Adam's Fine Jewellery, Watches 8th December 2020

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F I N E J E W E L L E R Y & W AT C H E S
Auction Tuesday 8th
December 2020

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AUCTION
Tuesday 8th
December 2020 at 4pm
VENUE
Adam’s Salerooms,
26 St. Stephen’s Green,
Dublin
D02 X665
Ireland
SALE VIEWING DAYS DECEMBER 4th
- DECEMBER 8th
At Adam’s, 26 St. Stephen’s Green, Dublin, D02 X665

Friday 4th
December 10:00am - 5:00pm
Saturday 5th
December 1:00pm - 5:00pm
Sunday 6th
December 1:00pm - 5:00pm
Monday 7th
Tuesday 8th
ADAM’S
Est.1887
26 St. Stephen’s Green
Dublin D02 X665
Tel +353 1 6760261
info@adams.ie
www.adams.ie
Private Viewing by appointment only
Note the auction starts at 4pm
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 9th December 2020. Under no circumstances will delivery of purchases be given whilst the auction is in progress. All purchases must be
paid for and removed from the premises not later thanThursday 10th December 2020 at the purchaser’s risk and expense.After this time all uncollected
lots will be removed to commercial storage and additional charges will apply.
Auctioneers commission on purchases is charged at the rate of 20.325% (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 8th December 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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Self-taught, 23 year old, UK based jewellery illustrator Hannah Day specialises in painting
hyper-realistic, gouache jewellery renderings. Previously working alongside a London based
period jeweller, Hannah developed a fascination with the artistic side of jewellery.
Striving to achieve a more realistic, contemporary finish to her artwork, Hannah endeavours to
preserve the traditional approach to jewellery rendering in an ever expanding world of com-
puter aided design within the industry. Just as there are those who will always favour turning
the pages of a book, despite the introduction of the Kindle, Hannah believes the novelty of hand
produced paintings will never perish.
After developing her jewellery design skills at the Gemmological Institute ofAmerica and UAL,
Hannah currently creates technical jewellery designs and vividly detailed renderings of existing
valuable pieces.
Cover Illustration by Hannah Day

Tuesday 8th
December 2020. Starting at 4pm
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General Terms and Conditions of Business
The Auctioneer carries on business on the following terms and conditions and on such other terms or conditions as may be expressly agreed with the Auctioneer or set out in any
relevant Catalogue. Conditions 12-21 relate mainly to buyers and conditions 22-32 relate mainly to sellers. Words and phrases with special meanings are defined in condition 1.
Buyers and sellers are requested to read carefully the Cataloguing Practice and Catalogue Explanation contained in condition 2.
DEFINITIONS AND GENERAL CONDITIONS
DEFINITIONS
1. In these conditions the following words and expressions shall have the following
meaings:
‘Auctioneer’ – James Adam & Sons.
‘Auctioneer’s Commission’ – The commission payable to the Auctioneer by the buyer
and seller as specified in conditions 13 and 25.
‘Catalogue’ – Any advertisement, brochure, estimate, price list or other
publication.
‘Forgery’ – A Lot which was made with the intention of deceiving with regard to author-
ship, culture, source, origin, date, age or period and which is not shown to be such in
the description therefore in the Catalogue and the market value for which at the date
of the auction was substantially less than it would have been had the Lot been in accor-
dance with the Catalogue description.
‘Hammer Price’ – The price at which a Lot is knocked down by the Auctioneer to the
buyer.
‘Lot’ – Any item which is deposited with the Auctioneer with a view to its sale at auction
and, in particular, the item or items described against any Lot number in any Catalogue.
‘Proceeds of Sale’ – The net amount due to the seller being the Hammer Price of the Lot
after deducting the Auctioneer’s Commission thereon under condition 25 the seller’s
contribution towards insurance under condition 26, such VAT as is chargeable and any
other amounts due by the seller to the Auctioneer in whatever capacity howsoever
arising.
‘Registration Form or Register’ – The registration form (or, in the case of persons who
have previously attended at auctions held by the Auctioneer and completed registra-
tion forms, the register maintained by the Auctioneer which is compiled from such
registration forms) to be completed and signed by each prospective buyer or, where
the Auctioneer has acknowledged pursuant to condition 12 that a bidder is acting as
agent on behalf of a named principal, each such bidder prior to the commencement of
an auction.
‘Sale Order Form’ – The sale order form to be completed and signed by each seller prior
to the commencement of an auction.
‘Total Amount Due’ – The Hammer Price of the Lot sold, the Auctioneer’s Commission
due thereon under condition 13, such VAT as is chargeable and any additional interest,
expenses or charges due hereunder.
‘V.A.T.’ – Value Added Tax.
Cataloguing Practice and Catalogue Explanations
2. Terms used in Catalogues have the following meanings and the Cataloguing Practice
is as follows:
The first name or names and surname of the artist;
In the opinion of the Auctioneer a work by the artist.
The initials of the first name(s) and the surname of the artist;
In the opinion of the Auctioneer a work of the period of the artist and which may be in
whole or in part the work of the artist.
The surname only of the artist;
In the opinion of the Auctioneer a work of the school or by one of the followers of the
artist or in his style.
The surname of the artist preceded by ‘after’;
In the opinion of the Auctioneer a copy of the work of the artist.
‘Signed’/’Dated’/’lnscribed’;
In the opinion of the Auctioneer the work has been signed/dated/inscribed by the artist.
‘With Signature’/’with date’/’with inscription’;
In the opinion of the Auctioneer the work has been signed/dated/inscribed by a person
other than the artist.
‘Attributed to’;
In the opinion of the Auctioneer probably a work of the artist.
‘Studio of/Workshop of’
In the opinion of the Auctioneer a work executed in the studio of the artist and possibly
under his supervision.
‘Circle of’;
In the opinion of the Auctioneer a work of the period of the artist and showing his
influence.
‘Follower of’;
In the opinion of the Auctioneer a work executed in the artist’s style yet not necessarily
by a pupil.
‘Manner of’;
In the opinion of the Auctioneer a work executed in artist’s style but of a later date.
‘*’;
None of the terms above are appropriate but in the Auctioneer’s opinion the work is a
work by the artist named.
GENERAL CONDITIONS
Auctioneer Acting as Agent
3. The Auctioneer is selling as agent for the seller unless it is specifically stated to the
contrary. The Auctioneer as agent for the seller is not responsible for any default by the
seller or the buyer.
Auctioneer Bidding on behalf of Buyer
4. It is suggested that the interests of prospective buyers are best protected and served
by the buyers attending at an auction. However, the Auctioneer will, if instructed, execute
bids on behalf of a prospective buyer. Neither the Auctioneer nor its employees, servants
or agents shall be responsible for any neglect or default in executing bids or failing to
execute bids.
Admission to Auctions
5. The Auctioneer shall have the right exercisable in its absolute discretion to refuse
admission to its premises or attendance at its auctions by any person.
Acceptance of Bids
6. The Auctioneer shall have the right exercisable in its absolute discretion to refuse
any bids, advance the bidding in any manner it may decide, withdraw or divide any Lot,
combine any two or more Lots and, in the case of a dispute, to put any Lot up for auction
again.
Indemnities
7. Any indemnity given under these conditions shall extend to all actions, proceedings,
claims, demands, costs and expenses whatever and howsoever incurred or suffered by
the person entitled to the benefit of the indemnity and the Auctioneer declares itself to
be a trustee of the benefit of every such indemnity for its employees, servants or agents
to the extent that such indemnity is expressed to be for their benefit.
Representations in Catalogues
8. Representations or statements made by the Auctioneer in any Catalogue as to con-
tribution, authorship, genuineness, source, origin, date, age, provenance, condition or
estimated selling price or value is a statement of opinion only. Neither the Auctioneer
nor its employees, servants or agents shall be responsible for the accuracy of any such
opinions. Every person interested in a Lot must exercise and rely on their own judgment
and opinion as to such matters.
9. The headings of the conditions herein contained are inserted for convenience of refer-
ence only and are not intended to be part of, or to effect, the meaning or interpretation
thereof.
Governing Law
10. These conditions shall be governed by and construed in accordance with Irish Law.
Notices
11. Any notice or other communication required to be given by the Auctioneer hereunder
to a buyer or a seller shall, where required, be in writing and shall be sufficiently given if
delivered by hand or sent by post to, in the case of the buyer, the address of the buyer
specified in the Registration Form or Register, and in the case of the seller, the address of
the seller specified in the Sale Order Form or to such other address as the buyer or seller
(as appropriate) may notify the Auctioneer in writing. Every notice or communication
given in accordance with this condition shall be deemed to have been received if deliv-
ered by hand on the day and time of delivery and if delivered by post three (3) business
days after posting.
The Buyer
12. The buyer shall be the highest bidder acceptable to the Auctioneer who buys at the
Hammer Price. Any dispute which may arise with regard to bidding or the acceptance of
bids shall be settled by the Auctioneer. Every bidder shall be deemed to act as principal
unless the Auctioneer has prior to the auction, acknowledged in writing that a bidder is
acting as agent on behalf of a named principal.

