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Lot 422
Box of oddments to include: gilt metal sovereign case with suspension loop, champlevé Chinese white metal bangles, Special Constabulary 1914 cap badge, silver brooch marked 830, earrings, Scottish white metal and hardstone brooch in the form of an arrow, Victorian brooch, bangle etc. (B.P. 21% + VAT)
Lot 8028
19th / early 20th century 18ct gold hinged bangle, one half with embossed shellfish and fish decoration, the other with embossed oriental buildings and figures amongst foliate decoration, stamped 18, in velvet and silk lined boxCondition Report:Approx 42.15gm, tested 18ct, inner circumference = 18cm, depth = 2.1cm, clasp split but still joins, hinge slightly slack, box with some losses but closes
Lot 8008
Victorian 15ct gold Etruscan revival gold cabochon garnet and white enamel hinged bangle, with applied wirework decoration, in fitted velvet and silk lined boxCondition Report:Approx 19.05gm, tested approx 15ct, max depth = 2.7cm, inner circumference = 17cm, very light split with top head mount visible at side angle only, some tarnishing to bangle, a few very light dents, clasp secure hinge good, a couple of looses to white enamel, cabochon garnet and wirework good
Lot 15
Cartier: A 'Trinity' ring The three interconnecting 18 carat tri-coloured gold bands, signed Cartier, maker's mark, numbered, European convention mark, Swiss assay mark, Cartier size 50Accompanied by a Cartier case. Louis Cartier was a gentleman who curated an electric and fascinating group of friends and counted amongst his close circle in Paris the famed aviator Alberto Santos-Dumont, Jeanne Toussaint and the poet Jean Cocteau.As the story goes, one evening in the early 1920s, Cocteau described dreaming of the rings of Saturn to Louis Cartier. He asked Louis to transform the magic of those celestial rings into a small ring for his little finger. The engineering behind perfecting the smooth rolling motion of three bands gliding over each other, without catching the wearer’s skin or becoming rigid required an engineering masterstroke, one which Cartier’s workshop on the Rue de la Paix was by now well used to fulfilling.In 1924 Louis presented Cocteau with a small ring of three interconnecting bands, devoid of any further decoration. Cocteau declared Louis was “a subtle magician who captures fragments of the moon on a thread of the sun”. Cocteau would go on to wear that ring for decades to come, making him the perfect ambassador of what would become one of the most sought-after rings for both men and women.Initially platinum was used for one of the bands but it was later replaced by white gold. The design was known at the time as bague trois ors (triple gold ring) or a bague trois anneaux (triple-ringed ring). Just the following year, the design was enlarged into a bangle. The first bangle was purchased in 1925 by Elsie de Wolfe, a famed American interior designer.In 1925 American Vogue ran editorial on Cartier's new jewellery including an image of the model Luella Kendall Lee wearing two stacked Trinity bracelets and a ring. Lee would go on to marry one of Cartier New York's top sales executives, Jules Glaenzer. Vogue described them as “amazingly chic” and also “very moderate in price”. Highlighting the conscious choice to begin to curate a wider client base. Fans of the Trinity collection include amongst others King Charles III, Gary Cooper, Princess Diana, Grace Kelly and King Edward VIII, the Duke of Windsor, who wore two stacked upon his little finger.
Lot 50
Cartier: A white gold 'Menotte' ring The 18 carat white gold tapering band, centrally joined with screwhead motifs, signed Cartier, maker's mark, numbered, European convention mark, Swiss assay mark, Cartier size 57Accompanied by a Cartier case. The "Menotte" collection is one of Cartier’s more limited collections. Menotte is the French word for handcuff, referencing the locking mechanism securing the bangle. Research suggests that this collection was an extrapolation on an original gem-set design created by Jeanne Toussaint for Cartier Paris in 1939. See Fornas, Bernard and Gagarina, Elena (eds) Cartier; Innovation Through the 20th Century, Paris, 2007, page 222.The contemporary collection was released in 2003, initially as just a bracelet, but the collection expanded shortly thereafter.It has been suggested that Aldo Cipullo’s 1970 Love bangle (See lots 33, 34 and 35) was an homage to the original Menotte design. However, as the versions made in the very late 1930s were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo would have had access to the French archives. Cipullo was employed by Cartier in New York , at that time the branches were all under separate ownership. The more likely archival inspiration integrated into both the contemporary Menotte and the Love bangle's designs was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.
