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Click here to subscribe1960's cocktail ring, set oval cut amethyst, estimated weight 24.72 carats, mounted in 9 ct, hallmarked London 1960, ring size M and a blue and white diamond dress ring, mounted in 9 ct white gold, size N 1/2 Gross weight 12.3 gramsAmethyst has a few chips to the girdle and scratches to the surfaceOne blue diamond is missing from dress ring
Vintage abstract diamond ring, set with four round brilliant cut diamonds, weighing an estimated total of 0.20 carat, in an openwork, abstract setting, with textured gold detail, mounted in tested 18 ct, ring size J 1/2 Gross weight approximately 7.66 gramsRing measuring J 1/2 but may be slightly bigger as mis-shapen, one diamond missing and mount for this stone is mis-shapen
Selection of jewellery, including a black and white diamond set pendant, a 1960's cabochon amethyst ring, size K, an expanding baby bangle, a single hoop earrings and a pair of drop earrings, all in 9 ct, together with a garnet set cross stamped 900 and tested as silver and a gold plated rope necklace 9ct gross weight 10.29 gramsBangle is badly dented and misshapen
Mixed group of gold items, court wedding band, in 22 ct yellow gold, hallmarked Birmingham, ring size N 1/2 and 1950's signet ring, size S 1/2 and belcher link chain, 52cm in length and a single floral earring, all testing as 9 ct 22 ct weight 2.9 grams9 ct gross weight 9.8 gramsbelcher link chain has base metal fixing, belcher links facetted detail has worn so only visible under loupe
Gentleman's signet ring, bearing an Austrian Franz Joseph I 1 Ducat gold coin, shank marked for 14 ct, ring size S and a Netherlands King William I 5 Gulden 1827 gold coin constructed into a brooch, pin testing as 9 ct, with gilt metal safety chain Gross weight of ring 12.5 grams. 1 Ducat coin shaped to fit mount. Coin surface worn.Gross weight of brooch 5.2 grams Lead solder visible to brooch pin mount. Pin on brooch testing as 9 ct. Both safety chain and pin of safety chain testing as gilt metal. Safety chain attached to coin via soldered bale.
Diamond set asymmetrical band, in 18 ct yellow gold, hallmarked London 1990, ring size O 1/2, with a antique sapphire and rose cut diamond ring marked for 18 ct and platinum, ring size M, a vintage opal doublet ring, size R and similar pair of opal triplet clip on earrings, and a wedding band, ring size P, all marked for 9 ct 18 ct gross weight 5.8 grams 9 ct gross weight 10.6 grams. Diamond and sapphire ring has been cut and is mis-shapen. Opal doublet in the ring has chip in top surface
Selection of mixed gold jewellery, a St. Christopher pendant, together with a rose gold disc pendant, with a monogram on one side and engraved 'Beryl 15/9/28' on the other, on a fancy link chain, and two pairs of early 20th C torpedo style cufflinks, all in 9 ct Gross weight approximately 21.42 gramsCufflinks have dents throughoutSt. Christopher 2.8 x 2.2cmfancy link chain measuring approximately 58cm in length, bolt ring clasp will open but internal spring has broken inside so has to be closed by hand
Mid 20th century cigar piercer, in 9 ct yellow gold, hallmarked Birmingham 1947, makers mark C & C for Cohen & Charles, on a trace chain, stamped 15 ct, with end bolt ring clasp stamped 9 ct 9 ct gross weight 2.8 grams15 ct gross weight 6.4 gramschain measures approximately 43.5cm in length, some of the chain links are mis-shapen
Two suites of jewellery, comprising an oval cabochon jade pendant, with a gold and diamond surround, together with a pair of jade drop earrings, and a prehnite suite consisting of a pendant, set with an oval chequerboard prehnite, measuring 19.91 x 14.96mm, suspended from a trefoil of round cut white sapphires, together with a ring and pair of earrings of similar design, all mounted in 9 ct gold Jade suite gross weight approximately 6.03 gramsPrehnite suite gross weight 12.76 grams, ring size R
