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Lot 121A
A silver emerald stacking ring, by Elsa Perretti for Tiffany & Co., A silver emerald stacking ring, by Elsa Perretti for Tiffany & Co., the circular shape emerald inset to the polished band, stamped 925, signed Perretti and Tiffany & Co., ring size I1/2, gross weight 2.4g. With maker's pouch and box.Overall condition fair to goodEmerald heavily abradedScratches and discolouration in keeping with age and wear
Lot 44
A 9ct gold emerald and diamond hinged bangle by Cropp & Farr, A 9ct gold emerald and diamond hinged bangle by Cropp & Farr, the circular shape emeralds and single cut diamonds star-set to the textured bangle, maker's marks for Cropp & Farr, hallmarks for Birmingham, 1973, inner diameter 6.1cm, gross weight 26.6g.Overall condition good to fairAbrasion and discolouration in keeping with occasional wearClasp in working order, shuts toWith safety chain
Lot 2056
18ct gold three stone square cut emerald and round brilliant cut diamond cross over ring, emerald approx 0.45 caratCondition Report:Approx 4.5gm, size L, tested 18ct, head depth = 12mm, well presented ring, diamonds bright and well matched, very slight bend to shank, emerald good colour with some light nibbles - visible under 10x loop
Lot 100
PAIR OF ROCK CRYSTAL AND GEM-SET PHOTO FRAMES, CIRCA 1920Each rock crystal frame containing a tinted photograph on card of an infant, the first accented by circular-cut ruby and rose-cut diamond floral motifs at each corner, the reverse containing a concealed lock of blonde hair with a handwritten note, 'Marjorie aged/ 17½ months/ January '25/ Hair cut at/ 2yrs 10½ mths/ as first cut/ taken', the second accented by circular emerald and rose-cut diamond floral motifs at each corner, the reverse engraved, June 15th 1922, containing a concealed lock of dark blonde hair with a handwritten note, 'Robert aged/ 15 months./ August 1922./ Hair cut on/ Nov 27th 1922.' frame dimensions 4.7cm x 5.4cm, fitted cases by Collingwood & Co., 46 Conduit St, London (2)For further information on this lot please visit Bonhams.com
Lot 101
ART DECO GEM-SET AND DIAMOND BRACELET, FRENCH, CIRCA 1925The articulating links composed of pierced rows of old brilliant-cut diamonds, pavé and millegrain-set between three lotus flowers, with calibré-cut ruby petals, carved onyx and circular-cut emerald and ruby accents, between borders of onyx batons, step-cut emeralds, old brilliant and single-cut diamonds, numbered 5985 (slightly rubbed), length 18.4cmThis 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
Lot 109
BOIVIN: PAIR OF DIAMOND AND GEM-SET LEAF BROOCHES, CIRCA 1938Each applied with wirework scrolls heightened by old brilliant cut diamonds, and circular ruby, sapphire and emerald cabochons, maker's mark, French assay mark, length 7.1cmFootnotes:Each leaf accompanied by a certificate of authentication from Françoise Cailles attributing the bracelet to René Boivin, circa 1938, the original design by Juliette Moutard, dated 16th December 2009 and 6th January 2012.The maker's mark is that of Wolf Batchever, a Russian born goldsmith, based in Paris. His mark, the initials WB with an ostrich between, was in use from circa 1930 until the end of the 1960s.For further information on this lot please visit Bonhams.com
Lot 110
BOIVIN: EMERALD AND DIAMOND RING, CIRCA 1950The octagonal step-cut emerald within a cluster of old brilliant-cut diamonds, the bombé mount pavé-set with similarly-cut diamonds, French control mark, ring size MFootnotes:Accompanied by a certificate of authentication from Françoise Cailles attributing the bracelet to René Boivin, 1950s. Certificate dated 14th October 2011.For further information on this lot please visit Bonhams.com
Lot 151
MOUNTED BY CARTIER: PAIR OF EMERALD SINGLE-STONE EARSTUDSEach step-cut emerald within a four-claw setting, signed Monture Cartier, numbered H8S00336Footnotes:Accompanied by a report The Gem & Pearl Laboratory stating that the emeralds are of Columbian origin, one with evidence of minor clarity enhancement and one with evidence of moderate clarity enhancement. Report number 21915, dated 15th July 2022.For further information on this lot please visit Bonhams.com
Lot 17
EMERALD AND DIAMOND HALF HOOP RING, LATE 19TH CENTURYAlternately-set with two step-cut emeralds and three cushion-shaped diamonds, graduating in size towards the centre, the pierced gallery and shoulders with scroll engraved decoration, diamonds approximately 0.40, 0.45 and 0.90 carats, ring size KFor further information on this lot please visit Bonhams.com
Lot 208