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Commission
13. The buyer shall pay the Auctioneer a commission at the rate of 20.325%, exclusive
of V.A.T..
Payment
14. Unless credit terms have been agreed with the Auctioneer before the auction
the buyer of a Lot shall pay to the Auctioneer within one (1) day from the date of the
auction the Total Amount Due. Notwithstanding this, the Auctioneer may, in its sole
discretion, require a buyer to pay a deposit of 25% of the Total Amount Due at the
conclusion of the auction.
The Auctioneer may apply any payments received by a buyer towards any sums owing
from that buyer to the Auctioneer on any account whatever regardless of any direc-
tions of the buyer or his agent in that regard whether express or implied.
The Auctioneer shall only accept payment from successful bidders in cash or by the
bidder’s own cheque. Cheques drawn by third parties, whether in the Auctioneer’s
favour or requiring endorsement, shall not be accepted.
Reservation of Title
15. Notwithstanding delivery or passing of risk to the buyer the ownership of a Lot
shall not pass to the buyer until he has paid to the Auctioneer the Total Amount Due.
Collection of Purchases
16. The buyer shall at his own expense collect the Lot purchased not later than seven
(7) days after the date of the auction but (unless credit terms have been agreed with
the Auctioneer pursuant to condition 14) not before payment to the Auctioneer of the
Total Amount Due.
The buyer shall be responsible for any removal, storage and insurance charges in
respect of any Lot which is not taken away within seven (7) days after the date of the
auction.
The purchased Lot shall be at the buyer’s risk in all respects from the earlier of the
time of collection or the expiry of one (1) day from the date of the auction. Neither the
Auctioneer nor its employees, servants or agents shall thereafter be liable for any loss
or damage of any kind howsoever caused while a purchased Lot remains in its custody
or control after such time.
Packaging and Handling of Purchased Lots
17. Purchased Lots may be packed and handled by the Auctioneer, its employees,
servants or agents. Where this is done it is undertaken solely as a courtesy to buyers
and at the discretion of the Auctioneer. Under no circumstances shall the Auctioneer,
its employees, servants or agents be liable for damage of any kind and howsoever
caused to glass or frames nor shall the Auctioneer be liable for the errors or omissions
of, or for any damage caused by, any packers or shippers which the Auctioneer has
recommended.
Non-Payment or Failure to Collect Purchased Lots
18. If a buyer fails to pay for and/or collect any purchased Lot by the dates herein
specified for payment and collection the Auctioneer shall, in its absolute discretion and
without prejudice to any other rights or remedies it may have, be entitled to exercise
one or more of the following rights or remedies without further notice to the buyer:
(a) To issue court proceedings for damages for breach of contract;
(b) To rescind the sale of that Lot or any other Lots sold to the buyer whether at that
or at any other auction;
(c) To resell the Lot or cause it to be resold whether by public auction or private sale.
In the event that there is a deficiency between the Total Amount Due by the buyer and
the amount received by the Auctioneer on such resale after deduction of any neces-
sary expenses the difference shall be paid to the Auctioneer by the buyer. Any surplus
arising shall belong to the seller.
(d) To store (whether at the Auctioneer’s premises or elsewhere) and insure thepur-
chased Lot at the expense of the buyer.
(e) To charge interest on the Total Amount Due at the rate of 2% over and above the
base rate from time to time of Bank of Ireland or if there be no such rate, the nearest
equivalent thereto as determined by the Auctioneer in its absolute discretion from the
date on which payment is due hereunder to the date of actual payment.
(f) To retain that Lot or any other Lot purchased by the buyer whether at the same or
any other auction and release same to the buyer only after payment to the Auctioneer
of the Total Amount Due.
(g) To apply any sums which the Auctioneer received in respect of Lots being sold by
the buyer towards settlement of the Total Amount Due.
(h) To exercise a lien on any property of the buyer in the possession of the Auctioneer
or whatever reason.
Liability of Auctioneer and Seller
19. Prior to auction ample opportunity is given for the inspection of the Lots on sale
and each buyer by making a bid acknowledges that he has, by exercising and relying
on his own judgment, satisfied himself as to the physical condition, age and Catalogue
description of each Lot (including but not restricted to whether the Lot is damaged or
has been repaired or restored). All Lots are sold with all faults and imperfections and
errors of description. None of the seller, the Auctioneer nor any of their employees,
servants or agents shall be responsible for any error of description or for the condition
or authenticity of any Lot. No warranty whatsoever is given by the seller or Auctioneer
or by any of their employees, servants or agents in respect of any Lot and any con-
dition or warranty express or implied by statute or otherwise is hereby specifically
excluded.
Forgeries
20. Any amount paid by a buyer in respect of a Lot which, if it is proved within three
(3) years of the date of the auction at which it was purchased, to have been a Forgery
shall be refunded to the seller subject to the provisions hereof, provided that:
(a) The Lot has been returned by the buyer to the Auctioneer within three (3) years of
the date of the auction in the same condition in which it was at the time of the auction
together with evidence proving that it is a Forgery, the number of the Lot and the date
of the auction at which it was purchased;
(b) The Auctioneer is satisfied that the Lot is a Forgery and that the buyer has and
is able to transfer good and marketable title to the Lot free from any third party claims;
FURTHER PROVIDED THAT the buyer shall have no rights hereunder if:
(i) The description of the Lot in the Catalogue at the time of the auction was in accor-
dance with the then generally accepted opinion of scholars or experts or fairly indicat-
ed that there was a conflict of such opinion;
(ii) The only method of establishing at the time of the auction in question that the Lot
was a Forgery would have been by means of scientific processes which were not gen-
erally accepted for use until after the date of the auction or which were unreasonably
expensive or impractical.
The buyer’s sole entitlement under this condition is to a refund of the actual amount
paid by him in respect of the Lot. Under no circumstances shall the Auctioneer be
liable for any damage, loss (including consequential, indirect or economic loss) or
expense suffered or incurred by the buyer by reason of the Lot being a Forgery.
The benefit of this condition shall be solely and exclusively for the buyer and shall not
be assignable. The buyer shall for the purpose of this condition be the person to whom
the original invoice in respect of the sale of the Lot is made.
Photographs
21. The buyer authorises the Auctioneer at any time to make use of any photographs
or illustrations of the Lot purchased by the buyer for such purposes as the Auctioneer
may require.
CONDITIONS WHICH MAINLY CONCERN THE SELLER
Auctioneer’s Discretion
22. With regard to the sale of any Lot the Auctioneer shall have the following powers
exercisable solely in the discretion of the Auctioneer:
(i) To decide whether to offer any Lot for sale or not;
(ii) To decide whether a particular Lot is suitable for sale by the Auctioneer and, if so,
to determine which auction, the place and date of sale, the conditions of sale and the
manner in which such sale should be conducted;
(iii) To determine the description of any Lot in a Catalogue.
(iv) To decide whether the views of any expert shall be obtained and to submit Lots for
examination by any such experts.
(v) To determine what illustration of a Lot (if any) is to be included in the Catalogue.
Seller’s Warranty and Indemnity
23. The seller warrants to the Auctioneer and to the buyer that he is the true owner
of the Lot or is legally authorised to sell the Lot on behalf of the true owner and can
transfer good and marketable title to the Lot free from any third party claims. As
regards Lots not held by the Auctioneer on its premises or under its control the seller
warrants and undertakes to the Auctioneer and the buyer that the Lot will be available
and in a deliverable state on demand by the Auctioneer or buyer. The seller shall
indemnify the Auctioneer and the buyer or any of their respective employees, servants
or agents against any loss or damage suffered by any of them in consequence of any
breach of the above warranties or undertakings by the seller.
Reserves
24. Subject to the Auctioneer’s discretion, the seller shall be entitled prior to the
auction to place a reserve on any Lot. All reserves must be agreed in advance by the
Auctioneer and entered on the Sale Order Form or subsequently be confirmed in
writing to the Auctioneer prior to auction. This also applies to changes in reserves. A
reserve may not be placed upon any Lots under IR£100 in value. The reserve shall be
the minimum Hammer Price at which the Lot may be sold by the Auctioneer. A reserve
once in place may only be changed with the consent of the Auctioneer. A commission
shall be charged on the ‘knock-down’ bid for Lots which fail to reach the reserve price.
Such commission shall be 5% of the ‘knock-down’ bid. This commission and any VAT
payable thereon must be paid before removal of the Lot after the auction. The mini-
mum commission hereunder shall be IR £25. The Auctioneer may in its sole discretion
sell a Lot at a Hammer Price below the reserve therefore but in such case the Proceeds
of Sale to which the seller shall be entitled shall be the same as they would have been
had the sale been at the reverse.
Unless a reserve has been placed on a Lot in accordance with the provisions set out
above such Lot shall be put up for sale without reserve.
In the event that any reserve price is not reached at auction then for so long as the Lot
remains with the Auctioneer and to the extent that the Lot has not been re-entered in
another auction pursuant to condition 31 the seller authorises the Auctioneer to sell
the Lot by private treaty at not less than the reserve price. The Auctioneer shall ensure
that in such a case those conditions herein which concern mainly the buyer shall, with
any necessary modification, apply to such sale.

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Commission
25. The seller shall pay the Auctioneer commission at the rate of 10% on the Hammer
Price of all Lots sold on behalf of the seller at Irish Art Sales and 17.5% on the Hammer
Price of all Lots sold on behalf of the seller at Fine Art, Wine and Militaria Sales togeth-
er with V.A.T. thereon at the applicable rate. The seller authorises the Auctioneer to
deduct from the Hammer Price paid by the buyer the Auctioneer’s Commission under
this condition; VAT payable at the applicable rates and any other amounts due by the
seller to the Auctioneer in whatever capacity howsoever arising. The seller agrees that
the Auctioneer may also receive commission from the buyer pursuant to condition 13.
Insurance
26. Unless otherwise instructed by the seller, all Lots (with the exception of motor vehi-
cles) deposited with the Auctioneer or put under its control for sale shall automatically
be insured by the Auctioneer under the Auctioneer’s own fine arts policy for such sum
as the Auctioneer shall from time to time in its absolute discretion determine. The
seller shall pay the Auctioneer a contribution towards such insurance at the rate of 1%
of the Hammer Price plus VAT. If the seller instructs the Auctioneer not to insure a Lot
then the Lot shall at all times remain at the risk of the seller who undertakes to indem-
nify the Auctioneer and hold the Auctioneer harmless against any and all claims made
or proceedings brought against the Auctioneer of whatever nature and howsoever
and wheresoever occurring for loss or damage to the Lot. The sum for which a Lot is
covered for insurance under this condition shall not constitute and shall not be relied
upon by the seller as a representation, warranty or guarantee as to the value of the Lot
or that the Lot will, if sold by the Auctioneer, be sold for such amount. Such insurance
shall subsist until such time as the Lot is paid for and collected by the buyer or, in
the case of Lots sold which are not paid for or collected by the buyer by the due date
hereunder for payment or collection such due date or, in the case of Lots which are not
sold, on the expiry of seven (7) days from the date on which the Auctioneer has notified
the seller to collect the Lots.
Recision of Sale
27. If before the Auctioneer has paid the Proceeds of Sale to the seller the buyer proves
to the satisfaction of the Auctioneer that the Lot sold is a Forgery and the requirements
of condition 20 are satisfied the Auctioneer shall rescind the sale and refund to the
buyer any amount paid to the Auctioneer by the buyer in respect of the Lot.
Payment of Proceeds of Sale
28. The Auctioneer shall remit the Proceeds of Sale to the seller not later than thirty
(30) days after the date of the auction, provided however that, if by that date, the
Auctioneer has not received the Total Amount Due from the buyer then the Auctioneer
shall remit the Proceeds of Sale within seven (7) working days after the date on which
the Total Amount Due is received from the buyer. If credit terms have been agreed
between the Auctioneer and the buyer the Auctioneer shall remit to the seller the
Proceeds of Sale not later than thirty (30) days after the date of the auction unless oth-
erwise agreed by the seller.
If before the Total Amount Due is paid by the buyer the Auctioneer pays the seller an
amount equal to the Proceeds of Sale then title to the Lot shall pass to the Auctioneer.
If the buyer fails to pay the Auctioneer the Total Amount Due within fourteen (14) days
after the date of the auction, the Auctioneer shall endeavour to notify the seller and
take the seller’s instructions on the course of action to be taken and, to the extent
that it is in the sole opinion of the Auctioneer feasible, shall endeavour to assist the
seller to recover the Total Amount Due from the buyer provided that nothing herein
shall oblige the Auctioneer to issue proceedings against the buyer in the Auctioneer’s
own name. If circumstances do not permit the Auctioneer to take instructions from
the seller or, if after notifying the seller, it does not receive instructions within seven
(7) days, the Auctioneer reserves the right, and is hereby authorised by the seller at
the seller’s expense, to agree special terms for payments of the Total Amount Due, to
remove, store and insure the Lot sold, to settle claims made by or against the buyer on
such terms as the Auctioneer shall in its absolute discretion think fit, to take such steps
as are necessary to collect monies due by the buyer to the seller and, if necessary, to
rescind the sale and refund money to the buyer.
Payment of Proceeds to Overseas Sellers
29. If the seller resides outside Ireland the Proceeds of Sale shall be paid to such seller
in Irish Punts unless it was agreed with the seller prior to the auction that the Proceeds
of Sale would be paid in a currency (other than Irish Punts) specified by the seller in
which case the Proceeds of Sale shall be paid by the Auctioneer to the seller in such
specified currency (provided that that currency is legally available to the Auctioneer in
the amount required) calculated at the rate of exchange quoted to the Auctioneer by
its bankers on the date of payment.
Charges for Withdrawn Lots
30. Once catalogued, Lots withdrawn from sale before proofing/publication of
Catalogue will be subject to commission of 5% of the Auctioneer’s latest estimate of
the auction price of the Lot withdrawn together with VAT thereon and any expenses
incurred by the Auctioneer in relation to the Lot. If Lots are withdrawn after proof-
ing or publication of Catalogue they will be subject to a commission of 10% of the
Auctioneer’s latest estimate of the auction price of the Lot withdrawn together with VAT
thereon and any expenses incurred by the Auctioneer in relation to the Lot. All commis-
sion hereunder must be paid for before Lots withdrawn may be removed.
Unsold Lots
31. Where any Lot fails to sell at auction the Auctioneer shall notify the seller according-
ly and (in the absence of agreement between the seller and the Auctioneer to the con-
trary) such Lot may, in the absolute discretion of the Auctioneer, be re-entered in the
next suitable auction unless instructions are received from the seller to the contrary,
otherwise such Lots must be collected at the seller’s expense within the period of thirty
(30) days of such notification from the Auctioneer.
Upon the expiry of such period the Auctioneer shall have the right to sell such Lots by
public auction or private sale and on such terms as the Auctioneer in its sole discretion
may think fit. The Auctioneer shall be entitled to deduct from the price received for
such Lots any sums owing to the Auctioneer in respect of such Lots including without
limitation removal, storage and insurance expenses, any commission and expenses
due in respect of the prior auction and commission and expenses in respect of the sub-
sequent auction together with all reasonable expenses before remitting the balance to
the seller. If the seller cannot be traced the balance shall be placed in a bank account
in the name of the Auctioneer for the seller. Any deficit arising shall be due from the
seller to the Auctioneer. Any Lots returned at the seller’s request shall be returned at
the seller’s risk and expense and will not be insured in transit unless the Auctioneer is
so instructed by the seller.
Auctioneer’s Right to Photographs and Illustrations
32. The seller authorises the Auctioneer to photograph and illustrate any Lot placed
with if for sale and further authorises the Auctioneer to use such photographs and
illustrations and any photographs and illustrations provided by the seller at any time in
its absolute discretion (whether or not in connection with the auction).
Catalogue illustrations are included at the discretion of the Auctioneer. Illustration
charges will be calculated on the particular category of sale. These charges are subject
to change. Irish Art Sale Illustrations: €150.00 full page, €100.00 half page, €50.00 other
sizes. Fine Art Illustrations: Scaled fee: €100.00 for lots sold for €3,000.00 and over,
hammer price, €50.00 for lots sold under €3,000.00 hammer price. All other sales:
€25.00 per illustration. All lots illustrated and not sold are charged €25.00 per illustra-
tion.
VAT
34. It is presumed, unless stated to the contrary, that the items listed herein are auc-
tion scheme goods as defined in the Finance Act 1995.
35. Artist’s Resale Rights (Droit de Suite)
Government Regulations (S.1. 312/2006)
Under this legislation a royalty (droit de suite) is payable to artists or the artist’s heirs (if
deceased in the last 70 years) of E.U. nationality on all works resold for €3,000 or more,
other than those sold by the artist or the artist’s agent.
The resale royalty payable is calculated as follows:
__________________________________________
From €3,000 to €50,000 4%
From €50,000.01 to €200,000 3%
From €200,000.01 to €350,000 1%
From €350,000.01 to €500,000 0.5%
Exceeding €500,000 0.25%
The total amount of royalty payable on any individual sale shall not exceed €12,500 The
seller is liable for payment (paragraph 7.1 of Government Regulations (S.1. 312/2006) of
this royalty on completion of the sale. The artist may request from the Auctioneer any
information necessary to secure payment.
The Auctioneer will automatically deduct the amount due from the proceeds of sale
and will hold in trust for the artist, their heirs or their representative for a period of 3
years from the date of sale. A vendor may choose to check the ARR Waiver on the Sale
Receipt Contract indicating that they accept sole responsibility for the payment and
authorises the Auctioneers to disclose their contact details to the artist, their heirs or
their representative.