Amethyst cocktail ring, rectangular step cut amethyst weighing an estimated 27.67 carats, in a decorative, openwork surround, makers mark H & SL, ring size O, mounted in 9 ct gold Gross weight approximately 12.34 gramsPale purple amethyst has abraided facet junctions and small chips and scratches to surfacestone is loose in setting
Sapphire and diamond three stone ring, centrally set with a round cut sapphire, estimated weight 1.58 carat, with transitional cut diamond set either side, estimated total diamond weight 1.12 carats, mounted in 18 ct, ring size P and a 9 ct gold ring clip rings weight 4.3 grams9 ct weight 0.1 gramtop surface of sapphire is scratchedOne diamond measurers approximately 5.1 x 5.1 x 3.4mmsecond diamond measures approximately 5.2 x 5.0 x 3.1mmone diamond has very small chip to girdle
Cultured pearl necklace, pearls diameter measuring between 6.4-6.8mm, strung with knots, on a pearl and garnet clasp, together with a gold keeper ring, ring size M, both in 9 ct and single dolphin earring, a single turquoise earring and additional butterfly in stamped 18 ct and a 15 ct gold t-bar 9ct gross weight 4.37 grams18 ct gross weight 1.22 grams15 ct gross weight 3.7 gramsPearl necklace and 9ct clasp gross weight 28.48 grams, 48cm in length
Group of jewellery, including a diamond set ring shank stamped 18 ct and platinum, ring size H, fox pin brooch with fox testing as 18 ct and pin testing as 9 ct, one cufflink marked for 15 ct, two odd 9 ct yellow gold cufflinks and a thin wirework ring testing as 9 ct and a pair of gold plated oriental themed fan drop earrings Gross weight of ring marked 18 ct and platinum 1.6 grams. Shank mis-shapen. Was originally a three stone diamond ring, only one diamond remains, mount damaged and visible repair Gross weight of fox pin 2.2 gramsGross weight of 15 ct: 3.5 gramsGross weight of 9 ct 4.6 grams
Labradorite bracelet and ring suite, comprising a labradorite line bracelet, set with thirty one rectangular step cut labradorites, each claw set, mounted in 9 ct gold, length approximately 20cm, together with a labradorite and white sapphire ring, in 9 ct, ring size V Gross weight approximately 32.12 grams
Contemporary diamond drop necklace, round brilliant cut diamonds set in bi-coloured gold swirl mounts, estimated total diamond weight 0.65 carats, on fine belcher link chain, with a similar diamond set ring, size O, all mounted in 18 ct gold Gross weight 16.2 gramsdrop pendant measures approximately 4 x 1cm
A group of gold jewellery, including diamond set panther pendant 2.7 x 1.2cm on a fine belcher link chain, 47cm in length, with another diamond set pendant in the form of the initial P, fine Figaro chain, box link chain, belcher link chain, floral link bracelet and a fancy link bracelet, all stamped or hallmarked 9 ct 9 ct gross weight 31.5 grams'P' initial pendant 1.3 x 0.7cmFigaro chain 41cm in length Box link 37.5cm in lengthBelcher link chain 75 cm in lengthFine Belcher link chain 46 cm in lengthFloral link bracelet with bolt ring clasp, safety chain and loose heart padlock clasp
Vintage three stone ring, set with round brilliant cut diamonds, estimated total diamond weight 0.90 carats, ring size S and a similar 1970's single stone diamond ring, size O, both mounted in 18 ct and a Victorian seed pearl stick pin, stamped 15 ct 18 ct gross weight 15.4 gramsstick pin weight 1.4 gramsThree stone estimated clarity Iscratches to surface of gold on both rings single stone diamond ring hallmarked London 1975
Mixed group of gold jewellery, including a vintage single stone diamond ring, with leaf detail on the shoulders, mounted in 18 ct yellow gold, ring size N 1/2, a modern synthetic spinel dress ring, size P, early 20th C amethyst bar brooch, and yellow paste set filigree brooch, all testing as 9 ct 18 ct gross weight 3.8 grams9 ct gross weight 4.1 gramsDiamond ring estimated clarity I, illusion setEarly 20th C amethyst brooch, measures approximately 5.7 x 0.9cm, metal pin with gold catch opening and closing securely Yellow paste brooch has chip to top surface, pin is loose and appears to be later edition
