We found 596772 price guide item(s) matching your search
There are 596772 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
596772 item(s)/page
Lot 100
THE PRIVATE PROPERTY OF A NOBLE ITALIAN LADY*** Please note second brooch no longer part of this lot. See lot 100A ***A SAPPHIRE AND DIAMOND BROOCH/DRESS CLIP, BY BULGARI, CIRCA 1940Of flowerhead design with polished gold leaves, the petals highlighted with cushion-shaped sapphires weighing approximately 16.00cts total and brilliant-cut diamonds, with similarly-cut diamond pistils, within claw-setting throughout, mounted in 18K gold, diamonds approximately 2.50cts total, unsigned(with loose original back fitting in 18K gold, French assay marks, numbered 50512)By family repute, the brooch was purchased at Bulgari in RomeAccompanied by a certificate of authenticity from Amanda Triossi, author & specialist on Bulgari, former curator of the Bulgari Heritage Collection and curator of all the first major Bulgari retrospective exhibitions from 2009 to 2013, stating that this brooch was manufactured for and retailed by Bulgari and dates from the 1940s. Certificate dated 9th August 2021, in Rome.Condition Report: Sapphires: gauged mounted: approx. 16.00cts total - of cornflower blue hue, good transparency, medium tone with very good saturation, minor/light facet abrasions visible under 10x magnification - well matched in colour.Diamonds: approx. 2.50cts total, unable to estimate colour due to yellow mount, estimated clarity VS/VVSNormal signs of wear, overall in good condition
Lot 101
THE PRIVATE PROPERTY OF A NOBLE ITALIAN LADYA PAIR OF DIAMOND BROOCHES, CIRCA 1955, ATTRIBUTED TO BULGARI, CONVERTED TO A PAIR OF DIAMOND AND GALUCHAT CUFFSEach black galuchat cuff with magnet clasp, centring a floral brooch (not removable) set with brilliant, baguette and single-cut diamonds, mounted in platinum, diamonds approximately 10.00cts total, cuff lengths 20cm, brooch lengths 3.3cmBy family repute, both brooches were purchased at Bulgari in Rome, before being converted into galuchat cuffsAccompanied by a certificate from Amanda Triossi, author & specialist on Bulgari, former curator of the Bulgari Heritage Collection and curator of all the first major Bulgari retrospective exhibitions from 2009 to 2013. Certificate dated August 18th 2021Condition Report: Unable to unmount the brooches (without damaging the galuchat cuffs) in order to see if the brooches are signed or unsigned, white metal tested by the jewellery department to be platinumDiamonds: approx. 5.00cts on each cuff, estimated colour G/H/I, estimated clarity VS with a minority of good SIThe brooches are fixed on each galuchat cuff, it is not possible to wear them as broochesNormal signs of wear, overall in good conditionTotal gross weight approx. 120.80g
Lot 102
THE PRIVATE PROPERTY OF A NOBLE ITALIAN LADYA RARE RETRO SAPPHIRE AND DIAMOND 'TUBOGAS' BRACELET, BY BULGARI, CIRCA 1940The large coiled gold tubogas bracelet, with two spherical terminals highlighted with sapphire cabochons and brilliant-cut diamonds within collet-setting, mounted in 18K gold, indistinct maker's mark, size extendableAccompanied by a certificate of authenticity from Amanda Triossi, author & specialist on Bulgari, former curator of the Bulgari Heritage Collection and curator of all the first major Bulgari retrospective exhibitions from 2009 to 2013, stating that this bracelet was manufactured for and retailed by Bulgari and dates from the 1940s. Certificate dated 9th August 2021, in Rome.A similar tubogas brilliant-cut diamond bracelet by Bulgari illustrated page 98, 'Twentieth-Century Jewelry, Art Nouveau to Modern Design', by Lodovica Rizzoli EleuteriThe iconic flexible gold braid of the Tubogas shape debuted in the 1940s, and has since become a signature of the brand, seen in everything from Bulgari’s bracelets and watches to their rings. In creating the Tubogas, Bulgari took advantage of the great malleability of yellow gold to produce a work of art, revolutionising the concept of movement in jewellery. The Tubogas shape is formed by wrapping long bands of gold around a wood or copper core over several hours of highly skilled craftsmanship. The technique was developed in Italy in the late 1930s and ingeniously mimics industrial gas piping. The origin of its name derives from a clever take on the Italian tubo gas, literally translating as ‘gas tube’. As the bands are coiled, their rounded contours interlock to conceal their inner structure, creating a smooth and fluid finish. The result of such intricate craftsmanship is supple, springy and comfortable, with the sleek and sensual appearance of a serpent’s twist which allows the metal to expand or contract with the shape of the wearers wrist or finger. From the