8
FROM JAIPURWITH LOVE is a boutique rug company
specializing in hand made bespoke rugs. It was founded by
Elizabeth Morrison in 2013 following many exciting years
traveling in India, exploring its rich treasures and experienc-
ing its unique culture.
It’s a story of love, a passion for creativity and a desire to pre-
serve artisan craft in India. It was Elizabeths wish to harness
the creativity of artisans and keep alive the ancient skills of
weaving by bringing consistent work to the remote villages of
Rajasthan and Uttar Pradesh.
Today Elizabeth works with over sixty highly skilled artisans
who’s fathers and forefathers have woven before them, pro-
ducing rugs for major designers in the USA and Europe along
with many private clients in the Middle East and India.
HANDMADEWITH LOVE
Elizabeth Morrison
FOUNDER
Through the eyes of Elizabeth Morrison...
Lot 30:AN ART DECO DIAMOND BRACELET
Sophisticated and elegant,theArt Deco era has always resonated with me,I love the clean lines and
modernity and this bracelet ticks all the boxes.
Lot 36:A GOLD RETROTANK BRACELET
Bold and beautiful, this is a showstopper and very wearable.
Lot 37:A SAPPHIRE & GOLD COMPACT, BY CHARLES HOLL
The ultimate in luxury and craftsmanship.This is a truly exquisite piece.
Lot 48:A SAPPHIRE BRACELET, BY ILLARIO
This particular piece is not only beautiful but ever so chic, the back is as beautiful as the front.
30
36
89
103
131

11
Lot 54:A SAPPHIRE CUFF BRACELET, BY MARIO BUCCELLATI
This immediately caught my eye, bold yet dreamy with immaculate detailing, a signature piece that could be worn with jeans or evening
couture
Lot 65:A PAIR OF‘NERVAL’ EARCLIPS, BYVAN CLEEF & ARPELS
I was drawn to these earclips partly because of their wonderful size,as I like statement pieces but also because of their beauty and an unusual
marriage of wood and diamonds.
Lot 89:A GEM-SETAND DIAMOND/PENDANT BROOCH, BY FRED PARIS
I was drawn to this piece because of the vibrancy of colours punctuated with white diamonds and yellow gold, giving the impression of a
never ending ribbon, a truly glorious piece that’s just so beautiful yet versatile.
Lot 103:A RARE EMERALD & DIAMOND RING
I have always been drawn to Emeralds, they are by far my favorite gemstone.This particular ring is magnificent in every way!The colour
is truly remarkable.
Lot 131:A PEARL AND EMERALD SAUTOIR NECKLACE
This heavenly piece is elegance personified, a magical piece which reminded me of Mughal India and all its eye-watering treasures.This
would look stunning against a simple black turtleneck.
Lot 22:A GOLD CHAINWITHVICTORIAN DIAMOND & ENAMEL
This immediately caught my eye as the motif on the link can be found in old rug motifs from the
Mughal period, I also found this to be a practical yet very beautiful piece, and have always been
fascinated by enamel work.This is a piece that could be worn in many ways and with anything.
37
48
22
54
65

12
CONTACTS
Brian Coyle FSCSI FRICS
CHAIRMAN
James O’Halloran BA FSCSI FRICS
MANAGING DIRECTOR
j.ohalloran@adams.ie
Stuart Cole MSCSI MRICS
DIRECTOR
s.cole@adams.ie
Amy McNamara BA
FINE ART DEPARTMENT
amymcnamara@adams.ie
Eamon O’Connor BA
DIRECTOR
e.oconnor@adams.ie
Adam Pearson BA
FINE ART DEPARTMENT
a.pearson@adams.ie
Helena Carlyle
FINE ART DEPARTMENT
h.carlyle@adams.ie
Niamh Corcoran
FINE ART DEPARTMENT
niamh@adams.ie
Nick Nicholson
CONSULTANT
n.nicholson@adams.ie
Nicholas Gore Grimes
ASSOCIATE DIRECTOR
nicholas@adams.ie
Ronan Flanagan
FINE ART DEPARTMENT
r.flanagan@adams.ie
CONTACTS AT ADAM’S
Giorgia Chissa
FINE ART DEPARTMENT
giorgia@adams.ie

13
Claire-Laurence Mestrallet BA, GIA G.G
ASSOCIATE DIRECTOR
HEAD OF JEWELLERY & WATCHES
claire@adams.ie
©PhotoCredit:Doreenkilfeather
Note the auction starts at 4pm

Tuesday 8th
14
1
A STAINLESS STEEL ‘ARCEAU’ BRACELET WATCH, BY HERMÈS, CIRCA 2018
Of quartz movement, the round-shaped navy blue sunburst dial with Arabic numerals, minute dot
markers, elongated steel hands and date aperture at 6 o’clock, polished steel case with back secured
with 5 screws, navy blue alligator strap with stainless steel buckle signed Hermès, dial, case and
movement signed,‘H’crown,with maker’s case,with certificate of authenticity and invoice,case width (including
crown):4.3cm,length 23.7cm
€ 1,200 - 1,800

Tuesday 8th
16
2
A STAINLESS STEEL AND DIAMOND QUARTZ ‘HAPPY SPORT’
BRACELET WATCH, BY CHOPARD
7-jewel ETA quartz movement, the circular white dial with Roman numeral
quarters,black outer minute track with five minute markers,date aperture at 6 o’clock,
blued steel sword hands, polished centre seconds, containing five floating brilliant-cut
diamonds within collet-setting, to a polished steel case with back secured by 6 screws,
blue cabochon sapphire-set crown and lugs, fitted steel brick-link bracelet with double
deployant clasp, dial, movement and case signed, serial no. 11984**, model no. 8236,
with extra link,service papers,card of warranty and certificate of origin,maker’s box,case width
(including crown):3.4cm
€ 800 - 1,200

17
3
A SILVER ‘MOMBASA’ NECKLACE, BY HERMÈS
The torque style collar designed of polished 925 silver, signed Hermès,with maker’s mark for‘Emile Hermès’,French assay
marks,with maker’s pouch and box,length approximately 37.7cm,inner diameter approximately 11cm
€ 500 - 700
4
TWO SILVER BRACELETS, BY HERMÈS
A polished 925 silver torque bangle of square tapering form with pointed terminal, signed Hermès,with maker’s mark
‘HGB’, London hallmarks for London 2004, with maker’s pouch, length approximately 19cm, inner diameter approximately
6.8cm; Together with a tubular polished 925 silver ‘Lima’ bangle with magnet swivel opening, signed Hermès, with
maker’s mark‘EH’for Emile Hermès,French assay marks,with maker’s case,inner diameter approximately 5.8cm
€ 450 - 650

Tuesday 8th
18

19
5
A LONG ‘DUNCAN’ NECKLACE, BY HERMÈS, CIRCA 2015
Composed of a series of graduated lacquered buffalo horn‘anchor’ links, coloured in pink, yellow,
orange and mauve, signed Hermès,with maker’s case,length approximately 116cm
€ 400 - 600

Tuesday 8th
20
8
A TRI-COLOURED ‘TRINITY’ GOLD RING, BY CARTIER
A three interlocking hoops of rose, yellow and white gold, in 18K gold,signed Cartier,numbered,
Italian assay mark,French import marks,ring size J½ (50)
€ 550 - 650
7
A LADY’S STAINLESS STEEL AND GOLD AUTOMATIC ‘SANTOS’
BRACELET WATCH, BY CARTIER, CIRCA 1990
Jewelled automatic movement, the circular white dial with black Roman numerals, black out-
er minute track, secret signature at 7 o’clock, blued steel sword hands with centre seconds,
brushed and polished case with movement accessed through the glass, fixed gold octagonal
bezel with 8 decorative screws, faceted blue crown, fitted brushed link bracelet with decorative gold
screws and folding clasp,clasp,case,dial signed,serial no.090773536,six extra links,case width (including
crown):2.6cm
€ 700 - 900
6
A PAIR OF ROCK CRYSTAL ‘LUDO’ EARRINGS, BY POMELLATO
Each cushion mixed-cut rock crystal within collet-setting, mounted in 18K gold,signed Pomellato,
Italian assay marks,length 2.4cm
€ 700 - 900