Edwardian wedding band, 4.5mm wide, in 22 ct yellow gold hallmarked Birmingham 1915 and a 6.2mm shaped engraved band ring in 18 ct, both ring size N 22ct gross weight approximately 5.83 grams18ct gross weight approximately 4.67 grams18ct gold ring shows signs of repair on the inside of the shank, hallmark has been partially covered, makers mark T.H
Two rings, a sapphire doublet and diamond cluster ring, mount stamped 14 ct gold, ring size M 1/2 and an antique turquoise and seed pearl cluster ring, stamped 15 ct, size O 1/2 14 ct gross weight approximately 3.33 grams15 ct gross weight approximately 2.25 gramsantique turquoise and seed pearl ring, seed pearls are discoloured and two are missing top surfaces Sapphire doublet has chips near the girdle and top facets are rubbed
A vintage 9ct yellow gold and garnet flanked solitaire ring. Set to centre with a round mixed cut garnet in a four claw setting flanked either side by five round brilliant cut garnets in channel settings. Engraved detailing to the sides and pierced heart motif to the gallery flowing into a tapering shank. Fully hallmarked for 9ct gold. Ring size N
Südniederländischer Meister des späten 15. JahrhundertsDarbringung im Tempel Öl auf Holz. 33,5 x 19,5 cm.ProvenienzHenry Wagner. – Auktion Christie’s, London, 16.1.1925, Lot 59 (als Schule von Gerard David). – Sir Thomas Barlow. – Auktion Sotheby’s, London, 20.7.1955, Lot 57. – H. J. Hellema, Laren.AusstellungenManchester, Whitworth Art Gallery, Juni 1947, Nr. 3. – Flemish Art 1300-1700, London, Royal Academy, 5.12.1952-6.3.1953, Nr. 49 (zusammen mit der "Verkündigung", als Jan Provost). – Schaffhausen, Museum zu Allerheiligen, 1955, Nr. 76. – Laren, Singer Museum, Juli 1961, Nr. 104. – Kassel, Staatliche Museen, Gemäldegalerie Alte Meister, Inv.-Nr. 1101 (Leihgabe).LiteraturMax J. Friedländer: Die Altniederländische Malerei, Bd. IX, Berlin 1931, S. 145, Nr. 127 (nur die anderen drei Tafeln). – Max J. Friedländer: Early Netherlandish Painting. Bd. IXb, Leiden 1972, S. 111, Nr. 127, Abb. Tafel 149. – Grete Ring: Additions to the Work of Jan Provost and Quentin Massys, in: The Burlington Magazine 79, 1941, S. 156-160. – Monika Brieskorn, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 63-5, Nr. 25, mit Abb. (als Jan Provoost). – Ron Spronk, in: Friso Lammertse (Hg.): Van Eyck to Bruegel 1400 to 1550. Dutch and Flemish Painting in the Collection of the Museum Boymans-van Beuningen, Rotterdam 1994, S. 217-219, unter Nr. 45, S. 218, Abb. b.Diese feine kleine Tafel illustriert die biblische Darstellung der sogenannten Darbringung im Tempel. Die Szene aus dem Evangelium des Heiligen Lukas enthält theologisch zwei ineinander verwobenen Riten des christlich-jüdischen Glaubens, die Beschneidung Christi und gleichzeitig die Reinigung Mariens.Im Vordergrund sind die Protagonisten zu erkennen, Maria und Christus, und rechts daneben der Priester Simeon mit bischöflicher Pluviale und Mitra. Auf der linken Seite ist der Heilige Joseph zu identifizieren. Hinter ihm stehen eine weibliche Gestalt mit zeitgenössischer burgundischer Haube und ein Mann mit Turban-artiger Kopfbedeckung. Im Hintergrund sind an der Kirchenwand Fragmente eines Polyptychons angebracht: ein Bild von Moses mit den Gesetzestafeln, der als Sinnbild für den Alten Bund zu verstehen ist. Ihm wird typologisch Christus als Begründer des Neuen Bundes zugeordnet. In mariologischer Ausdeutung verweist die Moses-Darstellung auf das jüdische Gesetz der mütterlichen Reinigung, dem sich Maria unterworfen hat.Der Maler platziert die biblische Szene in das Seitenschiff einer gotischen Kirche und fasst die