ART DECO EMERALD AND DIAMOND SAUTOIR, CIRCA 1920The long articulated chain of step-cut emeralds, suspending an emerald cabochon drop via a rose-cut diamond-set cap, the earrings each mounted with an emerald cabochon, one emerald deficient from chain, lengths: pendant 3.2cm, chain 110cm (2)For further information on this lot please visit Bonhams.com
Lot 222
WILHELM SCHMIDT: AN EXCEPTIONAL BOULDER OPAL, GEM-SET AND HARDSTONE BUST, CIRCA 1890Portraying Mars, the Roman god of War, in Ajax helmet surmounted by a vulture, sculpted from a single boulder opal, his bearded face and neck and the vulture's legs and bald head carved in dark brown ironstone matrix resembling deeply patinated bronze, the winged helmet and the vulture's plumage highlighted by utilising the thin layers of precious opal within the host rock, the opal with additional intricately engraved feather and scroll detail, the helmet and vulture's eyes inlaid with brilliant-cut diamonds, the vulture wearing a ropetwist collar, backed in engraved yellow gold. The torso clad in engraved fish-scale gold armour, the draped folds of the toga rendered in carved chalcedony, with rose-cut diamond fastening. Mounted on a silver circular collar with gold acanthus leaf scrollwork and set with three cabochon turquoises and a single cabochon emerald. The whole on a rectangular tapered, polished hardstone pedestal of exquisite purple and green colouration. Each face of the pedestal in-set with an oval cameo withing gold ropetwist frame; an idealised Roman goddess in sardonyx at the front, and three labradorite cameos to the sides and back variously depicting Minerva, Cleopatra and Isis, on a green hardstone base, signed W.Schmidt on reverse of toga, repair in chalcedony toga, three diamonds deficient, lengths: 31 cm total, the bust 14 cm, the plinth 14 cm, Footnotes:ProvenanceHerbert Maxwell Stuart (1842-1921) The date of purchase by Maxwell Stuart is unknown but the sale is mentioned in a typed transcript of a letter of reminiscences, written in 1926, by Wilhelm Schmidt to his friend and business associate Dr George Frederick Kunz of Tiffany, 'Bust of Mars, in opal matrix, size 5 inches, face and neck in brown matrix, Ajax helmet in opal of finest quality...Purchased by Mr Herbert Maxwell Stuart of Scarthingwell Hall, Tadcaster.' Schmidt continues, 'Mr Herbert Maxwell Stuart, the lineal descendant of the Stuarts and owner of their estates in Scotland and Yorkshire was a purchaser of many of my works. He was greatly interested in precious stones.'Maxwell Stuart amassed a large collection of unmounted specimen gems, including the largest facetted topaz, known as the Maxwell Stuart Topaz. Part of his collection was sold after his death at Christie's on 22 June 1921, including several opal cameos, unattributed in the catalogue but most likely carved by Schmidt. This bust was not part of the sale. It was purchased, unattributed, as a beautiful object of vertu by the family who currently own it. This highly important signed opal carving by the prodigiously gifted Victorian cameo engraver Wilhelm Schmidt (1845 – 1938) represents a uniquely important example of Schmidt's pioneering opal carving technique, the scale of ambition setting it apart from his other known works. Until recently, it was believed Schmidt never signed his work and this is the only fully signed piece so far traced, underscoring its exceptional importance. Wilhelm Schmidt was born in Idar Oberstein, the European centre of the mineral, gemstone and lapidary trades, where large deposits of carnelian and other agates, found during the 16th - 17th centuries, gave rise to an illustrious gem engraving industry. This instilled in Schmidt 'a great love of art in every expression' and despite being born with an eye defect, he conceived a passion for gem engraving from an early age. In 1860, at the age of fifteen, he was sent to Paris, as an apprentice in the lapidary studio of his cousin, Louis Purper. The head of the studio was the cameo-cutter, Arsène, whom the young Schmidt came to admire greatly and who trained him in the waning neo-classical tradition.Schmidt stood out as a remarkable talent, winning prizes for drawing and draughtsmanship, but by the time he graduated, the voracious thirst for cameos and intaglios by connoisseur collectors and students of antiquity was rapidly drying up. Schmidt's cousin closed his studio to pursue a more profitable career as a pearl dealer, whilst Wilhelm struggled on for several tough years trying to make ends meet as a gem engraver. He found work by cutting portrait cameos and an early commission was from an elderly American, Mr Fox, whom Schmidt described