time of its first launch, the creation of the Tubgogas bracelet marked the Roman jewellery house as an innovator. Since then, the continued success of the Tubogas is testament to its flawless design and desirability.This particular piece is a variation of the original Serpenti Tubogas bracelet which emerged in the 1950s, during which time Bulgari began to experiment with more abstract Tubogas pieces. The yellow gold bands are characteristically juxtaposed with unusual colour combinations of contrasting precious gemstones, such as diamonds, sapphires, emeralds or coral.The Serpenti Tubogas and other forms of the Tubogas silhouette continue to be hugely popular today. Despite their many incarnations since the 1940s original bracelets and timepieces, the core craftsmanship of creating such a piece remains exactly the same. Made in the largest jewellery manufacturing facility in Europe at Bulgari’s Valenza workshop, Bulgari have since experimented with different materials to create unique chromatic effects, including yellow gold and white gold or yellow gold and steel alternating on the wrist. Irrespective of what development the Tubogas will move towards next, it remains a beacon of jewellery innovation, a feat of craftsmanship and an integral element of Bulgari’s design identity.Condition Report: Sapphires: of blue hue, medium tone, some show abrasions due to wear visible under a bright light source, some wear visible on some collet settings due to normal wearDiamonds: bright and well matched, some wear visible on some collet settings due to normal wearStamped 750 for 18K goldItalian maker's mark: rubbed due to wear, unable to distinguishTotal gross weight approx. 139.40g
Lot 34
A RETRO SAPPHIRE AND GOLD BRACELET, BY CAZZANIGA, ROMA, CIRCA 1940The large bombé gold links with reeded detailing throughout, accented in the centre by circular-cut sapphires within star motifs, mounted in 18K gold, Italian assay mark for 'Giorgio Angelo Cazzaniga in Rome between 1934-1944', with original maker's case, length 20.3cmThe firm of Cazzaniga was founded by Angelo Giorgio Cazzaniga (d. 1976) in 1920. Born in Rome, he grew up in the villa belonging to a cousin of Tsar Nicholas II as his father was manager of the prince’s estate. His childhood and adolescence were therefore spent surrounded by the vast collection of artworks belonging to the young Russian patron, Prince Abamelek Lazarev. This upbringing proceeded to have a profound impact on both his initial choice of career as an apprentice goldsmith in Milan as well as the creation of his jewellery pieces later in life. He opened his first jewellery store near the Trevi fountain, in the heart of Rome in 1929. Cazzaniga’s pieces encapsulated the art of classical and Baroque Rome and were inspired by the sculpture of Bernini and Francesco Borromini, amongst others. The influence of his childhood was never far away. The elaborate ornamental and almost architectural style of Cazzaniga’s jewellery throughout his career reveals a unifying motif which shows a continuous underlying reference to the artistic foundations of his youth.Giorgio’s two sons Paolo and Roberto followed him into the jewellery business, with both opening their respective stores under the same name. Paolo started his own company in Rome in 1973 and Roberto opened a store in 1979 on New York’s Madison Avenue, but this subsequently closed in 1981.Paolo continued to run the firm he started in Rome under the Cazzaniga name. He continued the legacy left by his father creating jewellery in a neo-Baroque style. Paolo worked most often in gold with precious gemstones. His primary inspiration derived from studying the artwork of the Byzantine era, the Florentine Renaissance and just like his father, Baroque Rome. During the 1970’s, the house of Cazzaniga experienced a revival and heightened success on the international scene under the directorship of Paolo. Paolo inherited an innate passion for jewellery that was inherited from his father, and he has made it his mission to dedicate his time to solidifying what has become known as a distinct Cazzaniga style.Today the Gioielleria Cazzaniga is led by Paolo and his son Giorgio, the latter of whom represents the third generation in a line of talented jewellers and goldsmiths. Together, the duo caters for a clientele that is largely international and collaborate with the best representatives of Italian goldsmiths to continue the Cazzaniga legacy.Below is an original sketch by Cazzaniga’s founder Angelo Giorgio Cazzaniga from the jeweller’s archives. The two sketches shown date to the early 1950s. The drawing on the right displays the workings of a model design almost identical to the bracelet in this sale, and exhibit the fine draughtsmanship of the