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Lot 13
A FINE 18K GOLD 'SUBMARINER' CALENDAR BRACELET WATCH, BY ROLEX, 2017 The 31-jewel Cal. 3135 automatic movement, adjusted to 5 positions and temperature, sunburst blue dial with applied luminous filled gilt dot hour markers, outer minute divisions, magnified date aperture at 3, gilt Mercedes hands with luminous inserts, centre seconds, case brushed and polished tonneau form, screw down back, uni-directional calibrated gold bezel with blue insert, fitted 18K gold Oyster bracelet with signed folding clasp stamped R4W, case, dial and movement signed, serial no. 7H66J8**, model no. 116618**, Swiss assay mark, Rolex maker's mark, with Rolex international guarantee card (dated July 21st 2017), booklets and presentation case, case width 40mm The Rolex Submariner created history in 1953, becoming the first ever diving watch to resist water up to 330 feet (100 meters).
Lot 146
A PAIR OF DIAMOND PENDENT EARRINGS, BY ADLER Each designed as an openwork stylised flowerhead, pavé-set with round brilliant-cut diamonds, mounted in 18K gold, signed Adler, Italian assay marks, length 3.5cm It was in 1886 that Allan's great-grandfather, an Austro-Hungarian goldsmith named Jacques Adler, founded his first workshop in Istanbul. He fused his European experience with the rich jewellery traditions of the East. His pieces soon attracted a loyal clientele that included aristocrats and royalty. In 1970, the founder's grandsons Franklin and Carlo Adler decided to move Adler's headquarters from Istanbul to Geneva. There followed three boutiques in the city, and branches in London and Gstaad. Between 1998 and 2015, Adler added Tokyo, Qatar and Azerbaijan, and introduced materials never before used in high jewellery: wood, titanium and carbon. Today, Adler remains a family business run by Allen, Karen and Daisy Adler. While the brand has an enduring focus on innovation, it will remain true to its core values of quality, warmth and personalised service, says Allen.It's all about family, and we have four generations of loyal clientele behind us, says the new CEO.
Lot 196
A FINE 18K GOLD, DIAMOND AND SAPPHIRE-SET AUTOMATIC 'PEARLMASTER DATEJUST' BRACELET WATCH, BY ROLEX, 2017 31-jewel Cal-3235 automatic movement, the cognac dial with diamond-set indexes and pavé-set with brilliant-cut diamonds for 6 & 9, magnified aperture for date at 3, coloured sapphire-set bezel, screw down crown and case back, case, dial and movement signed, with 18K yellow gold Pearlmaster bracelet with folding clasp, Serial no. 777W39**, Model 86348SA***, with Rolex International Guarantee, with original maker's box, case width 39mm The Pearlmaster collection is one of the most recent additions to the Rolex fleet and was first launched in 1992. As a piece of jewellery and a timepiece, the Pearlmaster is exclusively crafted in 18K gold and set with gemstones. The gold variations include white, yellow, and Everose, while the gems used are diamonds, sapphires, or rubies. The gems embellish the dial, case, bezel, or bracelet, and can range from a sprinkling of diamonds to an extravagant full pavé-set. It is a new and feminine reinterpretation of Rolex's emblematic Datejust. Rolex's collection of jewelled timepieces is named after its Pearlmaster bracelet, which was created specifically for the line. Naturally, the bracelets are decorated with the iconic concealed Crownclasp. The Pearlmaster is Rolex at its most creatively flamboyant, and the family also represents some of the most expensive pieces in the entire portfolio.