Lot 35
Cartier: A diamond 'Love' bangle The polished bangle accented at intervals with alternating screwhead motif and brilliant-cut diamonds, signed Cartier, maker's mark, numbered, Cartier size 19Accompanied by a Cartier case, box and screwdriver as well as a certificate of authenticity dated 2016. Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created. In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially. To market the Love Bangle's release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw. Many of whom would go on to wear those bangles for years to come.The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamond-set versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it's popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide. It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles' design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.
Lot 34
Cartier: A platinum "Love" ring Small model; the thin platinum band decorated at intervals with screwhead motifs, signed Cartier, numbered, European convention mark, Swiss assay mark, Cartier size 59 Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created. In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially. To market the Love Bangle's release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw. Many of whom would go on to wear those bangles for years to come.The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamond-set versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it's popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide. It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles' design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.
Lot 18
Cartier: A seven-band 'Trinity' ring The seven interlocking tri-coloured bands, signed Cartier, ring size M Louis Cartier was a gentleman who curated an electric and fascinating group of friends and counted amongst his close circle in Paris the famed aviator Alberto Santos-Dumont, Jeanne Toussaint and the poet Jean Cocteau.As the story goes, one evening in the early 1920s, Cocteau described dreaming of the rings of Saturn to Louis Cartier. He asked Louis to transform the magic of those celestial rings into a small ring for his little finger. The engineering behind perfecting the smooth rolling motion of three bands gliding over each other, without catching the wearer’s skin or becoming rigid required an engineering masterstroke, one which Cartier’s workshop on the Rue de la Paix was by now well used to fulfilling.In 1924 Louis presented Cocteau with a small ring of three interconnecting bands, devoid of any further decoration. Cocteau declared Louis was “a subtle magician who captures fragments of the moon on a thread of the sun”. Cocteau would go on to wear that ring for decades to come, making him the perfect ambassador of what would become one of the most sought-after rings for both men and women.Initially platinum was used for one of the bands but it was later replaced by white gold. The design was known at the time as bague trois ors (triple gold ring) or a bague trois anneaux (triple-ringed ring). Just the following year, the design was enlarged into a bangle. The first bangle was purchased in 1925 by Elsie de Wolfe, a famed American interior designer.In 1925 American Vogue ran editorial on Cartier's new jewellery including an image of the model Luella Kendall Lee wearing two stacked Trinity bracelets and a ring. Lee would go on to marry one of Cartier New York's top sales executives, Jules Glaenzer. Vogue described them as “amazingly chic” and also “very moderate in price”. Highlighting the conscious choice to begin to curate a wider client base. Fans of the Trinity collection include amongst others King Charles III, Gary Cooper, Princess Diana, Grace Kelly and King Edward VIII, the Duke of Windsor, who wore two stacked upon his little finger.
Lot 16
Cartier: A 'Trinity' bangle Designed as three interconnecting tri-coloured gold bands, signed Cartier, maker's mark, numbered, European convention mark, Swiss assay mark, inner diameter 6.0cmAccompanied by a Cartier case. Louis Cartier was a gentleman who curated an electric and fascinating group of friends and counted amongst his close circle in Paris the famed aviator Alberto Santos-Dumont, Jeanne Toussaint and the poet Jean Cocteau.As the story goes, one evening in the early 1920s, Cocteau described dreaming of the rings of Saturn to Louis Cartier. He asked Louis to transform the magic of those celestial rings into a small ring for his little finger. The engineering behind perfecting the smooth rolling motion of three bands gliding over each other, without catching the wearer’s skin or becoming rigid required an engineering masterstroke, one which Cartier’s workshop on the Rue de la Paix was by now well used to fulfilling.In 1924 Louis presented Cocteau with a small ring of three interconnecting bands, devoid of any further decoration. Cocteau declared Louis was “a subtle magician who captures fragments of the moon on a thread of the sun”. Cocteau would go on to wear that ring for decades to come, making him the perfect ambassador of what would become one of the most sought-after rings for both men and women.Initially platinum was used for one of the bands but it was later replaced by white gold. The design was known at the time as bague trois ors (triple gold ring) or a bague trois anneaux (triple-ringed ring). Just the following year, the design was enlarged into a bangle. The first bangle was purchased in 1925 by Elsie de Wolfe, a famed American interior designer.In 1925 American Vogue ran editorial on Cartier's new jewellery including an image of the model Luella Kendall Lee wearing two stacked Trinity bracelets and a ring. Lee would go on to marry one of Cartier New York's top sales executives, Jules Glaenzer. Vogue described them as “amazingly chic” and also “very moderate in price”. Highlighting the conscious choice to begin to curate a wider client base. Fans of the Trinity collection include amongst others King Charles III, Gary Cooper, Princess Diana, Grace Kelly and King Edward VIII, the Duke of Windsor, who wore two stacked upon his little finger.