Darstellung in eine gemalte architektonische Goldrahmung ein. Anhand dieses gemalten Rahmens wurde die Verbindung unseres Gemäldes mit drei weiteren Tafeln erkannt, die Max Friedländer 1931 publiziert hat (op. cit.). Diese drei Bilder zeigen weitere Szenen aus dem Leben Mariens: Die “Verkündigung” (heute Museum Boijmans Van Beuningen, Rotterdam), die “Geburt Christi” und “Christus erscheint seiner Mutter” - die beiden letzteren befinden sich heute in nicht bekannten Privatsammlungen. Als viertes konnte schließlich das hier vorliegende Bild hinzugefügt und als Bestandteil eines mehrteiligen Marienaltars identifiziert werden. Friedländer schrieb die Bilder dem jungen Jan Provost zu. Auch Grete Ring schloss sich dieser Zuschreibung an (op. cit.). Zur Zeit von Friedländers erster Publikation befand sich die “Verkündigung” noch in einer Berliner Privatsammlung. Nachdem sie vom Rotterdamer Museum erworben wurde, ist die Zuschreibung an Provost überprüft und verworfen worden. Heute wird das Werk einem namentlich nicht bekannten südniederländischen Meister des späten 15. Jahrhunderts zugeordnet, der dementsprechend auch der Maler der vorliegenden Tafel ist. South Netherlandish School late 15th CenturyThe Presentation of Christ in the Temple Oil on panel. 33.5 x 19.5 cm.ProvenanceHenry Wagner;Anonymous sale, Christie’s, London, 16 January 1925, lot 59 (as School of Gerard David);Sir Thomas Barlow;Anonymous sale, Sotheby’s, London, 20 July 1955, lot 57;H. J. Hellema, Laren.ExhibitionsManchester, Whitworth Art Gallery, June 1947, no. 3;Flemish Art 1300-1700, London, Royal Academy, 5 December 1952 - 6 March 1953, no. 49 (with the Annunciation, as Jan Provost);Schaffhausen, Museum zu Allerheiligen, 1955, no. 76;Laren, Singer Museum, July 1961, no. 104;Kassel, Staatliche Museen, Gemäldegalerie Alte Meister, inv. no. 1101 (on loan).LiteratureMax J. Friedländer: Die Altniederländische Malerei, vol. IX, Berlin 1931, p. 145, no. 127 (only the other three panels);Max J. Friedländer: Early Netherlandish Painting, vol. IXb, Leiden 1972, p. 111, no. 127, reproduced plate 149;Grete Ring: Additions to the Work of Jan Provost and Quentin Massys, in: The Burlington Magazine, LXXIX (1941), pp. 156-160;Monika Brieskorn, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 63-5, no. 25, reproduced (as Jan Provost);Ron Spronk, in: Friso Lammertse (ed.): Van Eyck to Bruegel 1400 to 1550. Dutch and Flemish Painting in the Collection of the Museum Boijmans van Beuningen, Rotterdam 1994, pp. 217-9, no. 45, pl. 218, fig. b.This small and finely painted panel depicts the Biblical scene known as the Presentation of Jesus at the Temple. The ritual, which is described in the Gospel of Luke, combines two theologically linked rites in Christian and Jewish faith, namely the circumcision of Christ and the purification of the Virgin Mary.The main protagonists of the scene, Mary and Christ, are depicted in the foreground and beside them we see the priest Simeon in a bishop's cope and mitre. Saint Joseph is depicted on the left. Behind him is a figure dressed in a contemporary Burgundian bonnet and a man in a turban-like head covering. In the background we see fragments of a polyptych on the wall of the church, of which one panel depicts Moses with the tablets of the law, which can be regarded as a symbol of the old covenant. Thus, the figure of Christ as the founder of the new covenant forms a typological parallel to this. In the mariological interpretation, the scene signifies the Jewish law of the purification of new mothers that the Virgin complied with.The painter has depicted the Biblical scene taking place in the side aisle of a Gothic church, and surrounds it with a gold architectural motif. This painted surround is what allowed this panel to be linked to three other paintings published by Max Friedländer in 1931 (op. Cit.). The three works also depict scenes from