jeweller, even in the initial stages of his designs. Written below the drawing on the right are the original dimensions and price point decided by Cazzaniga. Translated from the Italian, the text says, ‘7 pieces at 20cm’, with the price set at £4000 Italian Lire, the equivalent to around €30,000 today.Condition Report: Some minor dents visible under a bright light sourceSapphires: of blue hue, medium tone, bright and well matched in colour with good transparency, some abrasions on a couple visible under a bright light sourceThe reverse shows some possible minor signs of repair - ask the jewellery department for additional imagesMaker's mark for Cazzaniga Roma with fasces for period 1934-1944, RomaNormal signs of wear, overall in good condition,Total gross weight approx. 123.66g
Lot 45
A DIAMOND BROOCH, BY RAYMOND TEMPLIER, CIRCA 1958Composed of a stylised flowerhead, the polished gold petals with ropetwist detailing throughout, centring brilliant and single-cut diamond pistils to further similarly-cut diamond accents, mounted in 18K gold, diamonds approximately 2.50cts cts, maker's mark 'PRT' for Paul & Raymond Templier, French assay marks, length 5.8cmThe Parisian jewellery Raymond Templier (1891-1968) was one of a small group of innovative Art Deco designers known as ‘bijoutiers-artistes’. These were innovative, radical, artist jewellers in contrast to the ‘bijoutiers-joaillers’ in France in the first quarter of the 20th century, the latter of whom encompassed the more moderate and well established and famous jewellery houses. Templier came from a traditional jewellery family and grew up around the family business which his grandfather Charles had founded in 1849. However, after he joined the Templier firm in 1919, Raymond was determined to redefine Maison Templier in order to produce more innovative and for its time, radical designs. Bijoutiers-artistes such as Templier produced work in a minimal, geometric style that looked towards contemporary artistic movemts such as Cubism and were inspired by the imagery of industrial production and the machine age. Similarly, Art Deco’s love of geometric form which had initially flourished in the worlds of architectural design and the visual arts throughout the 1920s and 30s, similarly became absorbed into jewellery design and influenced the work of Templier. The geometric motifs of Templier’s jewellery thus reflect the dynamism of modern urban culture and the mechanised world, earning him the reputation of ‘architect of the jewel’.In 1929, Templier helped found the French Union of Modern Artists, a collective that also included Charlotte Perriand, Robert Mallet-Stevens, Eileen Grey and Sonia Delaunay. The aim of this association was to promote and uphold modern art, which Templier believed had to originate from contemporary life. He and his fellow jewellers produced monumental pieces including imposing bangles, sculptural rings and large pendants. He became one of the leading proponents in France of the Art Moderne movement and created some of the most iconic pieces of the period such as the diadem and earrings worn by the actress Brigitte Helm in the 1928 film L’Argent.Templier officially took over his father’s business in 1935, allowing him free reign on the business he had long strived to establish as a house which championed Modern and Art Deco design. Following the Second World War, Templier continued to make pieces, including the lot in this sale from the 1960s. In his later years, Templier made a return to the somewhat more traditional approach of his ancestors. Although he continued to be inspired by the Art Deco period of the 1920s and 30s, his later work transitioned from pieces that were almost entirely free of decorative ornamentation, to creations which of the more classical style, albeit still celebrating the Modernist style. As such, Templier exhibited his skill at acclimatising to his environment and catering for a new generation of clientele in the 1960s. The post-war period witnessed a shortage in platinum, so jewellers such as Templier made a return to gold. Although his style remained largely abstract in jewellery terms, Templier’s designs of this era are less figurative and were inspired by smoother lines drawn from nature. Today, Raymond Templier’s jewellery forms part of some of the world’s most famous museums including the V&A in London, The Met and the Musee des Arts Decoratifs in Paris. Raymond died in 1968 and is remembered for both his pioneering of the Modernist jewellery as well as his unique skill of combining in his later pieces a sense of traditionalism alongside a subtle twist of Art Deco.Condition Report: Eagle's head for French 18K gold located on pin and reverse of broochMaker's mark located on the reverse at about 6 o'clockPin on the reverse is a little stiffNormal signs of wear, overall in good conditionTotal gross weight approx.: 25.54g