21
10
A GOLD ‘COLLIER DE CHIEN’ BANGLE, BY HERMES, CIRCA 2018
The oval hinged bangled mounted in 18K yellow gold, signed Hermès, numbered, maker’s mark,French assay mark,English hallmarks,
with maker’s case,circumference 15.8cm,inner diameter 5.8cm
€ 2,500 - 3,500
Accompanied by its invoice from Hermès at BrownThomas in Dublin, datedAugust 13th 2019
9
A ‘MEDOR’ CUFF BRACELET, BY HERMES, 2018
The large‘collier de chien’ bracelet with gold plated hardware and pyramid studs on black matt leather strap, signed Hermès,
with maker’s pouch and box,T2,length 20.8cm
€ 400 - 600
Accompanied by its invoice from Hermes Monte-Carlo, dated December 28th 2018

Tuesday 8th
22
13
AN EMERALD FIVE-STONE RING
Set with a graduated row of oval-shaped emeralds with claw-set-
ting, to a scrollwork gallery, mounted in gold,ring size P½
€ 1,200 - 1,800
12
A VICTORIAN LADY’S DIAMOND AND ENAMEL FULL CASE POCKETWATCH,
BY J. WALTHAM, 1886
Of manual wind movement, the circular white enamel dial with Roman numerals with blued steel hands, second sub-
sidiary dial with milled winder and circular suspension loop, the front embellished with a central rose-cut diamond
encircled by florets of forget-me-nots, cream and off white enamel with studded border and repeated verso, mounted
in 18K gold, UK hallmarks for Birmingham 1886, with presentation inscription ‘To AdaWillis, from her fiancé Joseph M. Meade,
Christmas 1886’, the movement 3045391, case no. 12770, movement signed, with service papers dated 2015, length (including
suspension loop) 5.6cm,width 3.9cm
€ 800 - 1,000
11
A PAIR OF LATE 18TH CENTURY MOURNING GOLD BRACELETS, FRENCH
CIRCA 1773-1781,
Each basket-weave brushed gold links, ending with an oval-shaped glazed locket within bell flower borders, one with
hairwork lock, the other with rose gold initials, within their fitted case, mounted in 18K gold,French assay marks for Dijon
late 18th century, French assay mark for date between 1773-1781, maker’s mark ‘JB FL’, one with security chain, lengths 18.7 &
19cm
€ 1,000 - 1,500
14
A LATE 19TH CENTURY DIAMOND STAR
BROOCH/PENDANT, CIRCA 1890
Set with a central old brilliant-cut diamond,the rays set through-
out with old cushion, single and rose-cut diamonds, within an
openwork silver and gold mount,diamonds approximately 1.20ct total,
with detachable brooch fitting,length 3.4cm
€ 500 - 700

Tuesday 8th
24
15
A VICTORIAN TURQUOISE BANGLE, CIRCA 1860
The hinged bangle set with a domed cluster of cabochon tur-
quoise at the centre, between forget-me-nots set with similar-
ly-cut turquoises, with ropetwist and beading detailing, mounted
in gold,maker’s marks‘ET’,inside diameter 5.4cm
€ 700 - 900
17
A MID 19TH CENTURY TURQUOISE AND PEARL LOCKET PENDANT, CIRCA 1860
The front of the locket with an applied half seed pearl star motif at the centre within a surround of pavé-set
cabochon turquoises and similarly-set bale,the reverse plain rose gold,opening to reveal a glazed compart-
ment, mounted in 18K rose gold,French assay marks,length (including bale):5.2cm
€ 700 - 900
16
A VICTORIAN DIAMOND DRESS RING, CIRCA 1890
Composed of a marquise-shaped plaque set at the centre with an old
rectangular-cut diamond within a graduated old cushion and sin-
gle-cut diamonds surround,mounted in silver and gold,diamonds approx-
imately 2.00cts total,ring size M
€ 2,500 - 3,500
19
A 19TH CENTURY GEM-SET BROOCH, CIRCA 1880
Designed as a dragonfly, the closed-back rose-cut diamond wings to
open-back cushion-shaped ruby thorax and abdomen, accented by
rose-cut diamond eyes, mounted in silver and gold, French assay marks,
maker’s mark‘LAC’,length 2.7cm
€ 700 - 900
18
A LATE 19TH CENTURY CHRYSOPRASE AND
DIAMOND BROOCH, CIRCA 1890
The heart-shaped chrysoprase and rose-cut diamond trefoil with
an old single-cut diamond centre, with similarly-cut diamond
stem, mounted in silver and gold,with security chain, length 2.7cm
€ 300 - 500
15

Tuesday 8th
26
24
A VICTORIAN PEARL AND DIAMOND BANGLE,
CIRCA 1890
Of trifurcated knifewire design, the frontispiece set with four
old brilliant-cut diamonds between three button-shaped pearl
accents, mounted in 14K gold, French assay marks, with 14K gold
security chain,inner diameter 5.7cm
€ 1,500 - 2,000
23
A VICTORIAN CITRINE AND SEED PEARL
BROOCH
The oval-shaped citrine within collet-setting to a surround of
seed pearls, mounted in gold,length 2.3cm
€ 250 - 350
20

AN ART NOUVEAU PEARL AND GOLD
BRACELET, CIRCA 1905
The pierced oval foliate plaques accented with a central seed
pearl to fancy-shaped connectors, mounted in 18K gold, French
assay mark,maker’s mark,length 17.8cm
€ 700 - 900
22
A GOLD CHAIN WITH VICTORIAN DIAMOND AND ENAMEL ELEMENT/LINK
The long ropetwist chain necklace bound together with a gold Victorian bombé heart link highlighted
with rose-cut diamonds and blue enamel within floral detail, chain in 18K gold with maker’s mark ‘1AR’ for
Uno A Erre in Arezzo,chain length approximately 205cm
€ 3,000 - 4,000
21
AN EARLY 20TH CENTURY GOLD NECKLACE
WITH MATCHING BRACELET, CIRCA 1900
The fancy-link chain necklace with floral detail, together with a
matching bracelet, in 18K gold,French assay marks,necklace length
47cm,bracelet length 20cm
€ 1,200 - 1,800
20
23

Tuesday 8th
28
25
A PAIR OF SAPPHIRE AND PASTE CLIP BROOCHES, CIRCA 1950
Each clip set with colourless paste stones, accented with a cushion-shaped sapphire, mounted in white metal and gold,
lengths 4.5cm
€ 800 - 1,200
Please note that both sapphires were verbally tested at GCS laboratory in London inAugust 2020 and were found to
be natural, of Sri Lankan origin, with no indications of heat treatment.

29
26
AN ART DECO DIAMOND BRACELET, CIRCA 1930
Composed of openwork geometric panels with four bombé rectangular-shaped plaques, pierced and set throughout
with old European, baguette and single-cut diamonds, connected by rectangular-shaped buckle links, millegrain detail,
diamonds approximately 18.00cts total,with 18K gold security chain with French assay mark,length 19.3cm,width 2cm
€ 6,000 - 8,000

Tuesday 8th
30
27
AN EARLY 20TH CENTURY SINGLE-STONE DIAMOND RING
The old European-cut diamond at the centre weighing approximately 1.20ct accented with old single-cut
diamonds, between tapering shoulders of similarly and rose-cut diamonds, engraving detail on gallery and
hoop, mounted in platinum,ring size O
€ 1,500 - 2,500
29
AN EARLY 20TH CENTURY PEARL AND DIAMOND RING, CIRCA 1920
The central round-shaped pearl of white tint measuring approximately 9.83mm, within an old European and
single-cut diamond openwork geometric gallery, diamonds approximately 1.20ct total, ring size I½
€ 1,500 - 2,000
* Please note that the pearl has not been tested for natural origin
28
AN IMPORTANT FIVE-STONE DIAMOND RING
Composed of a central old brilliant-cut diamond weighing approximately 2.45cts, between graduated old
cushion-shaped diamonds with old single-cut diamond accents, the gallery of scroll work design, remaining
diamonds approximately 2.80cts total, ring size O½
€ 7,000 - 9,000
30
A FINE DIAMOND BRACELET, CIRCA 1925
The articulated bracelet formed of geometric openwork links set with old European and single-cut diamonds,
mounted in platinum, diamonds approximately 8.00cts total, French assay marks,numbered,length 18cm
€ 5,000 - 6,000
30

Tuesday 8th
32
31
A SILVER, GOLD AND RUBY CIGARETTE CASE, CIRCA 1935
The rectangular reeded case, with a gold polished plaque with squirrel and floral engraving accented with
circular cabochon rubies, the thumpiece set with calibré-cut rubies, in silver and gold, French assay marks,
numbered‘C2’,length 8.1cm,width 6.1cm
€ 600 - 800

33
32
AN ELEGANT PAIR OF RUBY AND DIAMOND CUFFLINKS,
BY CHAUMET, CIRCA 1925
Single-sided, each square plaque set with calibré-cut rubies, highlighted by four collet-set brilliant-cut
diamonds, to a T-bar terminal embellished with a line of similarly-cut rubies, accompanied with two
matching shirt buttons, all mounted in 18K gold,all signed Chaumet Paris,all with maker’s mark‘JC’for Joseph
Chaumet (mark registered between 1890-1928),French assay marks,with maker’s case,length 2.2cm
€ 2,500 - 3,500
Since its inception in the 17th century, the cufflink has been an item of opulence, bringing flair to an
otherwise humble sleeve.
Shirt cuffs were initially held together by a piece of string or ribbon, but the arrival of the stitched
buttonhole led the more fashionable to seek a different method.They settled on two buttons held to-
gether by a chain.This was threaded through the holes on the cuff,giving birth to what we now know
as the cufflink.At the time, they were referred to as ‘boutons de manchettes’ by French tailors or,
quite literally, sleeve buttons.They were particularly popular with King Charles II and his continued
use helped to establish the cufflink within high society.
It is thought that a further push was given to the fashion through the writing of Alexander Dumas.
In‘The Count of Monte Cristo’, written in 1844, a character from the book sports enormous dia-
monds on his shirt cuffs, sparking great envy in all those who see him. Not long after the book was
published, tailors began to capitalise on this small, but assertive, accessory.
Just under twenty years later, the London 1862World Fair put‘cuff jewellery’ to the foreground.
In keeping with Victorian ideals, cufflinks at this time were often quite detailed and could be
used to express any number of things, from social status to whether or not the wearer was
in mourning. Controversially, some men even had pictures of their mistresses
stowed in their cufflinks, hidden underneath a secret mechanism.
In 1876, cufflinks were made readily available to the wider public
through mass production. George Krementz was a German immi-
grant who was inspired by the processes applied to bullet manu-
facturing during the industrial revolution. He took these same
methods and employed them to create cufflinks. By the early
1900s, more cufflinks were being worn than ever. In 1924,
the Boyer fastener system was invented, making cufflinks
easier to wear and secure.This remains one of the most
popular methods of fastening cufflinks in the world
today.
Towards the end of the 20th century, the ever-ris-
ing trend of cufflinks temporarily ceased as men’s
shirt makers began producing shirts with ready-but-
toned cuffs.The cufflink had been made superfluous.
However, the unnecessary and the luxuriant go hand in hand and it
was not long before the fashion of the French cuff and its jewelled
companion once again took root.