Lot 20
A RARE TURQUOISE, DIAMOND AND GARNET SERPENT NECKLACE, CIRCA 1865 Of ouroboros form, the highly flexible body set with graduated circular cabochon turquoises within collet-setting, the eyes set with similarly-cut cabochon garnets embellished by rose-cut diamond accents, within fitted case by 'Payne & Sons, jewellers & Goldsmiths, in ordinary to the Queen. The Queen Dowager, H.R.H. The Prince Albert & Royal family. 21, Old Bond Street. Bath.', length 41cm Snake motifs are one of the earliest historical and culturally diverse mythological symbols, and figure prominently in jewellery. These intriguing creatures make for alluring pieces of jewellery inspired by serpents through the ages, from the fall of Adam and Eve in the Garden of Eden to the Gods of ancient mythology. They represent a host of meanings in different countries and civilisations. To the pharaohs of Egypt, snakes represented royalty and deity and they wore them as sacred pendants around their necks. The Romans had different interpretations ranging from everlasting love to a symbol of wisdom. The Greeks also looked toward the serpent as representing this quality, and Aesculapius, their god of medicine, was always depicted with a snake wrapped around his staff - a motif that continues to remain the symbol of the medical profession. While for the Hindus, Hebrews and Native Americans the creature is endowed with various meanings within the cycle of the human life, ranging from rebirth, transformations, sexuality and desire. As it quite common with members of royal families, particular fashions adopted by specific individuals can lead to them becoming an iconic symbol of the period. In 1839, Queen Victoria did just that for the snake motif in jewellery. On her engagement to Prince Albert she was presented with a ring formed as continuous snake, signifying their everlasting love. It was set with an emerald, her birthstone, centered in its head. Queen Victoria's ring set a trend throughout England, and eventually across Europe, for a range of snake rings, coil-style flexible necklaces and bracelets with gem-set heads, as well snake brooches, cuffs, bangles, and wonderfully designed earrings that featured a snake slinking around a gemstone. Colour is of particular importance in jewellery designs which are inspired by animal motifs as they add life and character to the piece. Turquoise was plentiful during the 19th century and among the most fashionable gems for everyday wear. Victorian jewellers used round turquoise cabochons to represent the scales of their snaky creations. The stone's popularity, in fact, inspired Tiffany & Co. founder, Charles Lewis Tiffany, to choose its colour for the cover the first Blue Book, a catalogue of the house's jewels, in 1845; today, the colour is referred to simply as: Tiffany Blue. The Art Nouveau period favoured naturalistic and animal/insect motifs and the snake continued to be an inspiration in jewellery designs. In the 20th century houses such as Cartier, Bulgari and Boucheron, adopted the serpent but translated it into their own aesthetics and style.
Lot 3
A FINE 18K GOLD MANUAL WIND 'SANTOS DUMONT' WRISTWATCH, BY CARTIER 18-jewel Cal-430 manual movement, cream dial with black painted Roman numerals, secret signature at 7, black oxidised steel sword hands, sweep centre seconds, large polished square gold case, snap on back held by 8 screws, faceted blue sapphire set winding crown, fitted brown alligator Cartier strap with adjustable folding clasp, water-resistant to 30metres, dial, case and movement signed, mounted in 18K gold, Cartier maker's mark, Swiss assay mark, Model no. 264*, serial no. 36984***, with maker's pouch, case 3.5cm (large model) Accompanied with service papers from Cartier dated October 1st 2018 In 1904, Louis Cartier designed a wristwatch which would come to define the modern timepiece. It was the wish of his friend Alberto Santos Dumont that he would be able to tell the time while flying and so the first wristwatch was born. The Santos Dumont ref. 2649 is of a highly elegant design which is powered by a slim and dynamic manual winding caliber. The classic aesthetic of geometric shapes and exposed screws quickly became an icon of the house.