Lot 54
A RARE AND COLLECTIBLE GOLD 'PETITE TÊTE CARÉE' PENDANT, BY ANDRÉ DERAIN (1880-1954)A rare 23K gold pendant, conceived circa 1965, stamped with the artist's signature, incised 'Exemplaire d'auteur 1/2', with the Francois and Pierre Hugo reference numbered '1702' and '2915', stamped with Francois Hugo's hallmark, published by Ateliers Hugo in 2012, within its original wooden fitted case, length 7.9cm, width 5.9cmFor a comparable piece by Andre Derain, see see Hugo, P. and Siaud, C. (2001) Bijoux d'artistes. Artist’s Jewels, Hommage à Francois Hugo, p. 89Long-time friend of François Hugo, Parisian artist and sculptor André Derain (1880-1954) was one of the many creatives who set out to create jewellery pieces at the workshop in the South of France. Alongside Henri Matisse, Derain was founder of the Fauvist movement at the beginning of the 20th century. Derain was initially friends with Francois’ older brother Jean, but later developed an even closer relationship with the younger of the Hugo brothers. Hugo and Derain influenced each other in both their personal and artistic lives. Derain was best man at Hugo’s wedding to his wife Monique and remained close to the couple throughout his life. Having devoted himself to painting in the 1920s, Derain turned increasingly to sculpture during the 1930s. Following World War II, he modelled some medallions in terracotta which were later cast in bronze. Although Derain continued to pursue his passion for sculptural works, his interest in jewellery design and casting emerged from his sculptural practices and was undoubtably propelled to new heights by his friendship with Francois Hugo.In the early days of their friendship, Derain had tried his hand at ceramics with the guide of Hugo, but the collaboration didn’t amount to much and the pieces do not survive. In the late 1940s, Derain once more turned to Hugo to draw upon his knowledge and skill in the creation of 10 sculptural jewels for his wife Alice Prense. Derain’s initial designs were crafted from the lead he had reused from empty paint-tubes from his studio. Six of these jewels were intended to be made in editions of 23 carat gold by Hugo, but Derain tragically died in a road accident in 1954 before the project could come to fruition. Hugo paid homage to the legacy of his friend and legendary artist by eventually making editions in 1966 and 1967.Jewellery made by artists is a rarity. This is not simply down to the fact that there have been only a select number of painters and sculptors who have managed to master the skill involved with making jewellery, but more so because the fruits of their work remain largely buried in private collections. Artist’s jewellery may be given as a gift to a lover, passed down as a family heirloom, or simply kept by the artist themselves. Jewellery of this kind is therefore imbued with a deeply personal nature which is integral to the creative process. The term ‘art jewellery’ itself signifies that the work is handmade and unique. Never mass produced, such jewellery is rather the result of a collaboration between the artist and a jeweller who is trained in the field, or the sole efforts of the artist to step outside his or her own métier to embrace an entirely different world. As with any creative endeavour, the jewellery becomes an extension of the artist’s wider body of work and offers an insight into a realm of design aside from painting or sculpture. The pieces in this sale offer just that and provide us with a glimpse into the intricate workings and personal motivations of three prolific early 20th century artists – Jean Cocteau, André Derain and Pablo Picasso. All three worked under the helm of goldsmith and master-craftsman François Hugo, who provided them with the tools to enable their artistic vision to flourish in the world of jewellery-making.The great-grandson of the eminent writer Victor Hugo and son of painter Georges Hugo, François Hugo’s well-established lineage boasts a host of widely celebrated French cultural figures. François was born in Rovezzano, Italy, in 1899, and trained as an engineer in his early years before entering the creative field by trying his hand at sculpture and painting. He then opened his own workshop in Paris in 1934, where he worked as a silver and goldsmith from 1936 onwards. Throughout the Second World War and following into the late 40s and 50s, François Hugo designed and created buttons from non-precious metals and enamel for fashion houses including Dior, Chanel, Givenchy and Lanvin. His first attempt at creating jewellery had in fact come before the War, in the form of a