Tuesday 8th
34
33
AN ART DECO DIAMOND AND EMERALD BRACELET, CIRCA 1925
Of articulated design,composed of openwork geometric links set with old European,square and baguette-cut
diamonds accented by rectangular-cut emeralds, millegrain-set throughout,diamonds approximately 15.00cts total,
length 18.7cm
€ 14,000 - 18,000

Tuesday 8th
36
34
A RETRO RUBY AND DIAMOND LAPEL WATCH, CIRCA 1945
The stylised surmount of polished gold scalloped design, embellished by calibré-cut rubies within channel-setting and old
European and single-cut diamonds, suspending a 17 jewelled manual wind watch, the circular silvered dial with Arabic numerals
and bluedsteel sword hands, surmount mounted in 18K gold and platinum,pins mounted in 14K gold and case mounted in 9K gold,French
assay marks,movement signed 'Swiss Made' and 'ETSWORMS',length 7.5cm,case width1.8cm
€ 1,200 - 1,800
The term‘retro’ in the context of jewellery defines an era of design which reacted to the unprecedented cultural changes as a conse-
quence ofWorldWar II. From the austerity experienced during the war, to the economic boom and steadfast reconstruction of new
wealth following, no period in history has seen such societal shifts of this magnitude.Thus, each piece of retro jewellery is communi-
cative of complex transitional era, possessing an incomparably distinct air of history that is inimitable today.
Adorning oneself in jewellery continued to be in fashion throughout the war, remaining as a valuable source of portable capital in a
time of uncertainty, though how this was achieved was changed. Rather than ceasing output, jewellery houses reinterpreted popula-
rised 1930’s designs, renowned for their joie de vivre spirit of creativity.The continuing interest in this motto of‘live and forget the
past’, marked an effort to bring a sense of exaltation into an era marred by war through fashion, in spite of a scarcity of materials.
Jewellery design found influence in the avant-garde art deco forms of the 1930’s, while complementarily manipulating the functional
aesthetics of industrial design to create boldly geometric and sculptural pieces.
When the war ended in 1945, jewellery design changed accordingly. Dior’s‘new look’ exemplifies the redirection and diversification
of fashion to that of opulence; bringing forth an increased use of precious stones and naturalistic inspiration.

37
36
A GOLD RETRO BRACELET, CIRCA 1940
Of tank design, the articulated gold band composed of alternate rectangular concave pyramidal and tubular
panels, in 18K gold,French import mark,length 18cm,width 1.8cm
€ 4,000 - 5,000
35
A GOLD RETRO BRACELET, CIRCA 1940
Of tank design, the articulated bi-coloured band composed of a series of geometric links with reeded details
and tubular-link connectors, in 18K yellow and rose gold,French import mark,length 18.8cm,width 2.5cm
€ 5,000 - 6,000

Tuesday 8th
38
Mokume Gane is a 17th century term, originating in Japan, referring to the metalwork process which uses a
mixed-metal laminate to create a design of layered patterns. Initially used in the decoration of samurai swords, the
word Mokume Gane translates from Japanese as 'Wood Grain Metal' or 'Wood Eye Metal'.The aim of this process
is to present the illusion of natural wood grain, referencing eyes, burls, swirls and layers.This distinctive pattern
is created by fusing various metals into a 'billet', or stack of metals.The billets are then folded, forged and carved
to create the natural grain-like appearance.
Mokume Gane uses precious metals that are long lasting and incredibly durable.Traditionally, copper was used to
achieve this look, being of particular importance to knifemakers and metalsmiths who work on a larger scale. On
account of its more delicate nature, jewellers tend to place a greater emphasis on silver and gold when incorpo-
rating the method into their pieces.
37
A RARE SAPPHIRE AND GOLD COMPACT, BY CHARLES HOLL, CIRCA 1945
The rectangular case composed of a geometric abstract pattern of tri-coloured gold stripes inspired by the ancient
Japanese metalworking technique of mokume-gane, decorated with fancy-cut sapphires within gold zig-zag bor-
ders to each end, the thumbpiece set with a step-cut sapphire opening to reveal a mirror lid and glazed powder
well compartment, in 18K gold,French assay marks,maker’s mark for Charles Holl,numbered,width 7.4cm,length 4.9cm,
depth 1.1cm
€ 4,000 - 6,000
Charles Holl was an exceptional French jeweller whose workshop enabled the designs of Cartier and Van
Cleef & Arpels during the 1930s ‘Golden Era’. Holl’s aesthetic, knowledge and skill, along with his reputation
as a master setter, was an excellent match for luxury jewellery maisons and he was often employed to carry out
specific commissions. Holl specialised in particularly intricate mounts, such as calibré-set mountings, with one of
his signature settings being the basket-weave pattern. Each setting was perfectly chosen to best complement the
gemstones with which he worked. Holl’s aim was to transform the ordinary into a work of art, beautifully adorn-
ing everyday objects with precious materials, as is seen with the compact on offer in this sale.

Tuesday 8th
40
38
AN 18K GOLD AUTOMATIC CALENDAR ‘TURNOGRAPH’ WRISTWATCH,
BY ROLEX, CIRCA 1960
26-jewel Cal.1570 automatic movement, circular silvered dial with applied baton hour markers, sweep
centre seconds, magnified date aperture at 3 o’clock, polished case with calibrated thunderbird bezel,
screw down Oyster crown and screw back, fitted Rolex brown leather strap, rose gold Rolex buckle (possi-
bly plated), case in 18K gold with Swiss assay mark, case, dial and movement signed, model no. 1625, serial no.
15565**, with spare 18K gold bracelet signed Rolex with Swiss assay mark, with Rolex original box, case width
(including crown):3.6cm
€ 3,000 - 5,000
39
A STAINLESS STEEL MANUAL WIND WATCH, BY ROLEX,
CIRCA 1950
15-rubies manual wind movement,the circular case with silvered dial,applied girl hour
markers, black outer second divisions with luminous dot 5 minute markers, gilt dagger
hands,centre seconds,signed crown,dial and movement signed, serial no.781621,model
no.6082,with elastic strap (not illustrated),(centre second hand missing),case width (including
crown):3.6cm
€ 500 - 700
40
AN 18K GOLD ‘BUBBLEBACK’ WRISTWATCH, BY ROLEX, CIRCA 1945
17-jewel automatic movement, circular silvered dial with applied gold Roman and baton hour markers,
spade hour and minute hand, black centre second, black second chapter ring, 18K gold polished and
brushed case, plastic crystal, screw down case back, 18K gold crown, on brown Rolex leather strap with 14K
gold buckle,case,dial and movement signed,movement no.N6692*,model 3131,serial no.56919*,Swiss assay mark,
with original maker’s box,case width (including crown):3.4cm
€ 1,500 - 2,500

Tuesday 8th
42
It is ironic that René Boivin is a name well known in the jewellery world, as his life is relatively unknown. It is also interesting to
note that it was not always René Boivin that crafted the pieces that bear his name.
Boivin was born in Paris in 1864, he began his career in jewellery at a young age and, by the time he died in 1917, had become an excel-
lent designer and engraver, leaving behind him a wonderful legacy.
During the 1890s, he purchased several workshops, establishing himself at rue St.Anastase, then relocating in 1893 to rue deTurbigo.
He married Jeanne Poiret, the first female jeweller of the 20th century (sister of the famous couturier) and together they created some
of the most exciting and bold fashions of the early 1900s.
In the early 20th century Japanese art and antiques were very much en vogue and, as Boivin had a passion for antiques, it is no surprise
that this trend influenced his own jewellery designs. His skill as a goldsmith can be appreciated from beautifully finished pieces and his
interest in animals and nature inferred through jewellery themes.
After René’s death, Jeanne assumed control of the business and moved to avenue de I’Opera with Juliette Moutard and her daughter
Germaine Boivin. They worked together for forty years, joined by Suzanne Belperron between 1921 and 1932.After Jeanne’s death in
1959 the house was taken over by Louis Girard and in April 1991 the company became part of Aspery Group, with the main office and
store located on avenue Montaigne.

43
41
A GEM-SET AND DIAMOND PENDANT/BROOCH, BY RENE BOIVIN, CIRCA 1935
The stylised butterfly, the wings decorated with cushion-shaped sapphires and rubies accented by rose-cut
diamonds, the body modelled as a gold spring with a pearl, the eyes embellished with rose-cut diamonds,
mounted in 18K gold,length 1.8cm,width 3.7cm
€ 4,000 - 5,000

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Born in 1899, Jean Fouquet was the son of Georges and grandson of Alphonse Fouquet and, thus, part of a strong line of
Parisian jewellers. He grew up with the trade and worked directly with the family firm for several years from 1925. Georges Fouquet
was particularly taken with the modernist movement sweeping France and he wrote numerous pieces on his belief in contemporary
jewellery design. He expressed that jewellery should not be seen solely as a financial investment, but rather as a work of art in its own
right. Embracing his father’s guidance, Jean began creating expressive and bold pieces that proudly adorned the new, modern woman.
In 1925, Georges was honoured with the position of president of the jewellery group exhibiting at the Exposition desArts Decoratifs
et Industriels. He encouraged those participating to push the boundaries of their designs and this is now regarded as one of the key
moments of the Art Deco movement.As a participating
member, Jean excelled and was awarded a medal for his
contribution.
Passionate about expanding French craftsmanship, Jean
exhibited at the Salon des Artists Decorateurs from
1926-28.The Salon was set up in 1901 to satisfy the in-
creasing interest in French applied arts.
Jean’s pieces were minimalist in style, featuring strong
geometric shapes and industrial motifs. He favoured
black and white tones which were then contrasted with
a primary colour. He was drawn to materials for their
hue and texture, which would, in turn, become central
to his designs. 'Jewels', he declared, 'must be composed
of forms legible from a distance, the miniature is detest-
able'. In accordance with his avant-garde approach, he
created bold cuffs, wide bangles, asymmetric pendants
and striking cocktail rings, his modernistic designs hold-
ing their appeal to this day.
A key innovator of the Art Moderne style, he was pas-
sionate about the need for newness and became a found-
ing member of the Union desArtistes Modernes,a group
committed to the promotion of modern art and design.
Their mission was to abandon the past traditions and
adopt new ways of thinking.
Sadly, this promising and vibrant movement became
blighted by the rise of the Nazi party and the subsequent
onset of war. An activist through and through, Jean re-
fused to work during the French occupation. He joined
the ‘Decoration’ group of the National Arts Front, an
organisation acting under General de Gaulle to restore
France to her greatness, and even wrote the editorial for
its first bulletin.
Post-war, Jean once again attacked his work and threw
himself into his innovative designs, providing again for
his private clients.The pieces were made by Charles and Pierre Fertey, the son and grandson of George's Fouquet's former workshop
manager, Louis Fertey. In 1951, he partook in a group exhibition at the Bernheim-Jeune Gallery in Paris, an establishment famed for
showcasing new ideals.
Jean passed away in 1961, leaving behind a legacy of audacious design. His daring concepts have not aged, with his pieces sitting
proudly on any 21st century wearer.As Le Courbusier once said,‘To be modern is not a fashion, it is a state.’
©MAD,Paris
Paris,MuséedesArtsdécoratifs

