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Click here to subscribeA modern pair of 14ct white gold pink sapphire and diamond cluster drop earrings, set with oval mixed-cut sapphire and modern round brilliant-cut diamonds with stud fittings, total diamond content approx 0.33cts, earring height 18.7mm, 2.2g, with WGI CertificateNo damage or repairs, all stones present, sapphires are a light pink saturation, diamonds bright white and fiery with a few internal inclusions, settings nicely polished, marks clear, engraved 585
A modern pair of 14ct gold whole Southsea cultured pearl and diamond drop earrings, set with round brilliant-cut diamonds with stud fittings, total diamond content approx 0.53ct, earring height 26.1mm, 4.9g, with WGI CertificateNo damage or repair, all stones present, pearls have a pink lustre and are lightly spotted, diamonds are bright white and fiery with slight inclusions only visible through a loupe, settings nicely polished, marks clear, engraved 585
A modern pair of 14ct gold whole Southsea cultured pearl and diamond drop earrings, set with modern round brilliant-cut diamonds, total diamond content approx 0.52ct, earring height 25.8mm, 4.8g, with WGI CertificateNo damage or repairs, all stones present, diamonds bright white and fiery with a few internal inclusions only visible through a loupe, pearls are white and lightly spotted, settings nicely polished, marks clear, engraved 585
A modern pair of 14ct gold sapphire and diamond cluster stud earrings, set with oval mixed-cut sapphire and round brilliant-cut diamonds, total diamond content approx 0.08ct, earring height 10mm, 2gNo damage or repair, all stones present, sapphires are a dark blue saturation and slightly heavily included, sapphires are bright white and fiery with inclusions only visible through a loupe, settings nicely polished, marks clear, engraved 585
A pair of French 18ct white gold whole pearl and diamond drop earrings, set with marquise and round brilliant-cut diamonds, total diamond content approx 2ct, earring height 45.9mm, 12.4gNo damage or repair, all stones present, diamonds are very bright white and fiery with no obvious losses, settings very lightly abraded, French hallmarks
A modern pair of 14ct white gold Southsea pearl and diamond drop earrings, set with whole pink Southsea pearl and round brilliant-cut diamonds with stud fittings, total diamond content approx 0.51ct, earring height 26.4mm, 4.9g, with WGI CertificateNo damage or repair, all stones present, diamonds are bright and white but slightly included, pearls are very lightly spotted, settings nicely polished, hallmarks clear, engraved 585
A modern pair of 14ct white gold pink sapphire and diamond cluster earrings, set with oval mixed-cut sapphires, round brilliant-cut diamonds with shepherd hook fittings, total diamond content approx 0.45ct, overall earring height 22.9mm, 2.3g, with WGI CertificateNo damage or repairs, all stones present, sapphires are light pink and lightly included, diamonds are bright white and fiery, settings nicely polished, marks clear, engraved 585
A pair of unmarked white metal pink topaz and diamond drop earrings, set with oval mixed-cut topaz and round brilliant-cut diamonds, total topaz content approx 2.22ct, overall earring height 31.6mm, 2.8gNo damage or repairs, all stones present, topaz are a very pale light pink, diamonds bright white and fiery, settings lightly abraded, unmarked
A quantity of jewellery, including a three-row cultured pearl necklace on a white paste clasp, a pair of diamond-set leaf-form frosted crystal earrings with white gold mounts, a diamond-set 18ct white gold cruciform pendant, a coloured cultured pearl-set gold giardinetto brooch and five further cultured pearl necklaces
A pair of diamond stud earrings by Tiffany & Co., the round brilliant-cut diamonds weigh approximately 0.30cts total, claw-set in platinum, signed, case, with a diamond solitaire pendant by Tiffany & Co, the round brilliant-cut diamond weighs approximately 0.15cts, set in platinum, on a fine-link platinum chain, signed to the chain, 44cm long, case
An early 20th century yellow sapphire and diamond ring with matching earrings, the platinum ring set with an octagonal shaped sapphire and with circular and baguette shaped shoulder diamonds, size J 1/2, the earrings each set with octagonal shaped yellow sapphire with graduated circular cut diamonds in platinum, 3.5cm high
A wristwatch and a quantity of jewellery items, including a ladies yellow gold wristwatch by Bueche Girod on a textured gold integrated band, a pair of sapphire and diamond cluster earrings, a three colour gold Russian wedding ring, two platinum wedding rings, a white gold half-hoop diamond ring, a gold curb link bracelet and six brooches
A cultured pearl and diamond brooch and earrings by Boucheron, of foliate design, set with two cultured pearls and pierced diamond-set petals in yellow gold, signed, 6cm high, with a matching pair of diamond-set foliate earrings by Boucheron, signed and numbered L94521, French control marks, 4cm high