brief and experimental collaboration with his close friend Andre Derain, but it wasn’t until later that he fully dedicated himself to perfecting the craft of silver and goldsmithing.Francois Hugo was responsible for some of the most important collaborations in precious metals of the twentieth century. Since the 1950s, Ateliers Hugo have famously collaborated with some of the world’s greatest artists and sparked a movement of ‘Bijoux d’Artistes’. Initially, all the artists who Hugo worked with were long-time friends, and included the likes of Max Ernst, Jean Arp, Jean Cocteau, Andre Derain, Dorothea Tanning and Pablo Picasso amongst others. Hugo ingeniously proposed to them to make reduced versions of their works which would be crafted in his workshop and could serve as wearable jewellery. Over sixty-five years later, François’ 32-year-old grandson Nicolas now runs the family business, following in his father and grandfather’s footsteps as the third generation of Ateliers Hugo to create intricate treasures and develop new collections with contemporary artists at their goldsmith workshop in the South of France. The 65th anniversary of Ateliers Hugo was celebrated in 2020 and marked by new collaborations, including one with American artist Josh Sperling, released in April of this year.Condition Report: Minor signs of wear, overall in good conditionTotal gross weight approx. 60.80gplease note that this pendant was authenticated verbally by the workshop HUGO and a certificate of authenticity would be made by the workshop if purchased.
Lot 7
A ROCK CRYSTAL, ONYX, DIAMOND AND CULTURED PEARL PENDANT/BROOCH, BY DAVID WEBBThe rock crystal pendant accented with brilliant-cut diamonds and onyx, suspending a tassel of cultured pearls of white tint, measuring approximately 9.50mm, mounted in 14 & 18K gold and platinum, diamonds approximately 3.30cts total, signed Webb, length 13.2cmDavid Webb began designing jewellery as a young boy growing up in North Carolina. In 1940, he moved to New York at the age of seventeen and apprenticed at his uncle’s silversmith shop, where he learned metal smiting techniques, further honing his keen eye for jewellery design. Five years later, Webb founded his eponymous jewellery line on Manhattan’s Madison Avenue. His brand would go on to help define the direction of American jewellery over the next two decades. Webb’s designs standing out as one of the few artists of the 20th century who lay claim to an aesthetic style which remains wholly their own. Devoted clients of Webb included Jacqueline Kennedy, Elizabeth Taylor and Estée Lauder, all of whom proudly wore his designs throughout the 1950s and 60s. Throughout his lifetime, his pieces took centre stage on the covers of fashion magazines such as Vogue, Harper’s Bazaar, and Town & Country.Webb’s designs are distinguished by a vivid colour palette, dimension, and meticulous attention to detail. He oversaw the whole process of jewellery making, from the initial conceptualisation of the pieces to the finished product, with his entire production process sometimes being comprised of as many as 18 steps before his designs came to fruition. Webb worked in enamel, coral, jade, carved crystal, and gold alongside a vibrant mixture of gemstones and pearls. He drew inspiration from a vast range of cultures and periods, founded in his regular visits to all the museums and collections New York city had to offer. This included the Metropolitan Museum of Art where Webb made a point of going weekly to study and admire the ancient collections housed there, from the painted terracotta vases of the Bronze Age Minoans to the papyri of the Ancient Egyptians and the gold jewellery of the Byzantine Empire. For Webb, a Minoan bull became a gold belt buckle, and Greek penannular bracelets were transformed into the models for his signature gold animal bracelets.It was this breadth of influence, boldness of design and unabashed individuality which drew the attention of First Lady Jackie Kennedy, when she asked Webb to create the White House Gifts of State in 1960. Directed to use minerals native to the United States, all seven designs were accepted, sparking a lifetime of collaboration between the pair. When Webb passed away in 1975, at the young age of 50, his legacy was remembered by those who admired his work. The Duchess of Windsor remembered him as “Faberge reborn”, whilst his friend and associate Jackie Kennedy called him a “modern day Cellini”. In 2010, Marc Emmanuel and Robert Sadian bought over the company, bringing David Webb designs into the 21st century by faithfully restoring the jeweller’s original designs from his archives. Today, all of David Webb’s jewellery continues to be made on the premises in New York, as it has been since 1948.Condition Report: Pearls: of white tint with high lustre and with green and pink overtones, some blemishes visible under a bright light sourceOnyx & rock crystal in good conditionDiamonds bright and well matched - approx. 3.30cts total, estimated colour of bigger stones G/H, estimated clarity VSNormal signs of wear, overall in good conditionTotal gross weight approx. 96.6g