as 'practically the only important dealer in precious stones in New York', for onyx cameos of General Grant and Abraham Lincoln, heroes of the American Civil War.At the outbreak of the Franco-Prussian War, Schmidt was expelled from Paris and returned home in 1869. Much to his relief, he was not called up to fight against his adopted country, or Napoleon III, to whom he referred patriotically as 'mon Empereur'. He remembered in old age, 'I shall always gratefully remember France, as the country where I learnt and studied the art of precious stone engraving. Therein I found pleasure, happiness, and contentment throughout my long life.'In 1870, he emigrated for the second time, setting up in London an engraving business trading alongside his gem-importer brother Louis. London directories from 1870 list 'Schmidt and Nourick, importers of precious stones' at 59 Hatton Garden, and by 1872, the firm was styled 'Louis Schmidt', below whose name appeared 'Schmidt, W., Cameo Engraver'. In the same way he took his French identity to heart whilst living in Paris, Schmidt became thoroughly anglicised, calling himself William, speaking excellent English and proudly becoming a naturalised citizen in 1887.London, like Paris, had a rapidly dwindling pool of specialist patrons of the glyptic arts but Schmidt successfully navigated the macro-economics of the jewellery industry by adapting to new tastes and by pioneering innovative techniques. He carved and sold numerous cameos, for use in ornamental jewellery, to the best London jewellery firms working in the fashionable Archaeological Style, including John Brogden, Guiliano, Castellani, Child & Child and Edwin Streeter, as well as to leading jewellers in America such as Marcus and Tiffany. Although these carvings were unsigned and the retailers did not credit the engraver in their finished jewels, this and his portrait cameo business, afforded him enough money to live comfortably with his second wife, six daughters and one stepson.Schmidt's gemstone-dealing brother supplied him with a plentiful source of unusual and rare specimens with which he could work. His wide repertoire of materials included labradorite, malachite, tourmaline, crocidolite, moonstone, zircon, tourmaline, malachite, lapis lazuli, sapphire, amethyst, topaz and, most unusual of all, opal that was to become his trademark.In 1874, Schmidt invented a distinctive and challenging new technique of carving opal to create striking three-dimensional sculptures through its contrasting layers. To quote the late scholar Gertrud Seidmann, a connoisseur of Schmidt's work, to whom we are indebted for much of our knowledge of him:'Opal cameos, if rare, were not unknown (in the 19th century) but Schmidt had invented a novel technique: instead of carving the whole cameo from precious opal, he used blanks with a thin layer of precious opal overlaying the matrix, in the same way in which the contrasted layers of agates were traditionally used to set off the background.'In 1878, London jeweller John Brogden unveiled a necklace set with opal cameos - carved by Schmidt - at the Paris Exhibition. The necklace caused a sensation and was awarded a gold medal and high praise from the press. The Telegraph described it as a 'wonder of wonders'. However, only Brogden was credited and awarded the Cross of the... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 229
EMERALD AND DIAMOND NECKLACE, RING AND EARRING SUITEThe necklace set with baguette-cut and round brilliant-cut diamonds, suspending a fringe of graduating pear-shaped emerald and diamond clusters and pear-shaped diamonds, the earrings similarly set and accented with marquise-shaped diamonds, the ring with brilliant-cut diamonds to the gallery and bifurcated shoulders, one diamond deficient (ring), diamonds approximately 32.00 carats total, emeralds approximately 85.5 carats total, lengths: necklace 38cm approximately, earrings 5cm, ring size M (4)Footnotes:Accompanied by a report from The Gem and Pearl Laboratory stating that the principal emerald is of Zambian origin with indications of moderate clarity enhancement. Report number 22207 dated 7th October 2022.For further information on this lot please visit Bonhams.com
Lot 33
EMERALD AND DIAMOND RINGThe step-cut emerald between shoulders set with pairs of baguette-cut diamonds, mounted in white gold, Birmingham hallmark, size KFootnotes:Accompanied by a report from The Gem & Pearl Laboratory stating that the emerald is found to be of Columbian origin, with negligible clarity enhancement. Report number 22252, dated 16th October 2022.For further information on this lot please visit Bonhams.com