the life of the Virgin Mary: The Annunciation - today in the Museum Boijmans Van Beuningen, Rotterdam -, the Nativity, and Christ appearing to his mother, the latter two are housed in private collections. The present work was identified as a fourth panel from this series and would originally have formed part of a multi-panel altarpiece dedicated to the Virgin Mary.Friedländer attributed this work to the young Jan Provost, and Grete Ring also later agreed with this ascription (op. cit.). At the time of Friedländer's publication, the Annunciation was still housed in a private collection in Berlin. However, following its acquisition by the museum in Rotterdam, the attribution to Provost was re-examined and abandoned. The piece is now attributed to an anonymous southern Dutch master of the late 15th century, who is thus also considered to be the author of the present work.
A DIAMOND, PEARL, RUBY AND EMERALD COCKTAIL RING, CIRCA 1960 The baroque pearl trapped within three talons of a dragon's claw, entwinned a by a snake decorated with a brilliant-cut diamond body and cabochon rubies for eyes, to a textured gold mount accented with four circular-cut emeralds, mounted in 18K gold, diamonds approximately 0.80ct total, ring size L While the subject is still open for debate, the majority of sources conclude that the 'ball & claw' design first appeared in China. With the expansion of trade during the 17th and 18th centuries, marvels from the east flooded into the European market and many designers assumed artistic affectations in order to emulate Chinese works. Thus, we see the ball and claw being integrated into several facets of European design. In China, the motif is depicted as a dragon gripping a ball derived of crystal, pearl or other precious material. In Chinese mythology, the dragon is symbolic of the emperor, with a ball being representative of purity and wisdom. By grasping these traits in his talons, the emperor swears to uphold these ideals and to protect them from evil forces which would otherwise bring destruction.
AN 18K GOLD 'BUBBLEBACK' WRISTWATCH, BY ROLEX, CIRCA 1945 17-jewel automatic movement, circular silvered dial with applied gold Roman and baton hour markers, spade hour and minute hand, black centre second, black second chapter ring, 18K gold polished and brushed case, plastic crystal, screw down case back, 18K gold crown, on brown Rolex leather strap with 14K gold buckle, case, dial and movement signed, movement no. N6692*, model 3131, serial no. 56919*, Swiss assay mark, with original maker's box, case width (including crown): 3.4cm
A SAPPHIRE AND DIAMOND CLUSTER RING The oval-shaped sapphire weighing 5.05cts within a double four-claw setting, to a brilliant-cut diamond surround, mounted in 18K gold, diamonds approximately 2.16cts total, ring size L Accompanied by a report from the Gem & Pearl laboratory in London, stating that the sapphire weighing 5.05cts is of Sri Lankan origin, with no indications of heat treatment. Report number 19226, dated October 30th 2020
A SODALITE SILVER RING, DESIGNED BY VIVIANNA TORUN BÚLOW-HUBE FOR GEORG JENSEN Composed of an oval-shaped cabochon sodalite plaque, with a wrap-around hoop, mounted in silver, with maker's mark for 'Georg Jensen' since 1945, numbered '190', stamped' 925 S' silver & 'Denmark', ring size O½ Vivianna Torun Born in Malmö, Sweden in 1927 Vivianna Torun Bülow-Hübe, moved to Paris in the 1950s to pursue her career as a jewellery designer. She quickly gained recognition for work and became one of the most important 20th century jewellers and silversmiths. In 1960 she received the Lunning Prize, an award for emerging innovative Scandinavian designers, and a gold medal at the Milan Triennale. Following these successes she met Danish silversmith Georg Jensen, with whom she designed for exclusively from 1969. Torun, is how she is known and how she signs her