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Lot 316
An early 19th century ruby emerald and diamond ring, the cushion-shaped ruby is set within square surround set with emeralds, rubies and diamonds in silver and gold, size Q Accompanied by report number 8087726 dated 8 March 2018 from AGL stating that the cushion-shaped ruby measures 6.8 x 6.4 x 2.48mm and is a natural ruby with no indications of heat treatment. Origin: Burma (Myanmar)
Lot 333
A late Victorian ruby five-stone half-hoop ring, the five graduated emerald-cut rubies are set in yellow gold to the carved pierced shank, size M Accompanied by report number 2203525737 dated 28 August 2019 from GIA stating that the five rectangular step-cut rubies measure 4.68 x 3.96 x 2.53mm - 4.93 x 3.98 x 2.56mm and are natural rubies with no indications of heat treatment. Origin: Burma (Myanmar)
Lot 340
A late 19th century emerald and diamond cluster ring, the emerald-cut emerald set within a surround of old cushion-shaped diamonds and diamond trefoil shoulders in silver and gold, size P Accompanied by report number 18497 dated 13 March 2020 from The Gem & Pearl Laboratory stating that the octagonal-shaped emerald is a natural emerald with indications of minor clarity enhancement. Origin: Colombia
Lot 348
A pink sapphire and emerald three-stone ring, the emerald-cut pink sapphire is set with a baguette shaped emerald to each shoulder in yellow gold, size M Accompanied by report number 1109279 dated 27 August 2020 from AGL stating that the emerald-cut pink sapphire measures approximately 13.6 x 7.1 x 4.94mm and is a natural pink sapphire with no indications of heat treatment. Origin: Burma (Myanmar) and the two step-cut emeralds are natural emeralds with indications of minor clarity enhancement. Origin: Colombia
Lot 41
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
Lot 103
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
Lot 104
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
Lot 113
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
Lot 114
AN EMERALD AND DIAMOND BRACELET, BY BULGARISet with an alternating graduation of oval-cut emeralds and diamonds, signed Bulgari, diamonds approximately 8.35 carats total, length 17.6cmFootnotes:Accompanied by a report from Gübelin stating that the emerald weighing 2.72 carats has indications of insignificant clarity enhancement (oil). Report number 20120028, dated 17th December 2020.Accompanied by a report from Gübelin stating that the emerald weighing 2.27 carats has indications of moderate clarity enhancement (oil). Report number 20120026, dated 17th December 2020.Accompanied by a report from Gübelin stating that the emerald weighing 2.16 carats has indications of minor clarity enhancement (oil). Report number 20120024, dated 17th December 2020.Accompanied by a report from Gübelin stating that the emerald weighing 1.82 carats has indications of minor clarity enhancement (oil). Report number 20120027, dated 17th December 2020.Accompanied by a report from Gübelin stating that the emerald weighing 1.80 carats has indications of minor clarity enhancement (oil). Report number 20120025, dated 17th 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
Lot 115
A FINE EMERALD AND DIAMOND RING, BY BULGARIThe step-cut emerald weighing 10.04 carats between demi-lune-shaped diamond shoulders, diamonds approximately 1.25 carats total, signed Bulgari, maker's mark, ring size M½Footnotes:Accompanied by a report from Gübelin stating that the emerald is of Colombian origin with indications of minor clarity enhancement (oil). Report number 20120021, 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
Lot 3