A diamond double clip brooch, set in platinum and gold, 6cm wide, with an amethyst 9ct gold single stone ring, size U 1/2 and a carved agate cameo within gold frame, 3.6cm high, together with a hardstone cameo-mounted gold and pearl-framed brooch pendant, a sapphire and diamond-set square-form cluster ring, an emerald and rose-cut diamond-set gold insect brooch, six further rings, a pair of red stone stud earrings, two brooches and two pendants, a pair of cultured pearl and diamond drop earrings, a 9ct portcullis brooch, a diamond-set white gold half hoop ring, formed as five clusters each centred with baguette-shaped diamonds, and various other items of jewellery
A quantity of 19th century brooches, including a 19th century cased gold foliate brooch, realistically formed and with an insect set with diamonds and a foil-back red stone to one leaf, 5cm wide, case, an early Victorian gold scroll brooch set with green stones, a Victorian gold foliate brooch set with a garnet, a Victorian gold tassel pendant with locket compartment and mounted with a diamond and red stone insect, together with a pair of cabochon garnet-mounted gold earrings with diamond stars and two further pendants
A quantity of jewellery, including a diamond-set platinum key pendant by Tiffany on a fine-link platinum chain, a diamond-set platinum cross pendant by Tiffany on a fine-link platinum chain, cased, a silver heart pendant by Tiffany on a fine-link silver neck chain, a pair of silver Tiffany cross earrings, box, a pair of Tiffany star silver earrings, a pair of Tiffany heart-shaped silver earrings, box, a seven diamond-set platinum ring by Hirsh and three other pairs of earrings
Georg Jensen Dew Drop earrings, pave set round brilliant cut diamond drops, estimated total diamond weight 1.30 carat, mounted in 18 ct yellow gold post and Alpha clip fittings, drop measures 41mm, with original receipt and Georg Jensen declaration card dated 17/12/2016, stating diamond colour and clarity G / VSCondition Report: Gross weight approximately 5.8 gramsOverall excellent condition
A LATE 19TH CENTURY EMERALD, PEARL AND DIAMOND BANGLESet at the front with a polished emerald bead with rose-cut diamond finials, between bouton pearls and old brilliant-cut diamonds, mounted in yellow gold, emerald approximately 20.00 carats, diamonds approximately 3.15 carats total, pearls untested, inner diameter of bangle 6.0cm, case with gilded monogramFootnotes:Accompanied by a report from Gübelin stating that the emerald is of Colombian origin, with indications of minor traditional clarity enhancement. Report number 21020124, dated 3rd March 2021.This bangle and the cameo bracelet, lot 104, were great favourites of the Countess of Rosse and she may be seen wearing them in many society photographs of her. She wore them at the marriage of her son Antony Armstrong-Jones, 1st Lord Snowdon, to HRH The Princess Margaret in 1960 and both are clearly visible, one on each wrist, in their wedding portrait by Cecil Beaton with HM The Queen and HRH The Duke of Edinburgh in attendance. For reasons of copyright we are unable to reproduce the image in the catalogue but it may be searched for and viewed online.LOTS 103 – 104 TWO JEWELS FROM THE COLLECTION OF THE COUNTESS OF ROSSEINTRODUCED BY DIANA SCARISBRICKWhen I asked the Countess of Rosse what she considered the purpose of jewellery, her answer came swift and sure: 'it is for the beautification of women'. She followed this precept, for the jewels in her collection certainly enhanced her own appearance which was that of a great beauty much photographed by the Royal and society favourite, Cecil Beaton. Leaving nothing to chance, she explained that before each of her many social engagements she would always take the time to plan for it well in advance. She would first choose the right outfit and then with her husband, decide whether her diamonds, her emeralds or her rubies would best suit the colour and design of the dress as well as the circumstances of the particular event. She wore her most important jewels with one of the architectonic satin and tulle ball gowns created for her by the New York dressmaker, Charles James, and the combination made her look as majestic as the Empress Eugénie portrayed in a Charles Worth crinoline by F.X. Winterhalter, circa 1860. Similarly, when her son, Antony Armstrong-Jones, later 1st Earl of Snowdon, married Princess Margaret in May 1960 and their wedding was preceded by a ball at Buckingham Palace, she rose splendidly to the occasion. The invitations read 'tiaras will be worn' and she dazzled in the Rosse family diamond and emerald parure - tiara, long earrings and necklace - with an exquisite black and white organza gown from Victor Stiebel, standing out in the brilliant crowd. Daytime, less formal but official, events connected with the National Trust, the Georgian Group and the world