work, is best known for her distinctive style of contemporary, elegant and simple designs which include smooth stones Torun started to work with Jensen in 1967 and is the designer behind some of the most famous Georg Jensen jewellery designs, including 'Mobius', 'The Vivianna / Open Watch', 'Beans', 'Forget me knot' and 'Hidden Heart'. Torun's work was inspired by natural shapes, transforming metal into flexible forms such as flowers, leaves and flowing water - especially the beach, she remarked on her own designs, which should enhance and move with the body so that it blends with you. It must not overwhelm, but enhance you. She created sculptural, simple, spiral forms that winded around the neck and body. This was deliberate as she liked her jewellery to compliment the figure of a woman. She preferred rock crystals and rutilated quartz rather than precious gemstones. Torun's work is featured in many museums internationally.
A COLOURED SAPPHIRE AND DIAMOND DRESS RING Composed of an elongated octagonal-shaped pink sapphire and yellow sapphire within a four-claw setting, each weighing approximately 8.60cts, each between baguette-cut diamond shoulders and pavé-set with brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 2.65cts total, ring size K Accompanied by a report from GCS laboratory in London stating that each sapphire weighing approximately 8.60cts is of Madagascan origin, with no indications of heat treatment. Report number 81280-64, dated October 19th 2020
A FINE GOLD NECKLACE Composed of three graduated rows of 'silk effect' gold flattened ropes completed by a T-bar ring clasp, in 18K gold, signed Celin, made in Italy, retailed and cased by Lane Crawford in America, lengths shortest 43.5cm, longest 50cm For the last five thousand years, gold has entranced humans and has been coveted for its enduring beauty. Belonging to a renowned school of goldsmithery in Vincenza, the house of Celin pushes the boundaries of gold to draw out its most alluring qualities. Years of experience in working the material have enabled Celin's craftsmen to produce a 'silk' effect in their pieces, allowing the metal to appear as flowing fabric. Such skill is combined with avant-garde design to produce pieces that are both technically and stylistically brilliant.
A COLOURED SAPPHIRE AND DIAMOND RING The oval-shaped pink sapphire weighing 2.59cts within a four-claw setting, to a brilliant-cut diamond frame, mounted in 18K gold, diamonds approximately 0.50ct total, ring size L½ Accompanied by a report from the Gem & Pearl Laboratory in London, stating that the pink sapphire weighing 2.59cts is of Madagascar origin, with no indications of heat treatment. Report number 19008, dated October 2nd 2020
AN IMPRESSIVE AQUAMARINE AND DIAMOND PENDENT ON CHAIN, BY MARGHERITA BURGENER The pear-shaped mixed-cut aquamarine weighing 61.86cts within a surround of orbiting ellipses, pavé-set with brilliant-cut diamonds with a similarly-set bale, suspending from a long double cable-link chain necklace highlighted with twelve collet-set brilliant-cut diamonds and similarly-set clasp, mounted in 18K gold, diamonds 2.28cts total, signed Margherita Burgener, with maker's mark, Italian assay mark, with maker's case, pendant length 7.5cm, chain lengths 74 & 79.4cm Accompanied by a report from Italian laboratory RAG (Ricerche e analisi gemmologiche) that the aquamarine is weighing 61.869cts and is natural, report no. C10878. Within a surround of orbiting rings, pavé-set with brilliant-cut diamonds, diamonds approximately 2.95 carats total, signed Margherita Burgener, maker's mark, ring size N½, maker's case
A TOURMALINE AND DIAMOND CLUSTER RING, CIRCA 1955 The cushion-shaped green tourmaline weighing approximately 9.00cts within a surround of brilliant-cut diamonds to a wirework basket gallery, mounted in 18K gold and platinum, diamonds approximately 1.00ct total, French assay marks, ring size Q