A PEARL NECKLACE WITH EMERALD AND DIAMOND CLASPThe two rows of 3.8mm to 7mm graduated cultured pearls, with a clasp set with an oval-cut emerald within an old brilliant-cut diamond surround, length 34.5cmFootnotes:Lots 1 to 11 were inherited by the current owners from various lines - both male and female - of their family. The majority of jewels were owned by members of the Surtees family; a prominent family from County Durham whose ancestry may be traced back to William the Conqueror. The surname Surtees, is derived from 'sur-Tees' or 'sur-Tays', in reference to the rivers Tee or Tay, near where the family anciently settled. The Surtees' family home was the 17th century Jacobean manor house, Redworth Hall, sold in the mid 20th century and now a luxury hotel. Some of the jewels in this collection, notably the three pendants with Royal connections, were owned by the Shaw Stewart family of Scotland, descended via the male line from Sir John Stewart, illegitimate son of Robert III of Scotland. The ownership of the jewels by individuals is stated where possible.For further information on this lot please visit Bonhams.com
Lot 31
AN EMERALD AND DIAMOND BRACELET, CIRCA 1930The articulated strap designed as a series of openwork geometric plaques pierced and connected by buckle-shaped links, accented by three cushion and rectangular step-cut emeralds, and set throughout with old brilliant, single and baguette-cut diamonds, mounted in platinum, diamonds approximately 12.75 carats total, length 18cm, fitted case by The Goldsmiths and Silversmiths Company Ltd., 112 Regent Street, LondonFor further information on this lot please visit Bonhams.com
Lot 32
AN ART DECO MULTI GEM-SET AND DIAMOND PENDANT, CIRCA 1925 AND LATERThe pentagonal plaque pierced and decorated with highly stylised floral and foliate motifs, set with single-cut diamonds, ruby, sapphire and emerald cabochons, onyx and green hardstone leaves with scalloped enamel borders, the outer plaque set with onyx cabochons, suspending diamond-set tassels terminating in fluted and polished emerald beads, the fountain surmount with similarly-set diamonds and a central sugarloaf ruby, on a cord set with green paste beads, between old brilliant-cut diamond and engraved foliate spacers, mounted in platinum, diamonds approximately 3.25 carats total, lengths: pendant 10.7cm, cord 65.0cmFootnotes:This flat, highly stylised design of flowers and leaves in diamonds, rubies, sapphires, emeralds, jade and onyx of various cuts and shapes, is similar in taste to the jewels produced by Mauboussin in their Rue de Choiseul workshop in Paris from 1925 to 1928. During this period Mauboussin moved away from the 'cold stiffness' and 'dry formulae of the Cubists' towards curves and colour. For similar examples, see De Cerval, Marguerite, 'Mauboussin', Paris, 1992, chapter 'The 1920s A Burst of Colour', and Garbardi, Melissa, 'Art Deco Jewellery 1920-49', Antique Collectors Club, 1989, pp 98, 100-101, 106, 111. It is also interesting to compare this jewel to the boldly coloured, naïve floral dress fabrics by Atelier Martine for Paul Poiret in 1919. Examples may be seen in the Victoria & Albert Museum London, accession number T.540-1919For further information on this lot please visit Bonhams.com
Lot 4
AN EMERALD AND DIAMOND RING, CIRCA 1930The step-cut emerald within a single-cut diamond surround, mounted in platinum, later hoop numbered 8757, ring size MFootnotes:Lots 1 to 11 were inherited by the current owners from various lines - both male and female - of their family. The majority of jewels were owned by members of the Surtees family; a prominent family from County Durham whose ancestry may be traced back to William the Conqueror. The surname Surtees, is derived from 'sur-Tees' or 'sur-Tays', in reference to the rivers Tee or Tay, near where the family anciently settled. The Surtees' family home was the 17th century Jacobean manor house, Redworth Hall, sold in the mid 20th century and now a luxury hotel. Some of the jewels in this collection, notably the three pendants with Royal connections, were owned by the Shaw Stewart family of Scotland, descended via the male line from Sir John Stewart, illegitimate son of Robert III of Scotland. The ownership of the jewels by individuals is stated where possible.For further information on this lot please visit Bonhams.com
Lot 58