Lot 36
A CULTURED PEARL NECKLACE WITH AN ART DECO GEM-SET CLASP, BY LACLOCHE FRERES Comprising of seven strands of cultured pearls, measuring approximately 2.77 to 2.83, completed with an art deco element set with rock crystal, single-cut diamonds and green stones, mounted in platinum, signed Lacloche Frères, French assay mark, length approximately 115cm Lacloche Frères was a jewellery house renowned for its stunning Art Deco creations and was at the centre of the design movement in the early 20th century. The Lacloche brothers, Léopold, Jules, and Fernard moved to Paris from Madrid around the turn of the century and established a series of jewellery shops, finally settling in the Maison Lacloche Frères on 15 rue de la Paix in 1901. By 1908 there was a total of seven European store locations including Madrid and London. They produced some beautiful examples of jewellery and timepieces including a pendant watch which was the result of a collaboration between several exceptional craftsmen - Lalique, Verger, Vacheron Constantin and the enameller Paillet. Their customers were amongst the most prestigious, including the Duchess of Westminster, Edward VII, the Rothschilds, Elsa Schiaparelli and Florence Gould, not to mention the King of Siam and the Maharajahs of Jaipur and Kapurthala. During the First World War, Lacloche bought Faberge's London store and remaining stock when the Russian government repatriated the company's staff and assets. They exhibited at the 1925 Paris Exposition des Art Décoratifs to great acclaim, winning a Grand Prix for their display of fabulous jewels including a range of pendants and bracelets inspired by the classic fables of Fontaine. Over the decade, the company produced some of the finest and most creative jewellery, clocks and ladies accessories, in a style which would become synonymous with the Art Deco period. From tiaras, diamond bracelets and colourful gem set jabot pins to mother of pearl inlaid clocks and vanity cases. As with many family-owned businesses, the crash of 1929 had a significant effect on Lacloche Frères. The firm filed for bankruptcy in 1931, and the Lacloche Frères stores closed in 1935. Jacques - son of the fourth Lacloche brother, also named Jacques, who had died tragically in a train crash in 1900 - opened a Lacloche Frères store in the Carlton Hotel in Cannes, and in 1938 he opened a store in Paris under the name SARL Jacques Lacloche. Jacques' ventures proved successful, and his clientele included Prince Rainier, who commissioned a diamond and sapphire brooch as a wedding present for Grace Kelly. The firm officially closed in 1960, yet the Lacloche Frères legacy lives on through their jewellery which continues to delight collectors today.
Lot 55
A DIAMOND NECKLACE, BY FÜRST, CIRCA 1945-50 Composed of graduated fan-shaped links decorated with foliate scrolling engravings throughout, each link accented with old brilliant and cushion-shaped diamond highlights, mounted in gold, signed Fürst Roma, diamonds approximately 3.50cts total, central motif converts into a double pin brooch, necklace length 38.8cm, central motif length 5.8cm In 1830, Moric Fürst decided to move from Bratislava, Slovakia, to Turin, in Italy, and this marks the beginning of the Fürst family empire. He opens his first atelier in the Subalpine Gallery and becomes supplier of the Savoyard court. Between 1861 - 65, Turin became the capital, and as a result it could exert influence over the market for gold and precious stones. Of Moric's nine children, five of them went on to become jewellers. Renzo Emanuele took over the business in Turin in the central Via Roma and of his five children, three of them, Maurizio, Renzito and Franco went on to open shops in Rome, Genoa and Milan respectively. From the post-war period the Fürst stores created objects for the most exclusive customers. In Rome, the boutique via Veneto which opened in 1960 was a true reference of the Dolce Vita, began representing Harry Winston, further enhancing Maurizio's esteemed reputation as a leader in important classic jewellery. Hollywood stars, noblewomen, and wealthy ladies visited the boutique and bought unique objects with a refined Italian style. Maurizio also began representing Harry Winston, further enhancing his esteemed reputation as a leader in important classic jewellery In Milan, the atelier in Via Manzoni enchanted the world stars of La Scala theatre and the most refined ladies. The production of the Fürst objects was entrusted to their own goldsmith workshops. After Maurizios death, his family ran the boutique for a few years, but they eventually relocated to Venezuela, where they still own a boutique today.