A FINE GEM-SET AND DIAMOND BRACELET, BY FRED PARIS, CIRCA 1970 - 1980 Of articulated design, composed of four large openwork bombé links set with alternating sapphire, ruby and emerald cabochons highlighted with brilliant-cut diamonds throughout with textured gold detail, mounted in 18K gold, diamonds approximately 10.00cts, signed Fred Paris, with maker's mark 'AV' for André Vassort, French assay marks, with maker's case, length 17cm Fred Samuel (1908-2006) established his jewellery brand in 1936 in Paris, where he spent much of his professional life. Originally from Buenos Aires, born into a family that dealt in precious stones, it was no surprise he conceived a passion for cultured pearls and won recognition as a leading expert in the field. Fred imbued his designs with the energy of South America, saying his creations were inspired by the life, the light, the movement, the energy of the continent. This passion is expressed through the use of coloured gemstones and playful motifs. During World War II, Fred Samuel fled Paris and became an interpreter for the Allies. After the war, the brand changed its name to from Fred Samuel to 'Fred' due to anti-Jewish sentiment in post-war Germany. Describing himself in 1936 as a 'Contemporary Creative Jeweller', he proved this through his striking modern designs, with rounded, curvaceous lines. Fred became famous for jewels designed by Jean Cocteau and for its famous clients, such as Marlène Dietrich and the royal family of Monaco, including princess Grace. In 1966 Fred Paris was the inventor of cable jewellery 'Force 10' (made of stainless steel) and this feature is still very prominent today in ring, bracelet, pendant and necklace designs. As the brand grew, new stores were opened across the world; 1976 Monte Carlo, 1981 Cannes, 2001 Tokyo and 2007 Beijing, Dubai and Bogotá. The company became the property of LVMH in 1996 and Fred collaborated with Kate Moss for the design of an exclusive collection in 2012. Fred Paris designed the iconic 23 heart-shaped ruby necklace interlaced with diamonds, which was gifted to Julia Roberts by Richard Gere in the film Pretty Woman. The last major film for which Fred Paris provided jewellery was Casino Royale starring Daniel Craig, featuring the star collection pendant and earrings. This magnificent bracelet is a unique creation of Fred. n 1995 FRED joined the Moet Hennessy Louis Vuitton LVMH group. In the secluded streets of Paris, shadowed by the celebrity of the great jewellery maisons of France, work the craftsmen whose talents satisfy the constant appetite for glamour. In December 1955, at 34 rue Sainte Anne, André Vassort registered his atelier and soon became one of the most sought-after jewellers in France. He was quickly employed by names such as Boucheron, Van Cleef and Arpels, Mauboussin and FRED. His work adorned their most discerning clients and he became a favourite in carrying out special commissions. Of particular note was the crown that he created under Van Cleef and Arpels for Empress Farah of Iran. Taking six months to complete, the magnificent piece is iridescent with diamonds, emeralds, rubies and pearls, mounted in white gold and set against a backdrop of forest-green velvet. Vassort specialised in working with gold, drawn to the warmth and texture that could be coaxed from the metal, however, he did not shy away from other materials. His understanding of gemstones allowed him to create bold and colourful pieces, exemplified in this lot. Working anonymously for larger houses, a large portion of Vassort's work is unsigned, but, here, we are gifted with his maker's mark 'AV'. When André Vassort closed his workshop in the early 1990s, his name and work were revered within the jewellery industry and his pieces had become synonymous with enduring quality.
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