AN EMERALD AND DIAMOND RINGThe step-cut emerald, weighing 6.88 carats, between shoulders of baguette-cut diamonds, ring size KFootnotes:Accompanied by a report from GCS stating that the emerald is of Colombian origin, with indications of minor clarity enhancement. Report number 79201-01, dated 26th February 2019.Please note that the emerald has been reset in a different mount since its certification.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 77
AN EMERALD AND DIAMOND 'GYPSY' NECKLACE, BY GRAFFThe hoop of graduated circular-cut emeralds, terminating with a brilliant-cut diamond and pear-shaped emerald fringe, on a trace-link chain via a similarly-set surmount, the chain with foliate accents, pavé-set with brilliant-cut diamonds and spectacle-set with circular-cut emeralds, mounted in 18 carat white gold, emeralds 3.98 carats total, diamonds 1.32 carats total, signed Graff, numbered GP16340, maker's mark GD, partial London hallmark, European Convention mark, lengths: pendant 4.4cm, chain 42.5cmFootnotes:Accompanied by a Certificate of Quality from Graff.Lot to be sold without reserve.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
Lot 78
A PAIR OF EMERALD AND DIAMOND 'GYPSY' EARRINGS, BY GRAFFEach pear-shaped diamond and circular-cut emerald surmount suspending a brilliant-cut diamond and pear-shaped emerald fringe, via a hoop of graduated circular-cut emeralds, mounted in 18 carat white gold, emeralds 8.75 carats total, diamonds 2.70 carats total, signed Graff, numbered GE24223, maker's mark GD, partial London hallmark, European Convention mark, length 5.2cmFootnotes:Accompanied by a Certificate of Quality from Graff.Lot to be sold without reserve.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
Lot 79
AN EMERALD AND DIAMOND RING, BY GARRARDThe step-cut emerald weighing 2.94 carats, between radiating baguette-cut diamond shoulders, mounted in 18 carat white gold, signed Garrard, maker's mark G&Co, London hallmark, European Convention mark, ring size LFootnotes:Accompanied by a report from Gübelin stating that the emerald is of Colombian origin, with indications of insignificant clarity enhancement (oil). Report number 21020009, dated 8th February 2021.For further information on this lot please visit Bonhams.com
Lot 1
A pair of 19th century Spanish Catalan emerald drop earrings, an emerald cut emerald set to a domed collet, surmounted with a trefoil of emeralds, with a pierced detachable plaque below, set with assorted faceted emeralds, to pear shaped pendant, with hinged Continental fittings, tested as approximately 14ct gold, 78mm long, 11.58g (a/f) (2)Condition report: Evidence of multiple soft solder/lead solder repairs to the earrings, throughout. Cracks and losses to metal in places. Two emeralds missing. Chips and abrasions to remaining stones.
Lot 112
A platinum single stone emerald cut diamond ring, an emerald cut diamond, estimated as approximately 0.32ct, claw set to open tapered shoulders and a plain shank, Birmingham, 3.13g.Finger size I¼Condition report: Diamond measures approximately 4.79 x 3.67mm.Surface marks/scratches to mount.Some wear to the claws.Diamond a little dirty, would benefit from being cleaned.
Lot 113
A platinum three stone emerald cut diamond ring, an emerald cut diamond in portrait orientation, flanked either side by an emerald cut diamond in landscape orientation, with a total stated diamond weight of 1.20ct, all rub set, to tapered knife edge shoulders and a 'D' section shank, London 2007, 5.00g.Finger size NDiamonds assessed as approximately:Colour: G-HClarity: VS1-VS2Condition report: No damage or repairs, jewellers unsold stock.
Lot 186
A 9ct gold smoky quartz pendant, c.1970, an emerald cut smoky quartz, approximately 14 x 10mm, claw set to abstract openwork frame, with articulated 'V' bale, suspended on a low grade gold box link chain with bolt ring clasp, pendant hallmarked 9ct gold, Birmingham 1973, chain marked 333, pendant 40 x 22mm, chain 453mm long, 7.53gCondition report: Pendant weighs 4.77g on its own, chain weighs 2.73g on its own. Chain links very worn.Bottom of bale worn.Some minor scratches to the table of the smoky quartz.A little porosity to the gold of the pendant.