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A RARE RUBY AND DIAMOND ‘TOURBILLON’ DRESS RING,
BY JEAN FOUQUET, CIRCA 1950
The gold threaded spatula design, set with two old brilliant-cut diamonds between a circular-cut
ruby, mounted in 18K gold,signed Jean Fouquet,maker’s mark‘PF’for Pierre Fertey,ring size H¾
€ 3,500 - 4,500

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43
A PAIR OF DIAMOND EARCLIPS, CIRCA 1950
Of scroll design with scalloped detail, set throughout old Euro-
pean and single-cut diamonds, diamonds approximately 4.50cts total,
length 2.5cm
€ 3,000 - 4,000
47
A FINE LADY’S DIAMOND COCKTAIL WATCH, BY BOUCHERON, CIRCA 1950
17-jewel manual wind movement, rectangular silver dial with stud hourmarkers between tired brilliant-cut diamond
lugs,to a similarly and baguette-cut diamond bracelet,brilliant-cut diamond clasp,dial signed Boucheron,movement signed
Blancpain, case and clasp signed Boucheron Paris, numbered on clasp and case, movement no. 596560, case no. 76416, clasp no.
74921,maker’s mark on clasp‘RS’,mounted in 18K gold,diamonds approximately 8.50cts total,French assay marks,length 17.9cm
€ 8,000 - 10,000
44
A SAPHIRE AND DIAMOND COCKTAIL RING,
CIRCA 1935
Of Odeonesque design, the centre set with calibré-cut synthetic
sapphires between tiered shoulders set with single-cut diamonds,
the pierced gallery with zig-zag detailing, mounted in 14K gold,
maker’s mark,K½
€ 500 - 700
46
A PAIR OF CULTURED PEARL AND DIAMOND
PENDENT EARRINGS, CIRCA 1955
Each stylised ribbon scroll surmount set with brilliant and ba-
guette-cut diamonds, finishing with a line of brilliant-cut di-
amonds suspending a South Sea cultured pearl of white tint
measuring approximately 15mm, mounted in 18K gold, diamonds
approximately 3.00cts total,French import marks,length 4.6cm
€ 2,500 - 3,500
45
A PAIR OF DIAMOND CLIP BROOCHES,
CIRCA 1950
Each spray composed of knifewire bars set with brilliant, single
and baguette-cut diamonds, embellished by a ribbon of further
single-cut diamonds, mounted in 18K gold, diamonds approximately
3.50cts total,French import marks,lengths 4cm,widths 2.3cm
€ 2,000 - 3,000

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48
A SAPPHIRE BRACELET, BY ILLARIO, CIRCA 1955
The supple and articulated bracelet composed of two rows of baguette-cut synthetic sapphires between borders of gold beading
detail, mounted in 18K gold,maker’s mark for Illario,French import mark,length 18cm
€ 3,500 - 4,500
Brothers Carlo,Vincenzo and Luigi Illario were a family of goldsmiths/jewellers fromValenza.They established
a jewellery firm in 1920, with each brother taking on their own position. Carlo, who was trained in Paris, headed the production,
Vincenzo was a stone setter who also selected the precious gems and Luigi was head of administration.
The brothers worked under their own name, as well as for bigger firms, and were involved with several different jewellery com-
panies. Some of the most renowned goldsmiths inValenza practised in their workshop, guaranteeing that each product was crafted
with exceptional quality.
The company brand from 1935 had been 26AL and the business name was under Carlo Illario e Filli.Traditionally, ownership
was handed down from father to son and, in 1953, even Luigi’s sons, Giovanni andVittorio, became a part of the family business.
From the end of the 1900s,Vittorio and his sons, Pier Luigi and Edoardo, carried on as owners of the company with the ‘Illario
1920’ logo.
In 1996, Giovanni Illario, along with his sons Carlo and Gian Luca, agreed withVittorio and his sons to set up a new company that
would allow them to be more active in the foreign market.This led to a split in Societa Carlo Illario and to the creation of the new
Societa Carlo Luca della Quercia which pursues the traditions and spirit of the original company.
Their skilled craftsmanship, reputation of excellence and use of innovative goldsmith techniques caught the attention of well-es-
tablished retailers. Throughout the 20th century, Casa Illario created unique pieces of haute joaillerie for the most famous Italian
maisons: Bvlgari, Cusi, Faraone, Fasano, Fecarotta, Settepassi,Ventrella and others.The company’s partnership with Bvlgari was
particularly long standing, running from the 1950s through until the 1970s. In this time, Illario made many pieces for Bvlgari, in-
cluding the now iconic Serpenti watch bracelet.ElizabethTaylor was a consistent patron,whose personal style and love of dramatic
jewels found its home in Illario’s creations.
Alongside manufacturing for other brands, Illario produced a vibrant assortment of jewellery under their own name.They were
known for their fine gemstones and unusual materials, such as polychrome enamel, tortoiseshell and mother of pearl. Striving to
stand out, Illario used new techniques in its pieces, such as black rhodium plating to create a contrasted look.The quality of the
craftsmanship is clear in all jewels that bear the Illario name, making them highly desirable.

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A DIAMOND SPRAY PENDANT/BROOCH, BY TIFFANY & CO, CIRCA 1955
Of reeded floral spray design, highlighted with old European and single-cut diamonds, mounted in 18K
gold,signedTiffany & Co.,diamonds approximately 0.70ct total,length 4.7cm
€ 1,500 - 2,000

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50
A RETRO DIAMOND COCKTAIL RING, CIRCA 1950
Of bombé design, centrally set with a line of old European-cut diamonds between single-cut
diamond borders, to a gallery of openwork zig-zag design, mounted in gold, diamonds approxi-
mately 1.50ct total,ring size L½
€ 1,800 - 2,200
52
A GOLD ‘SPILLE ANIMALI’ NOVELTY BROOCH, BY BUCCELLATI
Designed as a textured gold parrot, in 18K gold, signed Buccellati, numbered, with maker’s
case, length 5cm
€ 1,500 - 2,000
Accompanied with a value certificate from Buccellati in Milan, stating replacement value to
be $7,850, dated November 25th 2015
51
Of swirl knifewire design centrally set with four graduated old brilliant-cut diamonds within
a four-claw setting, mounted in 18K gold and platinum, French assay marks, maker’s mark ‘PA’, ring
size R
€ 1,200 - 1,800
53
Of bombé design, the reeded terminals embellished with single-cut diamonds within scal-
loped detail, mounted in 18K gold,ring size P½
€ 600 - 800

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54
A RARE AND MAGNIFICENT SAPPHIRE-SET CUFF, BY MARIO BUCCELLATI, CIRCA 1955
The wide cuff bangle with side hinge, composed of textured gold leaves accented by circular-cut sapphires set in silver, the central
flowerhead set with a circular-cut sapphire pistil and petals, mounted in silver and 18K gold, signed M. Buccellati, with maker’s case, inner
circumference approximately 17cm,inner diameter 5.6cm, width 3.4cm
€ 15,000 - 25,000
The world-renowned Italian house of Buccellati is famous for its
textural gold jewellery and exquisite silver objects.The pieces are
bold and instantly recognisable, with a style that references the
great goldsmiths of the Renaissance.
The family firm was founded by Mario Buccellati (1891-1965).
The young jeweller was inspired by the forgotten antique tech-
niques of ancient Greece, the Middle Ages and the Renaissance
and he sought to revive them using traditional tools and methods.
In 1919 he opened his first jewellery store in Milan, practising
these ancient traditions. Buccellati pieces are noted for their rich
textural qualities which are achieved through painstaking tech-
niques. The signature rigato engraving effect is completed by a
process using tiny hand-applied stripes to give gold surfaces the
appearance of silk fabric. Other methods used include telato,
obtained by fine cross-hatched lines, and modellato, the most
delicate engraving technique, which consists of reproducing sev-
eral designs chiselled in three dimensions on a minuscule scale,
mainly used for the decoration of the borders. Furthermore, seg-
rinato combines engraving in all directions to create a palimpsest
of texture and ornato draws on the influence of nature, forming
shapes inspired by animals, leaves and flowers.These techniques
are used to create pieces which look and feel like silk, damask,
tulle, lace, or linen. The juxtaposition of precious stones with
texturized metals is distinctly unique and synonymous with the
Buccellati house.
Mario Buccellati’s unique abilities for drawing and his creative
mind led him to become one of Italy’s most celebrated jewel-
lers. The royal families of Europe, great cardinals of Rome and
the Pope were amongst his clientele. Gabriele D’Annunzio, one
of Italy’s most famous poets and a personal friend of Buccellati,
once referred to him as the‘Prince of Goldsmiths’. If the endorsement of his clients was not enough, Buccellati received international
recognition when he exhibited at the 1920 Exposition in Madrid, selling his entire collection.
The expansion of business internationally began in 1951 with NewYork. After the passing of Mario Buccellati in 1965, he was suc-
ceeded by his sons, among them Gianmaria, who took over the business. Gianmaria had apprenticed under his father at a young age,
embracing the antique techniques treasured by him, designing every piece produced in the ateliers. In 1970, under Gianmaria and his
brother Luca, Buccellati further expanded the business to Asia, establishing the first Italian Jewellers in Hong Kong.This was swiftly
followed by subsequent stores inTokyo, Osaka and Nagoya in the following years. Buccellati became the first Italian jewellers to launch
a boutique in the renowned PlaceVendôme of Paris in 1979. In accordance with tradition, Gianmaria, after his passing in 2015, was
also succeeded by one of his children, his daughter Andrea, the current present and creative director of the Buccellati group.
Over the century, the Buccellati group have widened their creations to silver objects, predominately unique, one-off pieces, marked
with the typical characteristics of the house. Recently the group have expanded further, creating a line of luxury watches, both men
and women’s pieces, and a line of engagement rings.
©BuccellatiHistoricalArchives

53
©BuccellatiHistoricalArchives

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55
AN EMERALD AND DIAMOND BRACELET,
CIRCA 1960
Composed of continuous bombé S-shaped links with honeycomb
openwork design, accented with circular-cut diamonds and emer-
alds throughout, mounted in 18K gold,maker’s mark‘MR’,Italian assay
mark (Milan pre-1968),length 19.5cm
€ 3,500 - 4,500
57
A DIAMOND FLOWER RING, CIRCA 1965
Designed as a flowerhead within ropetwist detail throughout,
highlighted with four brilliant-cut diamonds, mounted in gold, ring
size K½
€ 1,200 - 1,800
56
A GEMSET NOVELTY BROOCH, BY BOUCHERON,
CIRCA 1965
Designed as an openwork textured gold turtle,with fancy-shaped
turquoise cabochons for the shell and ruby cabochon for eyes,
with articulated head and feet, mounted in 18K gold,signed Bouche-
ron Paris,numbered,French assay marks,length 3.7cm
€ 2,000 - 3,000
58
A RUBY PENDANT/CHARM, CIRCA 1965
The circular pendant/charm depicting a central openwork bom-
bé turtle accented with ruby cabochons on the head,within a sun-
burst gold plaque and gold frame with ropetwist detail, mounted
in 18K gold,French import mark,length (including bale):4.7cm
€ 800 - 1,000
56
55

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59

A DIAMOND RING, CIRCA 1965
The reeded bombé mount highlighted at the centre with two
lines of graduated brilliant-cut diamonds, mounted in 14K gold,
diamonds approximately 0.50ct total,ring size J
€ 800 - 1,000
60
A GEM-SET CHARM BRACELET, CIRCA 1965
The fancy-link gold chain suspending five stylised lanterns dec-
orated with amethysts, citrines, garnets, tourmalines etc... with
beading detailing, mounted in 18K gold,length 21.5cm
€ 600 - 800