Lot 95
THE PRIVATE PROPERTY OF A NOBLE ITALIAN LADYA RARE HAWK'S EYE AND DIAMOND BIRD BROOCH, BY STERLÉ, CIRCA 1955Designed as a majestic bird, the torso composed of hawk's eye with long articulated gold tassel tail feathers highlighted with brilliant-cut diamonds, with similarly-cut diamond crown, eyes and beak, mounted in 18K gold, diamonds approximately 3.00cts total, signed Sterlé Paris, numbered 7.558, with maker's marks, French assay marks, length 10.2cmSterlé’s fascination with recreating the natural world inspired him to go above and beyond many of the goldsmiths and jewellers of his time. Following a visit to the Egyptian Museum in Cairo in the early 1950’s and a glimpse at the intricacy of one of Cleopatra’s bracelets,the Frenchman strove to emulate what he had seen and apply it to the creation of his designs inspired by nature. He is thus credited with the invention of what aptly became known as his distinct ‘angel wire’ or ‘knitted gold’ technique, whereupon gold wire was twisted or braided by Sterlé in such a way as to enable the artist to reproduce both the delicacy, density and movement of a bird's wings and plumage in a remarkably tactile and dynamic fashion.Ref of text: Catalogue published in 2019 for the exhibition 'Birds in Paradise' curated by L'Ecole, School of Jewelry Arts, with the support of Van Cleef & Arpels, which took place 15th May - 13th July 2019, in Paris - Sterlé, page 87. For comparable Bird brooch by Sterlé - in same exhibition catalogue, page 101, from a private collection.Pierre Sterlé (1905-1978) was famed for his innovative approach to jewellery design, embodying the dynamics of 1950s design. The son of a family of bankers, Sterlé trained as a jeweller in Paris under his uncle Maynier-Pinçon following the death of his father during the First World War. In 1934, he founded his own jewellery making company and was sponsored by many large jewellery houses located on the Place de Vendome, including Boucheron, Chaumet, and Van Cleef & Arpels, who had already used his talents for their own firms. Sterlé’s talent as a designer soon allowed him to emerge from his status as a jewellery manufacturer to a successful jeweller and artist in his own right. His reputation was cemented when he won the De Beers Diamond Award, a major achievement in the jewellery world, for three years running in 1953, 1954 and 1955. Sterlé’s success as an artist during this time ensured he received large-scale recognition in France as well as on a global scale. He worked for many heads of state and royalty, including Queen Narriman of Egypt and Princess Soraya of Iran and socialised with fellow avant-garde artisans in France, such as Jean Cocteau, Georges Bracque and Salvador Dalí.His work is distinguishable by his intricate pieces, wrought with great movement and energy, often using baguette-cut diamonds and coloured gemstones in sweeping, curling lines. Above all, it was Sterlé’s invention of the ‘knitted-gold technique’ or ‘angel thread’ which would lead to his fame at the climax of his career in the 1950s and 1960s. The meticulous use of of gold plaiting and threading enabled him to emulate recreate the intricacies of the natural world, from the textures of flowers and plants, to the wings and feathers of his famous bird brooches, all executed in a strikingly tactile and dynamic way. Although a talented jeweller, Sterlé did not experience the same level of success at business and suffered the closing of two of his own stores throughout his lifetime. Forced to close his house in 1976, Sterlé continued his work at the Maison Chaumet, where he acted as Artistic Director until his death in 1978.The late 19th century onwards until the 1950s and 60s saw a huge fascination by jewellers with the representation of birds in jewellery. This trend echoed the growing penchant for decorative naturalism and a passion for romanticising the natural world and derived from the increase in major scientific expeditions, the creation of large colonial empires and the widespread popularity of taxidermy in Western Europe. Natural history museums, zoos and richly illustrated ornithological publications inspired a growing penchant for exotic birds amongst the wealthy classes. Not only did birdwatching become a popular activity, but owning a bird of paradise was seen as a symbol of status, affluence and a stamp that the