Lot 59
A GEM-SET AND DIAMOND 'NOVELTY' CLIP BROOCH 'LION ÉBOURIFFÉ', BY VAN CLEEF & ARPELS, CIRCA 1962 In the form of a lion, the eyes set with circular-cut emeralds, the muzzle with brilliant-cut diamonds and the nose applied with black enamel, mounted in 18K gold and platinum, signed Van Cleef & Arpels, numbered, maker's mark for 'Pery & Fils', French assay marks, length 4.6cm Van Cleef & Arpels were the first to recognise the importance of the establishment of a 'Boutique' department to present a unique and modern collection of affordable jewellery. These pieces were part of a limited edition series, produced to the highest quality in new and innovative designs. In comparison to the haute joaillerie, the popularity of specific pieces, led them to being made available for more than one season. Coinciding with the launch of the boutique in 1954 was the revival in the interest and appetite for charms. In comparison to previous designs, Van Cleef & Arpels created larger charms in gold and gemstones. While they had always been a part of the House's repertoire, the production increased greatly throughout the 50s and 60s with a proliferation of new designs coming out annually. The inspiration for these charms is vast and incredibly diverse, ranging from motifs of thatched cottages, sailing ships, and telephones to the infamous monuments such as the Eiffel Tower or the Vendome column. Amongst the favourites with the Houses' clientele was the 'Zodiac' charm first produced in 1958. Equally admired were the numerous animal figurines. The collectible nature of charms made these small creatures the perfect choice for the House to create different series. Iconic pieces emerged such as the Chat Malicieux lauched in 1954 and followed later by the Lion Ebouriffe (startled lion). Ref: Sylvie Raulet, Van Cleef & Arpels, New York 1987, pages 142-143 Princess Grace Kelly was also very fond of La Boutique and collected many of the designs, including the famous 'Lion Ebouriffé' clip brooch. This playful collection which was created to offer more accessible, more casual, young-at-heart jewels to a new democratic clientele, found immense success amongst the French Riviera royalty and international figures such as Jacky Kennedy Onassis ... For an illustration of Grace Kelly's similar lion clip clip brooch, a gift from Aristote Onassis: ref: Evelyne Possémé, Van Cleef & Arpels, L'art de la Haute Joaillerie, Paris 2012, page 195 A similar 'Lion Ebouriffé' clip was on view during the Van Cleef & Arpels exhibition at the Musée de la Mode et du Costume, Palais Galliera in Paris, in 1992. No. 192 in the catalogue, page 150
Lot 60
A GEM-SET 'EPOUVANTAIL' PENDANT/BROOCH, BY VAN CLEEF & ARPELS, CIRCA 1965 Modelled as a scarecrow draped with textured gold clothing and hat, accented by a brilliant-cut diamond buttons, with sapphire and ruby cabochon highlights and green chalcedony head, mounted in 18K gold, signed Van Cleef & Arpels, numbered, maker's mark for 'Péry & Fils', French assay marks, length (excluding bale): 5.6cm Jackie Kennedy Onassis purchased a scarecrow brooch of same design by Van Cleef & Arpels, which she was seen wearing on several occasions. In 1996, Sotheby's New York held 'The Estate of Jacqueline Kennedy Onassis' auction where the brooch was included (lot 384) and sold for $101,500. The Van Cleef & Arpels collection alone formed a large collection of the sale. Maison Péry Maison Péry was established in 1875 by Lucien Péry, whose elegant gold chains attracted the attention of the jewellers housed in the place Vendome. The company was run by four generations of Pery's, from Lucien's son Albert, to his grandson Bernard who was the father of the great Brigitte Pery who went on to manage the business for four decades. Albert's encounter with Monsieur Salière in the early 1900s proved to be seminal for Maison Pery's development. Monsieur Salière was working as a salesman in a department store, La Belle Jardinière, and amongst his clients were the Arpels Brothers. He introduced Albert to the brothers and this led to a lifelong collaboration between the two. The first piece of jewellery produced by this new partnership, in 1925 was a flat knitted bracelet. This family connection extended further with Albert beginning to work with Renee Puissant, daughter of the founder Alfred Van Cleef and Esther Arpels. Albert's work at this time was prolific, producing new designs almost every week. However, when the Second World War broke out, Albert was taken prisoner and the workshop was closed for six years. Once the conflict ended, the production started again slowly, increasing in the 1950s with examples of highly important commissions such as the official sword given to Marshall June as a gift on his membership to the French Academy in 1953. The continued support of Van Cleef & Arpels, particularly after the War, was integral to the success of Maison Péry. Each generation of the VCA has strengthened the links between the companies. With Pierre Arpels, the creation of smaller and more affordable pieces of jewellery allowed Maison Pery to move into the emerging market of serial manufacturing. With the opening of the first VCA shop 'La Boutique' in 1954, Pierre understood the importance of making the brand more accessible to the general public and a younger clientele. In the 20th