of art and museums brought out her pearls and the Victorian diamond stars which she arranged so often in so many different combinations that they seemed to be part of her personality. They, like these two bracelets, evoke the period after World War 2, chronicled in the inimitable diaries of Henry 'Chips' Channon, when, through her marriage to Lord Rosse in 1935, her connections with royalty and her friendships with the leading figures in the arts, she played the part of an important hostess in London and in Ireland to perfection.In Michael Rosse she had found the ideal partner and would therefore have been particularly attached to the cameo bracelet for it was one of their wedding presents, with an interesting provenance, having previously been given by Adrian Hope to the parents of her mother-in-law on their marriage in 1880. As the sister of Oliver Messel, the genius of British theatrical design, heiress to the estate and gardens of Nymans in Sussex, Anne Rosse had been brought up surrounded by beauty, and passed on her feeling for it to her children and grandchildren. Coming from such a cultivated milieu, she would have appreciated that, as the son of Thomas Hope of The Deepdene, famous for its Greek style interiors, Adrian shared the Hope family passion for classical art, which is reflected in his choice of a cameo inspired by an ancient Roman model. Moreover, to friends admiring the bracelet on her elegant wrist, she must have enjoyed explaining the significance of the happy scene of the mischievous little divinity playing with the lion tamed by the all-conquering power of love, so relevant to her own personal experience. © Diana Scarisbrick 2021For further information on this lot please visit Bonhams.com
A MID 19TH CENTURY ONYX CAMEO, ENAMEL, PEARL AND DIAMOND BRACELETThe oval sardonyx cameo, an interpretation of an intaglio by Luigi Pichler (see Georg Lippold, 'Gemmen und Kameen des Altertums und der Neuzeit', Hoffman, Stuttgart, 1922, CXXV,/5), depicting a lion fawning over Eros, embodying the notion 'love conquers all', within a border of pearls, old brilliant-cut diamonds and black enamel fleur-de-lys motifs, on a black enamel articulated openwork strap with pearl, old brilliant-cut diamond and black enamel fleur-de-lys quatrefoils, mounted in yellow gold, diamonds approximately 10.10 carats total, pearls untested, cameo dimensions 2.8 x 1.9cm, two black enamel and diamond fleur-de-lys motifs deficient, length 16.9cm, fitted case by Hartley, 45 Albemarle St, London, W.Footnotes:ProvenanceAdrian John Hope (1811-1863), son of Thomas HopeLady Beatrice Lister Kaye (1862-1935), his great-niece and daughter of 6th Duke of NewcastleAdeline de la Feld, (1881-1975), her daughterMichael Parsons, 6th Earl of Rosse, (1906-1979), her nephew, on his marriage to Anne Messel in 1935Anne Parsons, Countess of Rosse, (1902-1992), his wife and mother of Antony Armstrong-Jones, Earl of SnowdonThe bracelet's first owner is said to have been Adrian John Hope, scion of the Anglo-Dutch dynasty of merchant-bankers and patrons of the arts. Adrian was the son of Thomas Hope, the noted scholar, prominent collector, writer, and proponent of Neo-Classicism who filled his London townhouse in Duchess Street, Mayfair and his country mansion, The Deepene in Dorking, Surrey, with his collections of art. Thomas's brother was the gem connoisseur Henry Philip Hope, whose legendary collection of gems, that included the blue Hope Diamond (now in the National Museum of Natural History, Washington DC) and the Hope Spinel (sold at Bonhams for a world record price in 2015), was one of the most important private collections of gems ever assembled. The two brothers would also purchase, share and exchange works of art and jewels with each other and after their deaths, their vast collections were inherited and dispersed by their many relatives and heirs. It is uncertain when or how Adrian acquired this bracelet; perhaps he inherited the cameo from his father or his uncle and had it mounted. It is also possible he purchased the bracelet as a complete piece. Adrian Hope's great-niece, Lady Beatrice Lister Kaye, wore it at her wedding in 1880. In 1935, it was again given at a wedding, this time to Michael Parsons, 6th Earl of Rosse, himself a descendent of the illustrious Hopes, for his bride, the beautiful Anne Armstrong-Jones (née Messel), whose love of jewels is described by Diana Scarisbrick on the previous pages. The bracelet is a fitting marriage token: not only is the lion proffering its paw to Eros an allegory of love but during the 19th century the bracelet was the premier jewel of sentiment.This bracelet and the emerald bangle, lot 103, were great favourites of the Countess of Rosse and she may be seen wearing them in many society photographs of her. She wore them at the marriage of her son Antony Armstrong-Jones, 1st Lord Snowdon, to HRH The Princess Margaret in 1960 and both are clearly visible, one on each wrist, in their