individual was well-travelled. Ever-present in mythology, a constant source of inspiration for literature and the arts, exotic birds also came to be represented in the world of jewellery. As such, without necessarily owning a specimen, wearers of ornithological jewellery thereafter invoked in their audience ideas of travel, luxury and an appreciation of the natural world. Brooches played an especially important role in the way that bird species of all kinds remained popular for over a century of jewellery design – from the mid-nineteenth century up until the 1960s. The sheer beauty of birds, alongside the vast diversity of their shapes, lines, colours and poses, allowed jewellers to experiment with creating such pieces, unlike any other animal. Over time, the use of birds as motif in jewellery design came to signify something far greater than beauty or status, and in many cases the bird was used to represent or symbolise a cause or ideal. The turtledove was strongly connotated with love, whilst the peacock remained a clear symbol of exoticism and luxury. During World War II, French jewellers including Cartier created brooches of caged birds as a symbol of freedom and patriotism during the German Occupation and at the time of the Liberation, several jewellers including Van Cleef & Arpels, used birds in their jeweller as a decided signifier of France’s new-found freedom. As such, Pierre Sterlé was certainly not alone in his fascination with depicting birds in jewellery. The continued presence of ornithological species in brooches and pendants throughout the mid-20th century is testament to their unfailing popularity amongst buyers, from the Parisian elite to his clients further afield. Yet it was Sterlé’s invention of the ‘angel-thread’ technique which served to revolutionise the depiction of birds in the jewellery world. He was one of the most innovative artisans of the 20th century and whilst the use of his gold-plaiting and threading technique was most pertinent in the emulation of birds, goldsmiths soon acquired it in a host of new designs which allowed the artist to reproduce the finesse and density of textures from the natural world.Condition Report: Some diamonds on the bird's crown are of obvious yellow tintSignature 'Sterlé Paris' number '7.558', maker's mark for Sterlé & French assay mark located on the large pinAn additional maker's mark and French assay mark located on the reserve of the torso of the birdEagle's head for French 18K goldNormal signs of wear, overall in good conditionTotal gross weight approx. 54g
Lot 97
THE PRIVATE PROPERTY OF A NOBLE ITALIAN LADYA LADY'S GOLD AND DIAMOND 'TUBOGAS' BRACELET WATCH, BY BULGARI & MOVADO, CIRCA 1965The 17-jewel manual wind movement, the silvered blue dial with baton indexes for numerals, circular case with brilliant-cut diamond bezel, snap back, completed by an 18K gold flexible coiled Tubogas bracelet, bracelet signed Bvlgari, dial signed Bulgari & Movado, movement signed Movado.By the 1960s, the Tubogas watch-bracelets which Bulgari had produced in individualised designs since the 1940s had become a staple of the brand. Initially, brothers Constantino and Giorgio were not alone in experimenting with the ‘tubogas’ style when the technique first emerged in Italy, but no other jewellers captured the essence of the snake-like style quite so well as Bulgari. While other jewellers had abandoned the gas pipe inspired-look by the 1950s, Bulgari soon monopolised the creation of all Tubgogas designs, grounded in the jeweller’s master craftsmen who excelled at the dexterous, coiled and contoured technique. Thus, the Bulgari watch paired with a coiled gold Tubogas bracelet became immensely popular and has since become an instantly recognisable Bulgari look.Since the 1960s, renditions of the Tubogas watch have starred on covers and in features in magazines all over the world. Sophia Loren sported the watch on the red carpet, and celebrities followed suit over the next few decades; singer Grace Jones was snapped wearing the watch at parties during the early 80s. And in the 2006 hit, Meryl Streep acted as editor in chief of a fashion magazine, wearing none other than the Bulgari Tubogas.Condition Report: Glass: Normal signs of wear given the age - could do with a replacement but not inevitableBracelet: Normal signs of wear Case: Normal signs of wearNo box, no papersIn running condition at the time of inspection, movement was observed to be cleanTotal gross weight approx. 141.40gAn external watch specialist who verifies each watch prior to each auction in order to open them, checks their working condition, mentions any potential damage, mentions any movement ref numbers etc...For any additional assistance, please
Loading...-
596772 item(s)/page