century, the connection between the master jeweller and the designer was of the up-most importance, with the creation of signature pieces made to the highest quality by incredibly skilled individuals. The Péry workshops were behind some of the most iconic 'bestsellers' such as the Domino jewellery sets; the flexible curved ribbons of the 'couscous passementri' and most notably the Ludo bracelet. Maison Péry also worked exclusively on VCA's couture collections, using highly complex techniques to realise the elaborate designs. Amongst the most notable are the production of string chains and pompoms, and the infamous zipper, which has gone on to become a classic of the house. The third generation to take over the management of the company, Bernard Péry was alert to the potential risks of being too heavily reliant on a single client. He began to make connections with other jewellery houses and started collaborations, first with Paolo Bulgari, which lasted for two decades, followed by Boucheron, Mauboussin, Templier and Tiffany. His daughter Brigitte was of similar business acumen and when she took over, she continued to pursue this strategy. Amongst her collaborators were Graff, Dior, Fabergé and Mikimoto. The development of the company was of paramount importance for Brigitte, to ensure Maison Péry remained relevant in the 21st century. In 2008 she launched a large-scale training program for the workshops in order to promote innovation and modernise the production techniques of the company. Adopting new design processes ensured versatility and allowed Maison Péry to compete on an international stage. In 2011, she finally decided to sell her family's company to the then President of the Richemont Group, Stanislas de Quercize.
Lot 68
A STRIKING CORAL, PEARL AND GOLD SAUTOIR NECKLACE, BY CARTIER, CIRCA 1965-70 The hippie chic necklace composed of a series of large tubular and spherical links with beading and filigree details, accented with baroque pearls, the frontispiece highlighted with two marquise-shaped coral plaques suspending a large carved coral fish within gold lace and with polished gold eyes, mounted in 18K gold, signed Cartier Paris, numbered, maker's mark for 'Cartier Societé Anonyme', French assay mark, necklace length 57.5cm, pendant length (starting from the spherical link): 13cm, fish length: 7.5cm Accompanied by its written invoice from Cartier Munich, located on Briennerstraße 12, München, dated June 16th 1975 For similar examples of coral necklaces by Cartier from the early 1970s: ref: Francois Chaille, La Collection Cartier Joaillerie, Volume 2, éditions Flammarion, pages 578-583 (Cartier in Munich has since relocated on Maximilianstraße 20) Since the 1970s, bold jewels were all on trend. Sautoirs became oversized, chunky and even more colourful. This Cartier necklace has clearly been inspired by the hippie chic fashion trend of the late 1960s that carried over to the early 1970s. However, while raw coral, polished but left in its natural, branch-like form was a hot accessory for hippies, jewellers, such as Cartier, carved orangy-red pieces out of coral setting them with yellow gold and diamonds. Cartier's love of coral, combined with their popular animalier themes, is beautifully demonstrated in this fish coral and gold sautoir. While there was a proliferation of different styles and shapes in jewellery since the 1960s, which seemed to defy a single trend, it is undeniable that the work of goldsmiths was the most prevalent aesthetic. In this period, jewellers working with gold made a concerted effort to keep the techniques of past ages alive through the creation of specialised handmade pieces, often in limited edition series. They combined the highly skilled and refined techniques with modern and innovative tastes. Following the second world war, with the reconstruction of many aspects of society, as well as the advancements in technology and mass production, it ensured the success, in particular of the gold jewellery designs. This coincided with the development of women's liberty and equality in the 1960s and 1970s. No longer solely dependent upon their husbands or family for monetary protection, they expressed their new found freedom in many ways, including through their individual style and accessories. Women's fashion of the 1970s, incorporated function and style, favouring more masculine interpretations of shape and cut. There was freedom of choice, and for the first time there was a generation of women who purchased expensive jewels for themselves, rather than receiving them as gifts. The jewellery designs needed to reflect this social development with goldsmiths embracing inventiveness and innovation in their creative process. The materials used had to be adapted to meet with these new aesthetic demands. The pieces made in gold were highly decorated, some returning to the ancient technique of filigree as well as embracing the emerging bohemian clothing trend of the 1970s with widespread production of longer chains and pendants. They could be worn in many different ways, no longer limited to only the neck and wrists, but also around the waist or ankles. They were multifaceted in their design and purpose, moving away from the traditional and often more limited interpretations of how jewellery should be worn and enjoyed by the owner.