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A LARGE JADEITE JADE, RUBY AND EMERALD
PENDANT
Composed of a large engraved colourless jadeite jade with in-
scriptions, frame by two textured gold dragons with cabochon
emeralds for eyes and two cabochon ruby accents, mounted in
18K gold, French assay marks, maker’s mark‘BJ’, length 7cm
€ 3,000 - 4,000
61
DIAMOND, PEARL, RUBY AND EMERALD
COCKTAIL RING, CIRCA 1960
The baroque pearl trapped within three talons of a dragon’s claw,
entwinned a by a snake decorated with a brilliant-cut diamond body
and cabochon rubies for eyes, to a textured gold mount accented
with four circular-cut emeralds, mounted in 18K gold,diamonds approx-
imately 0.80ct total,ring size L
€ 2,500 - 3,000
While the subject is still open for debate, the majority of sources
conclude that the‘ball & claw’ design first appeared in China.With
the expansion of trade during the 17th and 18th centuries, marvels
from the east flooded into the European market and many designers
assumed artistic affectations in order to emulate Chinese works.
Thus, we see the ball and claw being integrated into several facets of
European design.
In China, the motif is depicted as a dragon gripping a ball derived of
crystal, pearl or other precious material. In Chinese mythology, the
dragon is symbolic of the emperor,with a ball being representative of
purity and wisdom.By grasping these traits in his talons,the emperor
swears to uphold these ideals and to protect them from evil forces
which would otherwise bring destruction.
Four-word phrases are popular within Chinese culture and have
been used for the last three thousand years.With each word car-
rying just one syllable, there is a delight in conjuring enchanting
imagery and complex thoughts in four simple sounds.
Inscribed on this pendant are the words ‘quang jin pei yu’,
which literally means ‘the clanking of gold and the wearing of
jade’. Reading further into this, the phrase denotes wealth and
beauty, wishing these attributes on the wearer.This collection of
words occurs frequently in the poetry of theTang and Sung dy-
nasties and is easily recognised by those with an understanding
of the language.

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64
GOLD BROOCH, BY HERMÈS, CIRCA 1965
Of floral design with polished and textured gold leaves, in 18K gold,signed Hermès Paris,with maker’s mark‘CF’for Cristofol,French assay
marks,scratched inventory number,length 5.2cm
€ 1,200 - 1,800
Cristofol was established in 1830 and is the oldest high jewellery workshop in Paris.The workshop has worked for Hermès, Cartier,
René Boivin, JAR, Fred, M. Gérard, Marchak amongst many others.
63
A GOLD ‘PRELUDE’ NECKLACE, BY HERMÈS
Designed as a series of interwoven textured links,set to the front with a stylised belt buckle, in 18K gold,signed Hermès,numbered,French
assay marks,maker’s mark‘Sté CF’for Cristofol,length 32.6cm
€ 10,000 - 15,000
The‘Prelude’ necklace was first introduced in the Hermès collection in 1954, again in 1964 and last in Spring 1979.The collection
also featured later a matching bracelet, earrings and a ring.
Cristofol is a workshop which was founded in 1830.They have worked for Cartier, René Boivin, JAR, Fred, Hermès amongst others.
Hermès, a brand whose name is now synonymous with high-end fashion, began its journey with a slightly different product. Her-
mès was established as a leather shop in 1837 byThierry Hermès and specialised in harnesses for horses. Filled with ambition,Thierry
wished to create the finest leather pieces for the carriage trade and his dedication led to huge success. By 1855, the company was
awarded first prize at the Paris Exposition and, just under ten years later, Hermès was again recognised, this time at the Exposition
Universelle.
In the late 1870s,Thierry’s son and successor, Charles Emile Hermès, decided to expand the company’s range and incorporated the
manufacture of saddles into its booming business. He also opened at a new location near the Palais de l’Elysee and sought to supply a
complete range of leather goods to the equinely inclined.
In keeping with tradition, Charles’ sons assumed control following his retirement.Adolphe and Emile-Maurice were now at the head
of an international business, with their goods selling to the rich of Russia and Asia.To highlight their new partnership, the name was
altered to Hermès Frères.
They continued to nurture the brand and Emile-Maurice was the first man to introduce the zipper to France. He obtained exclusive
rights to use it in leather, bringing out innovative clothing designs and accessories. 1922 saw the first Hermès handbags luxuriously
gracing the shelves and,in 1929,the first collection of ladies’clothing was launched.Quick on its heels was the now infamous Hermès
scarf, which was received with great acclaim.
In 1938, Robert Dumas, also a member of the Hermès family, decided the time had come to dip into jewellery design. Inspired by the
bold and sturdy form of a ship’s anchor, the Chaîne d'Ancre bracelet was born, along with the future of Hermès jewellery.With the
death of Emile-Maurice in 1951, leadership passed to Robert and he continued to expand the jewellery line.
The 1970s celebrated the vast expansion of Hermès, with stores opening globally throughout Europe, Japan and the USA. Starting
from a few stores, the brand now has over three hundred outlets worldwide.
With over 180 years in business, Hermès ability to foresee the needs and desires of its customers has established it as one the leading
French retailers, an item from Hermès never failing to evoke admiration.

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66
A DIAMOND BROOCH WITH MATCHING EARCLIPS, BY VAN CLEEF & ARPELS,
CIRCA 1960
The large stylised textured gold flowerhead highlighted with a brilliant-cut diamond at the centre, together with a pair
of matching earclips, mounted in 18K gold,signed Van Cleef & Arpels,numbered,maker’s mark for‘Pery & Fils’,French assay marks,
brooch length 4.1cm,earclips length 2.5cm
€ 6,500 - 7,500

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65
A PAIR OF WOOD AND DIAMOND ‘NERVAL’ EARCLIPS, BY VAN CLEEF & ARPELS,
CIRCA 1970
Each modelled as a flowerhead, the carved and polished‘bois d’amourette’ petals surround to a brilliant-cut diamond
and gold stamen cluster at the centre, mounted in 18K gold, signedVCA, numbered, French assay marks, maker’s mark forVan
Cleef & Arpels,length 3.8cm
€ 8,000 - 12,000

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67

A PAIR OF DIAMOND CUFFLINKS
The cufflinks designed as polished spheres, randomly set with
old single-cut diamond star-set, to a chain-link connections,
mounted in platinum,French assay marks
€ 800 - 1,000
69
TWO DIAMOND RINGS
Each bombé mount, star-set with brilliant-cut diamonds, one
mounted in 18K yellow gold and the other mounted in 18K white gold,
diamonds approximately 0.70ct total,French assay marks,maker’s mark
‘JA’,ring size O½
€ 1,200 - 1,800
71
A SAPPHIRE AND DIAMOND CLUSTER RING
The cushion-shaped sapphire weighing approximately 2.70cts
within a frame of brilliant and single-cut diamonds, diamonds
approximately 0.60ct total, ring size L (adjustable)
€ 2,000 - 3,000
Accompanied by a report from GCS laboratory in London,
stating that the sapphire weighing approximately 2.70cts is
of Sri Lankan origin, with no indications of heat treatment.
Report no. 81281-84, dated October 15th 2020
68
A LADY’S SAPPHIRE, DIAMOND AND LAPIS LAZULI
COCKTAIL WRISTWATCH,
BY BUECHE-GIROD, CIRCA 1965
The 17-jewels manual wind movement, with cushion-shaped lapis
lazuli dial with circular-cut sapphire and brilliant-cut diamond bezel,
to a fitted textured gold strap, in 18K gold, dial and movement signed,
maker’s mark on clasp, diamonds approximately 1.20ct, case width 2.7cm,
length 15.7cm
€ 2,000 - 3,000
70
LADY’S 18K GOLD AND DIAMOND-SET COCKTAIL
WATCH, BY OMEGA, CIRCA 1965
The 17-jewel Cal.620 manual wind movement,oval-shaped silvered
dial with applied bi-coloured hour markers, polished case with di-
amond-set bezel and snap on back, fitted maker’s integral bracelet
with locking clasp, dial and movement signed, crown and clasp with
Omega logo,case no.823279**,in 18K gold,Swiss assay mark,case
width (including crown):2.9cm,length 17.1cm
€ 1,500 - 2,500
72
DIAMOND TIE PIN
The brilliant-cut diamond within a six-claw setting, to a gold pin
with end cover, mounted in gold,length 6.2cm
€ 800 - 1,000
72

63
Bueche-Girod was established in 1947 by Vital Bueche and his wife, Edwige Girod. As master watchmaker,Vital’s focus was
dominated by the design and craft of timepieces. His skill led to the company holding several patents, including the moon-phase and
plain calendar. Unfortunately,Vital’s expertise was recognised by larger companies, such as Cartier and Bulova, and he ceased his
work with Bueche Girod and took on separate employment.
Drawing on his legacy, Bueche Girod continued to produce watches, albeit in greatly reduced volumes. Capitalising on Girod’s
jewellery background, the company became known for their decorative and elaborately designed ladies’ watches.The scarcity in pro-
duction, coupled with the ultimate closure of the company, resulted in Bueche Girod watches becoming sought-after collector items.
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73
A ROCK CRYSTAL AND AMETHYST MULTI DROP
PENDANT, BY VIVIANNA TORUN BÚLOW-HUBE FOR
GEORG JENSEN, CIRCA 1970
The large pendant suspending polished rock crystal and amethyst drops,
mounted in silver,with maker’s mark for Georg Jensen since 1945,stamped‘925 S’&
‘Denmark’,numbered‘135’,length 9.5cm,width 6.8cm
€ 700 - 900
For similar examples of this pendant, see pages 53 & 162 from‘Georg Jen-
sen,ATradition Of Splendid Silver’ by Janet Drucker
74
A SODALITE SILVER RING, DESIGNED BY VIVIANNA
TORUN BÚLOW-HUBE FOR GEORG JENSEN
Composed of an oval-shaped cabochon sodalite plaque, with a wrap-around
hoop, mounted in silver,with maker’s mark for‘Georg Jensen’since 1945,numbered
‘190’,stamped’925 S’silver &‘Denmark’,ring size O½
€ 300 - 500
75
A SILVER BROOCH, DESIGNED BY HENNING KOPPEL
FOR GEORG JENSEN, CIRCA 1950
Designed as an abstract sail boat, with maker’s mark for‘Georg Jensen’since 1945,
numbered‘375’,stamped‘925 S Denmark’,width 7cm
€ 150 - 250
Born in Malmö, Sweden in 1927 ViviannaTorun Bülow-Hübe,
moved to Paris in the 1950s to pursue her career as a jewellery designer. She
quickly gained recognition for work and became one of the most important
20th century jewellers and silversmiths. In 1960 she received the Lunning
Prize, an award for emerging innovative Scandinavian designers, and a gold
medal at the MilanTriennale. Following these successes she met Danish sil-
versmith Georg Jensen, with whom she designed for exclusively from 1969.
Torun, is how she is known and how she signs her work, is best known for
her distinctive style of contemporary, elegant and simple designs which in-
clude smooth stones
Torun started to work with Jensen in 1967 and is the designer behind some
of the most famous Georg Jensen jewellery designs,including 'Mobius','The
Vivianna / OpenWatch', 'Beans', 'Forget me knot' and 'Hidden Heart'. To-
run's work was inspired by natural shapes, transforming metal into flexible
forms such as flowers, leaves and flowing water – especially the beach, she
remarked on her own designs, which "should enhance and move with the
body so that it blends with you. It must not overwhelm, but enhance you".
She created sculptural, simple, spiral forms that winded around the neck
and body.This was deliberate as she liked her jewellery to compliment the
figure of a woman. She preferred rock crystals and rutilated quartz rather
than precious gemstones.Torun’s work is featured in many museums inter-
nationally.