Lot 198
A pair of silver and gold, emerald, split pearl and diamond drop earrings, each with a circular mixed cut emerald and split pearl cluster, suspending a brilliant cut diamond and split pearl floral cluster, applied to the openwork navette shaped drop, all set in oxidised silver with gilding verso, to gold post and butterfly fittings, tested as approximately sterling silver and 9ct gold, 25mm long, 2.72g (2)Condition report: Surface reaching inclusions to the diamonds and emeralds.Oxidisation and gilding to the silver a little uneven in places.
Lot 199
A gold emerald and diamond ring, an oval mixed cut emerald, approximately 7 x 5mm, claw set to graduated stepped shoulders set with baguette and tapered baguette cut diamonds, and a plain polished shank, marked 9k, tested as approximately 9ct gold, 2.07g.Finger size SCondition report: Surface reaching inclusions to the emerald and some of the diamonds.Jewellers unsold stock, no damage or repairs.
Lot 2
A pair of Continental gold emerald and pearl drop earrings, possibly Spanish or Catalan, with table cut emeralds set to the domed circular top, suspending a triangular mixed cut emerald rub set to an articulated collet below, with a row of graduated pearls, untested, probably later additions, wire set below, with hook fittings, tested as approximately 18ct gold, 42mm long, 4.28g (2)Condition report: Surface reaching inclusions and chips to some of the emeralds.Surface marks/scratches to metal.Pearls are possibly later additions.Hook fittings are bent.
Lot 200
A pair of white gold emerald and diamond open halo cluster stud earrings, an oval mixed cut emerald, approximately 5 x 3mm, claw set to an oval openwork frame micro claw set with eight cut diamonds, with post and butterfly fittings, marked 18kt, cluster 9 x 5mm, 1.23g (2)Condition report: Surface reaching inclusions to the emeralds.Jewellers unsold stock, no damage or repairs.
Lot 201
A gold single stone emerald pendant, suspended on a trace link chain, tested as approximately 9ct gold, together with a pair of 9ct gold emerald set knot earrings, with post and butterfly fittings, London, and a gold single stone aventurine quartz ring, tested as approximately 9ct gold, 3.74g total (4)Finger size L¼Condition report: Surface reaching inclusions to the emeralds.Chain worn.
Lot 270
A quantity of gold jewellery, to include an emerald, diamond and split pearl star, possibly from a locket, tested as approximately 18ct gold, 31mm long, 2.39g, a 22ct gold wedding ring, 0.60g, a gold cross pendant, tested as approximately 15ct gold, 3.45g, a gold wedding ring, with a 'D' section band, tested as approximately 14ct gold, with a thin flat section band soldered to the inside, tested as approximately 9ct gold, 3.64g, a silver lozenge and trace link chain, probably French, a 9ct gold oval locket, a 9ct gold hinged bangle, dented and with soft solder repairs, a 9ct gold swivel clasp, a pair of 9ct gold cufflinks, and two gold chains, both tested as approximately 9ct gold (qty.)9ct gold - 36.48g total
Lot 468
An emerald and diamond half clip brooch, circa 1925, ‘comprising a central section set with a singled emerald-cut diamond, mounted to each side with a single trilliant-cut emerald, all within a collet platinum setting, within a tiered surround of two rows of brilliant-cut diamonds of varying sizes, with a scrolled section to one side set with four baguette-cut diamonds and border of four single-cut diamonds above a below, to the terminal side set with three baguette-cut diamonds within collet settings, all within platinum bead claw settings, within a hinged clip to the reverse with open-work detailing. Central emerald 5.00mm x 4.20mm x 3.00 mm approx, calculated weight 0.43 carats, round-cut diamonds (47) 1.15 carats approx total weight, emerald-cut diamonds (7) approx. 0.30 carats approx, tested and valued as platinum, width 2.7 cms, gross weight 7.87 gms’.
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