wedding portrait by Cecil Beaton with HM The Queen and HRH The Duke of Edinburgh in attendance. For reasons of copyright we are unable to reproduce the image in the catalogue but it may be searched for and viewed online.LOTS 103 – 104 TWO JEWELS FROM THE COLLECTION OF THE COUNTESS OF ROSSEINTRODUCED BY DIANA SCARISBRICKWhen I asked the Countess of Rosse what she considered the purpose of jewellery, her answer came swift and sure: 'it is for the beautification of women'. She followed this precept, for the jewels in her collection certainly enhanced her own appearance which was that of a great beauty much photographed by the Royal and society favourite, Cecil Beaton. Leaving nothing to chance, she explained that before each of her many social engagements she would always take the time to plan for it well in advance. She would first choose the right outfit and then with her husband, decide whether her diamonds, her emeralds or her rubies would best suit the colour and design of the dress as well as the circumstances of the particular event. She wore her most important jewels with one of the architectonic satin and tulle ball gowns created for her by the New York dressmaker, Charles James, and the combination made her look as majestic as the Empress Eugénie portrayed in a Charles Worth crinoline by F.X. Winterhalter, circa 1860. Similarly, when her son, Antony Armstrong-Jones, later 1st Earl of Snowdon, married Princess Margaret in May 1960 and their wedding was preceded by a ball at Buckingham Palace, she rose splendidly to the occasion. The invitations read 'tiaras will be worn' and she dazzled in the Rosse family diamond and emerald parure - tiara, long earrings and necklace - with an exquisite black and white organza gown from Victor Stiebel, standing out in the brilliant crowd. Daytime, less formal but official, events connected with the National Trust, the Georgian Group and the world of art and museums brought out her pearls and the Victorian diamond stars which she arranged so often in so many different combinations that they seemed to be part of her personality. They, like these two bracelets, evoke the period after World War 2, chronicled in the inimitable diaries of Henry 'Chips' Channon, when, through her marriage to Lord Rosse in 1935, her connections with royalty and her friendships with the leading figures in the arts, she played the part of an important hostess in London and in Ireland to perfection.In Michael Rosse she had found the ideal partner and would therefore have been particularly attached to the cameo bracelet for it was one of their wedding presents, with an interesting provenance, having previously been given by Adrian Hope to the parents of her mother-in-law on their marriage in 1880. As the sister of Oliver Messel, the genius of British theatrical design, heiress to the estate and gardens of Nymans in Sussex, Anne Rosse had been brought up surrounded by beauty, and passed on her feeling for it to her children and grandchildren. Coming from such a cultivated milieu, she would have appreciated that, as the son of Thomas Hope of The Deepdene, famous for its Greek style interiors, Adrian shared the Hope family passion for classical art, which is reflected in his choice of a cameo inspired by an ancient Roman model. Moreover, to friends admiring the bracelet on her elegant wrist, she must have enjoyed explaining the significance of the happy scene of the mischievous little divinity playing with the lion tamed by the all-conquering power of love, so relevant to her own personal experience. © Diana Scarisbrick 2021For further information on this lot please visit Bonhams.com
A PAIR OF SPINEL AND DIAMOND EARRINGSThe cushion-shaped spinels, weighing 4.79 and 5.61 carats, between cushion-shaped diamond surrounds, diamonds approximately 9.40 carats total, length 2.3cmFootnotes:Accompanied by a gemmological report.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
A PAIR OF GEM-SET 'SAPPHIRE FLOWER' EARRINGS, BY BULGARIEach flowerhead set with oval-cut vari-coloured sapphire petals, accented by brilliant-cut diamonds, with a central similarly-cut diamond accent, signed Bulgari, numbered 6363, length 2.2cmFootnotes:Property of a European Private Collector: A Collection of Jewels by BulgariLots 109 – 115Bulgari was founded in 1884 by Sotirio Bulgari, a Greek silversmith who had been displaced by war. Sotirio was robbed of everything in Naples and overcame great adversity to open his first store in Rome. He and his sons initially specialised in silver, largely catering to the tourist market before focusing exclusively on fine jewellery. By the 1930s, Bulgari's distinctive style had begun to emerge with the creation of the first 'Trombino' ('little trumpet') ring. The first 'Serpenti' jewel followed during the late 1940s. As an ancient symbol of rebirth and eternal love, Bulgari paid homage to Rome's ancient origins and the Eternal City's romantic association with Cleopatra. The