jewels, Skira
Editori, page 304, no. 127, for exhibition of same title, 22 May - 13 September 2009 in Rome at Palazzo delle Esposizioni.
By the mid-1950s, the house of Bulgari had long consolidated their reputation as a highly esteemed jewellery house, as well as
having a clear vision for the direction of jewellery production. Brothers Constantino and Giorgio continued to run and expand the
family-owned business, which they had taken over following the death of their father Sotiros in 1932. Giorgio took over the role of
the creative director of the firm, grounded in his deep understanding of gemstones and production techniques which he had eagerly
absorbed as a youth in Paris learning his trade. In contrast, Constantino was the quieter and more scholarly of the two, preferring to
study and research the materials he was working with.Together, the two brothers harnessed the flood of activity and commissions
they experienced in the Italian post-war boom of the mid-1950s.The decade saw a return to the display of magnificent stones seen in
the 1930s, with diamonds undoubtedly reigning supreme.Yet, what remained was the production of softer and smoother lines which
had developed in the 1940s and early 50s alongside the display of flashy diamonds to produce the perfect combination of magnifi-
cently crafted jewellery.Asymmetrical bows and knots became a hugely popular motif of this era, created in a host of varying cuts of
diamonds.
As Bulgari’s reputation grew, so did the confidence of the jewellery house. Constantino and Giorgio knew their supporters had
become loyal to their brand, so they made the decision to carve their own path in terms of jewellery trends, moving away from the
Parisian styles which dictated the industry heretofore. It was a risk which paid off, allowing Bulgari to cement the particular flair with
which their jewellery would be recognised for decades to come.The 1950s also marked a period of spectacular growth for the Italian
economy, ensuring Bulgari’s innovations were receiving rapturous support.The post-war decade saw the re-emergence of Bulgari’s
characteristic use of colour, as the house began to explore a myriad of bold combinations using precious and semi-precious gemstones
once more.This time, however, result of these vibrant colour combinations were widely celebrated by their audience not so much for
the intrinsic value of the gemstones as for their striking chromatic effect.
Unlike the contemporary houses of the 1950s and 60, the jewellery of this period saw the house enclose important gemstones with
soft, smoother outlines, often complimented by marquise-shaped diamonds all facing the same direction. Floral and bow-shaped
brooches became hugely popular and Bulgari created a huge variety of different compositions and designs, from bouquets, to brooch-
es depicting a knotted bow, like this lot. Designs such as these were even worn as hair ornaments, by the likes of Ingrid Bergman,
ElizabethTaylor and H.I.H. Princess Sorarya, who were all firm favourites of Bulgari. Indeed, film stars of the late 50s and 60s played
a huge role in Bulgari’s enormous success and jewellery of this period appeared in films such as Roman Holiday withAudrey Hepburn
and La DolceVita.

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