Lot 7
A PORCELAIN 'CHANDRA' BRACELET, BY BULGARI, CIRCA 1995 The uniform series of white porcelain beads with stylised lotus petal motifs, mounted in 18K gold, signed Bulgari, Italian assay mark, length 22cm With the Chandra collection which was first launched in 1994, Bulgari took their experimentations with materials a step further. The luminous smoothness of white porcelain inspired Paolo Bulgari to combine this material with gemstones: I wanted to create jewels that were different, fun and transgressive. The use of porcelain enhanced the tactile nature of the pieces, making them luminous in appearance and smooth to the touch. The designs incorporated the typical round shapes favoured by the brand which were harmonious with the new material. Moreover, when worn the porcelain beads produce a pleasing sound that made these creations more fun, unique and playful.
Lot 87
A RUBY AND DIAMOND BRACELET BY WEST, CIRCA 1970 Of openwork textured gold design, set throughout with circular-cut rubies and brilliant-cut diamonds within collet-setting, mounted in 18K gold, diamonds approximately 2.50cts total, Dublin hallmarks for 1970, length 18.1cm During the 70's, independent British jewellery designers challenged the established manufacturers with their innovative designs, mass produced jewellery using new materials was startling in design and easy on the pocket. The top end jewellers had to rethink their output to keep a foothold on the market. They had to work out how to push back the boundaries while retaining wearability for their customers. The result was a move towards striking sculptural designs, new cuts of gemstones and different textured finishes. One of the most important exhibitors was the influential Andrew Grima. His groundbreaking ideas using textured gold with rough or unusual stones, in organic shapes, based on rocks, leaves and shells, was copied throughout the decade and his ideas still influence jewellery designers today. Another exhibitor was John Donald who used innovative ways of producing texture and sculptural effects in gold, using heat and flame. This included working molten gold in water. He combined these effects with uncut precious stones and crystal. West jewellers is considered the oldest European jewellery store and one of the oldest companies in Ireland. The fine-jewellery retailer has been trading on and off in Dublin for 290 years. It first opened as West Sons on Capel Street in 1720. In 1845, the firm moved to College Green and then to 102 Grafton Street. In 1965 it relocated to its current premises at 33 Grafton Street, on the junction of South Anne Street, and finally closed in 2010. West has always attracted a wealthy clientele and had links with Queen Victoria. The British Royal Collection has two brooches that Prince Albert bought for Queen Victoria from West & Son on a visit to Dublin in 1849.
Lot 801
ACCADEMIA DEL CIMENTO - Saggi di Naturali Esperienze fatte nell' Accademia del Cimento. Florence: Giuseppe Cocchini, 1666. Folio (345 x 240mm). Half title, title printed in red and black with engraved alchemical device of the Academy, engraved portrait of Grand Duke Ferdinand II of Tuscany by Lotaringus after Francois Spierre dated 1659, 4-pages of the dedication from the 1667 second issue inserted, 75 full-page engraved illustrations by Modiana after [?]Stefano della Bella, engraved head- and tail-pieces, large woodcut historiated initials (some browning to the dedication leaves and elsewhere, small wormholes, marginal wormtracks restored throughout, c.20 leaves faintly waterstained at fore-edge). Old vellum (some light staining). FIRST EDITION, first issue, of the only publication of the world's earliest scientific society. Although short-lived, the Accademia del Cimento was highly active in the ten years of its existence from 1657 to 1667 and was hugely influential through its experiments and discoveries. The work contains a description of the first true thermometer, the first hygrometer and an improved barometer, and also gives the results of experiments on air pressure, sound velocity, radiant heat, phosphorescence and the expansion of water on freezing. The Academy was so exclusive that it consisted of only ten members. Dibner 82; Krivatsy 25; Norman 486: "a very beautiful and expensively produced work"; Riccardi I, 407.
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