76
A SILVER ‘AMOEBA’ NECKLACE, BY HENNING
KOPPEL FOR GEORG JENSEN, CIRCA 1947
Composed of a series of openwork amoebic-shaped links, with
maker’s mark for Georg Jensen since 1945,stamped‘Sterling Denmark’,
numbered‘89’,length 43.5cm
€ 800 - 1,200
The bracelet of same design is illustrated page 98 from‘Simply
Danish, Silver Jewellery 20th Century’ by Jorg Schwandt
For similar example of this necklace, see page 154 from‘Georg
Jensen,ATradition Of Splendid Silver’ by Janet Drucker
Henning Koppel (1918-1981) was a Danish designer and artist well-known as an early pioneer of 20th century functionalism. He studied sculpture at the Royal Danish
Academy and then later at the Academie Ranson in Paris. As a result of his Jewish background Koppel sought refuge in Sweden during the Second World War. Koppel
was one of the more prominent designers to feature with Jensen. His stint began in 1945, prior to this he was mentored by Harald Nielsen
On returning to Denmark after the war, he secured a contract working with Georg Jensen, a collaboration that launched his career as a jewellery designer. Amongst his
early creations - a series of necklaces and bracelets resembling whale vertebrae and microscopic organisms - were miniature masterpieces of highly original modelling.
These designs were unlike anything that had been produced in the Jensen workshop in the previous 40 years and he became one of the most iconic designers for the
company. Koppel specialised in abstract forms that were both startling and beautiful. His work, similar to Jensen’s has a sculptural element to it. Koppel was mindful
of the jewellery he was creating and how it would interact with natural light – Jensen also considered this. Koppel created tactile works, that evoke a wanting to touch
them. In the place of jewels, he would use enamels.
Koppel created an astonishing range of work throughout his career from one off signature designs to everyday objects. Both were defined by their elegant but functional
qualities, in flowing organic forms. Koppel was a master draughtsman who executed precise drawings for his works which allowed him to understand the design's three
dimensionality.

Tuesday 8th
66
77
A SILVER NECKLACE, BY HENNING KOPPEL FOR GEORG JENSEN, CIRCA 1950
Composed of a series of fancy-shaped links with a round-shaped cabochon lapis lazuli clasp, with maker’s mark
for Georg Jensen since 1945,stamped ‘925 Sterling Denmark’,numbered‘130B’,length 43cm
€ 800 - 1,200

67
78
AN IMPRESSIVE CULTURED PEARL, DIAMOND AND COLOURED
DIAMOND SAUTOIR NECKLACE
Composed of a single row of graduatedTahitian and Akoya cultured pearls of grey gradient tints
measuring approximately 4.50 - 11.79mm, highlighted with brilliant-cut diamond rondelles, the
connector set with an oval mixed-cut black diamond within a brilliant-cut diamond frame, finish-
ing with two black diamond bead tassels with further brilliant-cut diamond rondelle terminals,
mounted in 18K gold, diamonds approximately 100.00cts total, French import marks, length approximately
108cm
€ 8,000 - 9,000

Tuesday 8th
68
79
A GOLD BROOCH, GREEK
Modelled as a stylised octopus in with hammered gold finish with dots
motifs, in 22K gold,unable to read maker’s mark,stamped‘Greece’,length 10cm
€ 1,500 - 2,000
80
A TOURMALINE AND DIAMOND CLUSTER RING, CIRCA 1955
The cushion-shaped green tourmaline weighing approximately 9.00cts within a surround of brilliant-cut
diamonds to a wirework basket gallery, mounted in 18K gold and platinum, diamonds approximately 1.00ct
total,French assay marks,ring size Q
€ 3,000 - 4,000

69
81
A MOONSTONE NECKLACE WITH MATCHING EARCLIPS, BY JOHN RORVIG, CIRCA 1970
The necklace of geometric design with oval-shaped cabochon moonstones with polished gold accents, together with a
matching pair of earclips,mounted in 14K gold,maker’s marks‘JVR’on earclips for John Rørvig,necklace inner diameter 12.2cm,
earclips length 2.9cm
€ 3,000 - 4,000
John Rørvig was born in Denmark in 1920.With a passion for metalwork, Rørvig became a silversmith, goldsmith
and jeweller. A true craftsman, Rørvig handmade all his pieces and his work became known for the diligent skill
behind it. During his career, he created several pieces for the Danish royal family, including the diamond and ruby
engagement ring presented by Prince Joachim to his first wife,Alexandra Christina Manley.
Since his death in 2006, John Rørvig’s jewellery is rarely seen at auction and has become highly sought after.

Tuesday 8th
70
82
A RUBY AND SAPPHIRE COCKTAIL RING,
CIRCA 1960
Composed of a cluster of animated flowerheads with circular-cut
sapphire and ruby accents, to a wirework band, mounted in 14K gold,
with maker’s mark,ring size N
€ 1,200 - 1,800
83
A PAIR OF GOLD BRACELETS
Each bracelet composed of fancy-links throughout, in 18K gold,
lengths 19.2 & 18.9cm
€ 2,000 - 3,000

71
84
A MOONSTONE RING, BY JOHN RORVIG, CIRCA 1970
The oval-shaped cabochon moonstone within a hammered gold openwork frame, to a polished
square-shaped hoop, mounted in 18K gold,maker’s mark‘JVR’for John Rørvig,ring size M
€ 1,200 - 1,800
85
AN 18K GOLD MANUAL WIND WATCH, BY PATEK PHILIPPE,
CIRCA 1970
18-jewel manual wind watch, the square silver dial with baton hour markers and Arabic numer-
al for 12, gilt hands, beneath a gold cover, to a textured brick-link strap, case number 260979*,
movement number 110138*, dial, clasp and movement signed, Swiss made, maker’s mark ‘GF’ on clasp and
numbered 359,length 17cm
€ 1,200 - 1,800

Tuesday 8th
72
86
AN EMERALD AND DIAMOND BALLERINA PENDANT/COCKTAIL RING, CIRCA 1960
The rectangular-cut emerald weighing approximately 2.80cts within a double four-claw setting, framed by brilliant-cut
diamonds, to a further undulating surround of tapered baguette-cut diamonds, diamonds approximately 3.00cts,with mech-
anism to convert into a ring and a pendant,ring band in platinum,pendant length 2cm,ring size M,chain length 41cm
€ 3,000 - 4,000
87
A PAIR OF EMERALD AND DIAMOND EARRINGS, CIRCA 1960
Each rectangular-cut emerald within a surround of marquise, tapered baguette and brilliant-cut diamonds, mounted in
gold,diamonds approximately 1.70cts total,length 1.8cm
€ 2,000 - 3,000
88
AN EMERALD AND DIAMOND BRACELET, 1960
Designed as a row of rectangular-cut emeralds, within a geometric surround set with brilliant and baguette-cut dia-
monds, mounted in platinum,diamonds approximately 10cts total,length 18cm
€ 6,000 - 8,000

Tuesday 8th
74
Fred Samuel (1908-2006) established his jewellery brand in 1936 in Paris, where he spent much of his professional life. Originally
from BuenosAires,born into a family that dealt in precious stones,it was no surprise he conceived a passion for cultured pearls and won
recognition as a leading expert in the field. Fred imbued his designs with the energy of SouthAmerica,saying his creations were inspired
by the life, the light, the movement, the energy of the continent.This passion is expressed through the use of coloured gemstones and
playful motifs.DuringWorldWar II,Fred Samuel fled Paris and became an interpreter for theAllies.After the war,the brand changed its
name to from Fred Samuel to‘Fred’due to anti-Jewish sentiment in post-war Germany. Describing himself in 1936 as a‘Contemporary
Creative Jeweller’, he proved this through his striking modern designs, with rounded, curvaceous lines. Fred became famous for jewels
designed by Jean Cocteau and for its famous clients, such as Marlène Dietrich and the royal family of Monaco, including princess Grace.
In 1966 Fred Paris was the inventor of cable jewellery‘Force 10’ (made of stainless steel) and this feature is still very prominent today
in ring, bracelet, pendant and necklace designs.As the brand grew, new stores were opened across the world; 1976 Monte Carlo, 1981
Cannes, 2001Tokyo and 2007 Beijing, Dubai and Bogotá.The company became the property of LVMH in 1996 and Fred collaborated
with Kate Moss for the design of an exclusive collection in 2012. Fred Paris designed the iconic 23 heart-shaped ruby necklace inter-
laced with diamonds, which was gifted to Julia Roberts by Richard Gere in the film PrettyWoman.The last major film for which Fred
Paris provided jewellery was Casino Royale starring Daniel Craig, featuring the star collection pendant and earrings.This magnificent
bracelet is a unique creation of Fred. n 1995 FRED joined the Moet Hennessy LouisVuitton LVMH group.
In the secluded streets of Paris, shadowed by the celebrity of the great jewellery maisons of France, work the craftsmen whose talents
satisfy a constant appetite for glamour.
In December 1955, at 34 rue Sainte Anne, André Vassort registered his atelier and soon became one of the most sought-after
jewellers in France. He was quickly employed by names such as Boucheron,Van Cleef and Arpels, Mauboussin and FRED. His work
adorned their most discerning clients and he became a favourite in carrying out special commissions. Of particular note was the crown
that he created underVan Cleef andArpels for Empress Farah of Iran.Taking six months to complete, the magnificent piece is iridescent
with diamonds, emeralds, rubies and pearls, mounted in white gold and set against a backdrop of forest-green velvet.
Vassort specialised in working with gold, drawn to the warmth and texture that could be coaxed from the metal, however, he did not
shy away from other materials. His understanding of gemstones allowed him to create bold and colourful pieces, such as the current
lots.Working anonymously for larger houses, a large portion ofVassort’s work is unsigned, but, here, we are gifted with his maker’s
mark‘AV’.
When André Vassort closed his workshop in the early 1990s, his name and work were revered within the jewellery industry and his
pieces had become synonymous with enduring quality.

75
89
A FINE GEM-SET AND DIAMOND PENDANT/BROOCH, BY FRED PARIS, CIRCA 1975-80
Designed as a stylised present bow, centring a ruby cabochon within a surround of brilliant-cut diamonds, the ribbons
of openwork decorated with alternating sapphire, emerald and ruby cabochons with brilliant-cut diamond highlights
throughout, mounted in 18K gold, diamonds approximately 6.00cts total, signed Fred Paris, with maker’s marks for AndréVassort
(partially rubbed),French assay marks,with brooch and pendant fitting,length 6.4cm
€ 7,000 - 9,000

Tuesday 8th
76
90
A FINE GEM-SET AND DIAMOND BRACELET, BY FRED PARIS, CIRCA 1975-80
Of articulated design, composed of four large openwork bombé links set with alternating sapphire, ruby and emerald cabochons
highlighted with brilliant-cut diamonds throughout with textured gold detail, mounted in 18K gold, diamonds approximately 10.00cts,
signed Fred Paris,with maker’s mark‘AV’for AndréVassort,French assay marks,with maker’s case,length 16.6cm
€ 15,000 - 20,000

Adam's Fine Jewellery, Watches 8th December 2020

Adam's Fine Jewellery, Watches 8th December 2020

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Adam's Fine Jewellery, Watches 8th December 2020