Lot 49
Cartier: A white gold 'Menotte' bangle The 18 carat white gold tapered bangle, hinged at the base and connected centrally by a pair of raised flathead screwheads, signed Cartier, maker's mark, numbered, European convention mark, Swiss assay mark, inner diameter 6.6cmAccompanied by a Cartier box, case and screwdriver as well as a Cartier certificate of authenticity dated 2004. The "Menotte" collection is one of Cartier’s more limited collections. Menotte is the French word for handcuff, referencing the locking mechanism securing the bangle. Research suggests that this collection was an extrapolation on an original gem-set design created by Jeanne Toussaint for Cartier Paris in 1939. See Fornas, Bernard and Gagarina, Elena (eds) Cartier; Innovation Through the 20th Century, Paris, 2007, page 222.The contemporary collection was released in 2003, initially as just a bracelet, but the collection expanded shortly thereafter.It has been suggested that Aldo Cipullo’s 1970 Love bangle (See lots 33, 34 and 35) was an homage to the original Menotte design. However, as the versions made in the very late 1930s were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo would have had access to the French archives. Cipullo was employed by Cartier in New York , at that time the branches were all under separate ownership. The more likely archival inspiration integrated into both the contemporary Menotte and the Love bangle's designs was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.
Lot 33
Cartier: A 'Love' Bracelet The polished bangle, decorated throughout with screwhead motifs, signed Cartier, numbered, Cartier size 16Accompanied by a Cartier case and screwdriver. Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created. In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially. To market the Love Bangle's release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw. Many of whom would go on to wear those bangles for years to come.The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamond-set versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it's popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide. It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles' design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.
Lot 85
A 9ct gold bangle with amethyst and seed pearls, set with a band of graduated seed pearls and central stone, with push release claps with safety chain, marked 9ct with makers mark, ovoid-shaped, widest 6.2cm by 5.2cm, and 5.8cm including the stone, total weight 9.8g. (LC16237)CONDITION: Very good condition, the push to please clasp is fully functioning. PACKING & SHIPPINGLet us take the hassle of sorting out packing and shipping from you. Mark Hill Auctions is delighted to be able offer the buyer an in-house packing and shipping service for this lot. We use UPS for shipping and all packages are sent insured with a tracked service. We do not ship without insurance. We do not use any other service such as Royal Mail, FEDEX or DHL.Please see below for estimated packing and shipping prices: UK (Estimated): £14.00 USA (Estimated): £25.00 EU (Estimated): £20.00 R.O.W. (Estimated): £38.50In addition to these packing and shipping estimates, insurance will be charged as described below.INSURANCE We only ship with insurance. Insurance costs 1.5% of the total of the hammer price plus buyer’s premium and any applicable VAT, so you can work this cost out yourself when you have won a lot and received your invoice. As such, the price for insurance will be added to the above estimates if you request your item(s) to be shipped.HOW TO REQUEST SHIPPING To request packing and shipping, please wait for your invoice to arrive by email and click on the ‘Request Postage’ button on your invoice, or contact us by email at admin@markhillauctions.com requesting packing and shipping for your lot(s). The actual packing, shipping and insurance cost will then be added to your invoice and your invoice will be resent to you for payment.VAT All above quoted packing, shipping and insurance prices will have VAT added at 20%.IMPORTANT When you request your lot(s) to be packed and shipped, you understand and agree that you are committing to pay for packing and shipping because, in order for us to give you an accurate cost, we need to pack the lot(s) to ascertain the final weight and size. By doing that, we have already incurred cost by spending time and using materials to pack your lot(s). Therefore this charge must be paid, even if you later decide to collect your lot.Please note that this packing and shipping service is undertaken entirely at the buyer’s risk. Whilst we are careful and experienced and take the utmost care to pack items as well as we can, we cannot be held responsible for any damage to, or loss of, items packed and sent to you. By paying for our in-house packing and shipping service, the buyer agrees that any items are sent entirely at their own risk and that no compensation can be offered by us for any loss or damage. Lots must be paid for in full before they will be packed and released.MULTIPLE PURCHASES The estimates above are for this lot only. If you buy multiple lots from this auction, they can be combined where possible into one or more packages - size, shape and weight permitting. For these packages containing multiple lots, you will receive a discount of 17.5% of the total of the applicable quotes listed for those lots.IMPORT DUTIES When your item(s) arrive in your country, import duties & taxes and other service charges may be payable before goods are released to you. These duties, taxes and charges vary for each country and are entirely your responsibility and must be paid by you. Please note that we have no way of knowing what they will be. If you do not pay these charges, your item(s) will be returned to us.
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