complex techniques required to imitate the sinous form of a serpent coiling around a wrist were perfected during the 1960s and 1970s and today, the Serpenti collection of jewellery is regarded as one of Bulgari's most iconic lines. During the 1950s and 1960s, Rome become a popular location for shooting Hollywood's star-studded Roman epics and Bulgari's store on the Via Condotti attracted an impressive and international clientele of high-profile actors and socialites. It was through this highly publicised association that Bulgari came to epitomise La Dolce Vita, then very much in vogue in Europe and America. During this era, Bulgari began to break away from the trends previously set by other European jewellers and the distinctive feature that really came to set them apart was their bold and unrestrained use of colour. Bulgari had become very active in the Indian market during the 1950s, buying up coloured diamonds and gemstones of exceptional quality, some with ancestral provenance. Lots 113 - 115 exemplify this cultural journey and Bulgari's inspired use of colour, evoking the true spirit of Italian glamour.For further information on this lot please visit Bonhams.com
A PAIR OF EMERALD AND DIAMOND PENDENT EARRINGS, BY BULGARIOf chandelier design, each brilliant-cut diamond surmount suspending step-cut and shield-shaped diamond pendants, issuing pear-shaped diamond drops, weighing 1.03 carats, 1.02 carats, 1.01 carats and 1.00 carat, terminating in pear-shaped emerald drops, weighing either 5.95 carats or 6.16 carats, signed Bulgari, numbered 5558, remaining diamonds approximately 3.23 carats total, the emerald weighing 5.95 carats is drilled, lengths 3.4cm and 3.6cmFootnotes:Accompanied by a report from Gübelin stating that the emerald weighing 6.16 carats is of Colombian origin with indications of minor clarity enhancement (oil). Report number 20120022, dated 15th December 2020.Accompanied by a report from Gübelin stating that the emerald weighing 5.95 carats is of Colombian origin with indications of minor clarity enhancement (oil). Report number 20120023, dated 15th December 2020.Property of a European Private Collector: A Collection of Jewels by BulgariLots 109 – 115Bulgari was founded in 1884 by Sotirio Bulgari, a Greek silversmith who had been displaced by war. Sotirio was robbed of everything in Naples and overcame great adversity to open his first store in Rome. He and his sons initially specialised in silver, largely catering to the tourist market before focusing exclusively on fine jewellery. By the 1930s, Bulgari's distinctive style had begun to emerge with the creation of the first 'Trombino' ('little trumpet') ring. The first 'Serpenti' jewel followed during the late 1940s. As an ancient symbol of rebirth and eternal love, Bulgari paid homage to Rome's ancient origins and the Eternal City's romantic association with Cleopatra. The complex techniques required to imitate the sinous form of a serpent coiling around a wrist were perfected during the 1960s and 1970s and today, the Serpenti collection of jewellery is regarded as one of Bulgari's most iconic lines. During the 1950s and 1960s, Rome become a popular location for shooting Hollywood's star-studded Roman epics and Bulgari's store on the Via Condotti attracted an impressive and international clientele of high-profile actors and socialites. It was through this highly publicised association that Bulgari came to epitomise La Dolce Vita, then very much in vogue in Europe and America. During this era, Bulgari began to break away from the trends previously set by other European jewellers and the distinctive feature that really came to set them apart was their bold and unrestrained use of colour. Bulgari had become very active in the Indian market during the 1950s, buying up coloured diamonds and gemstones of exceptional quality, some with ancestral provenance. Lots 113 - 115 exemplify this cultural journey and Bulgari's inspired use of colour, evoking the true spirit of Italian glamour.For further information on this lot please visit Bonhams.com
A PAIR OF NATURAL PEARL AND DIAMOND PENDENT EARRINGSEach natural pearl suspended from an articulated row of graduated old brilliant-cut diamonds, via a rose-cut diamond cap, diamonds approximately 2.10 carats total, length 3.8cmFootnotes:Accompanied by a report from Gübelin stating that the pearls are of natural, saltwater origin. Report number 20080022, dated 24th August 2020.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
A PAIR OF DIAMOND PENDENT EARRINGS, BY GRAFFEach brilliant-cut diamond swag terminating in a shield-shaped diamond, diamonds 5.97 carats total, signed Graff, numbered 26560, maker's mark GD, partial London hallmark, European Convention mark, length 3.5cmFootnotes:Accompanied by a Certificate of Quality from Graff.This lot is subject to the following lot symbols: ††VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
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