Lot 34
NATURAL PEARL, EMERALD AND DIAMOND NECKLACE, CIRCA 1920The single strand composed of 87 natural pearls, graduating in size towards the centre from 3.50 - 6.25mm, to a lozenge-shaped clasp millegrain-set with single-cut diamonds and a step-cut emerald, length 39.5cmFootnotes:Accompanied by a report from The Gem and Pearl Laboratory stating that the pearls are natural saltwater. Report number 22219 dated 7th October 2022.For further information on this lot please visit Bonhams.com
Lot 55
PAIR OF EMERALD AND DIAMOND EARRINGS, MID-2OTH CENTURYEach pear-shaped emerald, weighing 1.47 carats and 1.69 carats, within a surround of similarly-cut diamonds, diamonds approximately 9.00 carats total, length 2.5cm, cased by S. J. Phillips Ltd., 139 New Bond Street, London, W1.Footnotes:Accompanied by a report from The Gem & Pearl Laboratory stating that the emeralds are of Colombian origin, with indications of significant clarity enhancement. Please contact the department for further details.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
Lot 60
DE VROOMEN: EMERALD AND DIAMOND EARCLIPS, 2000Each emerald cabochon surrounded brilliant-cut diamonds, the quatrefoil border with yellow guilloché enamel, mounted in 18 carat gold, signed de Vroomen, maker's mark, London hallmark, European convention mark, length 2.4cmFor further information on this lot please visit Bonhams.com
Lot 7
E WOLFE & CO: GEM-SET FROG BROOCH, 1990The anthropomorphised frog wearing a bow tie and playing the saxophone, pavé-set with brilliant-cut diamonds, brilliant-cut emerald eye, mounted in 18 carat gold, signed EW&Co, London hallmark, length 4cmFor further information on this lot please visit Bonhams.com
Lot 36
An 18ct gold emerald and diamond cluster ring by Boodles & Dunthorne, An 18ct gold emerald and diamond cluster ring by Boodles & Dunthorne, the rectangular shape emerald weighing approx. 1.50cts within a marquise and brilliant cut diamond surround, estimated total diamond weight 1.50cts, maker's marks for Boodles & Dunthorne, hallmarks for London, ring size P1/2, gross weight 5g. Overall condition good to fairEmerald with abrasion to facet edges, visible with the unaided eye, and scattered light inclusions visible with the unaided eyeDiamonds bright and well matchedMarks clearRing resized - slightly thinning to back of band
Lot 65
A modern 14ct diamond and emerald ring with matching pair of stud earrings. Stamped 585, set with tiny diamonds and small round cut emeralds, ring size M, 7.2g.The emeralds on the ring have some light surface wear under a 10x glass. One emerald on an earring has a surface scratch or crack. Not visible to the eye. No earring backs.earring dimensions 13mm x 10mm.
Lot 208
A pair of 9ct diamond and emerald set stud earrings. Each earring set with six claw set emeralds and two small white gold set diamonds, length 18mm, 2.34g.An emerald on one earring has a surface crack, probably natural. Another emerald has a surface chip. Not visible to the naked eye. One end emerald appears darker than the rest, but this might be the setting. All other stones generally good.
Lot 212
A 9ct gold emerald and opal set ring. The central blue opal measuring 4.5mm in an openwork setting, surrounded by 12 round cut emeralds each measuring 0.15ct, London 1978, size O 1/2, 3.83g.Two of the emeralds have edge cracks. Some have surface scratches and tiny edge chips, not noticeable to the naked eye. The opal has surface scratches.
Lot 12
A PAIR OF STAMPED 14K CALIBRE CUT EMERALD FULL ETERNITY RINGS the matched pair of rings with yellow metal shanks, stamped 14K, band width 3mm, sizes L ½ and M, total weight 2.7g Condition Report : good, no emeralds missing, no chips Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 13
A CALIBRE CUT RUBY, EMERALD, SAPPHIRE AND ROUND CUT DIAMOND BANGLE the bangle half set with twelve calibre cut rubies, twelve emeralds and twelve sapphires and numerous round cut diamonds set in yellow metal stamped 750, hinged with hidden push clasp, bangle tapered with width measuring between 0.5 to 1cm, weight 30g Condition Report : good, no issues with gemstones, opens and closes securely Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 50
VINTAGE 18CT WHITE GOLD, EMERALD AND DIAMOND CLUSTER RING Octagon cut emerald measuring approx 9 x 9mm, 12 round cut diamonds 3mm, cluster 1.5 x 1.5cm approx, hallmarked Birmingham 1976 Maker E.E.M. Ring size N ¼, weight 5.6g Condition Report : As a guide, emerald blueish green, light, type B Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
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