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Lot 64
A COLLECTIBLE CORAL, EMERALD AND DIAMOND RING, BY VAN CLEEF & ARPELS, CIRCA 1970 Of cross-over design, modelled as two stylised ducks, their carved fluted coral corallium rubrum heads inset with circular-cut emerald eyes, to pavé-set brilliant-cut diamond beaks, with further emerald and diamond scalloped collar detailing, mounted in 18K gold, signed VCA, numbered, with maker's mark 'P&Fils' for Péry & Fils, ring size K½** This lot may be subject to CITES Regulations when exported. Several countries prohibit the importation of property containing materials from endangered species, such as rhino horn, ivory, coral and tortoiseshell. If you are interested in bidding on a lot containing these materials and you wish to export, please ensure you are familiar with all relevant customs regulations prior to bidding. It is the buyer’s sole responsibility to obtain any relevant export or import licence and ensure before bidding of their legal requirements concerning Cites regulations pertaining to their country.
Lot 216
AN EMERALD AND DIAMOND CLUSTER RING The rectangular-cut emerald weighing approximately 2.80cts within collet-setting, to a brilliant-cut diamond surround, mounted in 18K gold, diamonds approximately 1.50cts total, Italian registry mark, ring size N¾ Accompanied by a report from the IGN laboratory in Rome, stating that the emerald weighing approximately 2.80cts is natural, of Colombian origin, with presence of fracture filling. Report number 23322, dated November 23rd 2016
Lot 187
A DIAMOND RING, BY MAUBOUSSIN Highlighted to the front with a brilliant-cut diamond motif, further enhanced with reeded details of textured finish, mounted in 18K gold, signed Mauboussin, numbered, with maker’s marks 'Sté M' for Mauboussin and 'Sté HV' for Hamard Vitau, French assay mark, with maker’s case, ring size L½
Lot 219
A TURQUOISE AND TANZANITE COCKTAIL RING, BY GEORG SPRENG, 2001 The oval-shaped 13.46ct turquoise cabochon between 4.75ct total pear-shaped tanzanite shoulders within collet-setting, to a brushed gold sculptural mount, mounted in 18K gold, signed, with maker's mark 'CA', French assay mark, ring size O¾ Born in 1949 in Schwäbisch Gmünd, Germany, Georg Spreng embarked on a journey that would blend his passion for industrial design with the artistry of jewellery creation. Graduating from the Werkkunstschule Schwäbisch Gmünd, Germany, with a focus on Industrial Design, he honed his craft and co-founded frogdesign from 1971 to 1982. Since 1982, Spreng has charted his own path as an independent designer and jewellery creator, splitting his time between Canada and Germany. His expertise in industrial design infuses each piece of jewellery he creates with geometric precision, marrying form and function in exquisite harmony. Spreng's jewellery is a testament to his meticulous craftsmanship and artistic vision. Crafted from precious materials such as gold, platinum, and gemstones, each piece boasts clean lines and distinctive names like ice cream cone rings, Caro, Twiggy, and Blub. From rings and brooches to necklaces and pendants, each creation is a unique masterpiece, meticulously crafted according to Spreng's own designs by a select team of artisans. One of Spreng's defining characteristics is his unwavering commitment to sourcing the finest materials for his creations. He scours the globe for rare gemstones, leveraging his extensive network of contacts to procure the most exceptional materials. Many of the stones he uses are one-of-a-kind pieces whose rarity and value only appreciate with time. What sets Spreng apart is his aspiration to create pieces of timeless beauty and durability. He endeavours to imbue each piece with a sense of immortality, envisioning them as artifacts that transcend generations. I want this jewellery to be unearthed somewhere in a few thousand years and still retain its essence, serving as a reflection of our current era, he says. Already, some of Spreng's creations have achieved iconic status, earning a permanent place in renowned museums such as the Museum of Modern Art in New York. With each piece, Spreng leaves an indelible mark on the world of high jewellery, crafting treasures that stand the test of time.
Lot 111
A RUBY, SAPPHIRE AND DIAMOND DRESS RING Of crossover design, set with an oval-shaped sapphire and ruby, to tapered baguette-cut diamond shoulders, mounted in 18K gold, diamonds approximately 0.64ct total, with maker's mark 'JK', French import mark, ring size N½ Accompanied by a report from C. Dunaigre in Switzerland, stating that the ruby weighing approximately 1.78ct and the sapphire weighing approximately 2.83cts are natural, of Burmese origin, with no indications of heating. Report number CDC2209603 / 1&2, dated September 30th 2022.
Lot 101
A DIAMOND SINGLE-STONE RING The central brilliant-cut diamond weighing approximately 1.50ct, within a four-claw setting, to a similarly-cut diamond frame and shoulders, mounted in 18K rose gold, with English hallmarks for 2020, ring size J½ Accompanied with an insurance valuation from Davril Jewels in Hatton Garden, stating that the diamond is GIA certified 1.50ct, H colour, SI1 clarity, numbered 6162297303. Original certificate is not available.
Lot 224
A SAPPHIRE AND DIAMOND CLUSTER RING The cushion-shaped sapphire weighing approximately 5.60cts, within a double four-claw setting, to a marquise and brilliant-cut diamond surround, mounted in 18K gold, diamonds approximately 2.50cts total, with maker's mark, French assay mark, ring size J½ Please note that the sapphire was verbal tested at Gem Paris laboratory, stating that the sapphire is natural, of Sri Lankan origin, with no indications of heating. Test no. 20231977376-4.
Lot 8
A GOLD ‘TRINITY’ RING, BY CARTIER, 1997 Composed of three polished interlocking bands in either yellow, white or rose gold, mounted in 18K gold, signed Cartier and 1997, numbered, with maker's mark, French assay marks, ring size N (59) The Cartier Trinity collection is shrouded in numerous myths and tales rich with symbolism. However, the true story begins in the 1920s, amid its roaring Art Deco era, almost 80 years after Cartier was established and famed for its colourful and exotic creations in geometric forms, high-contrast colour combinations, and carved precious gemstones. Louis Cartier, the son of the namesake founder, designed an intertwined ring. This revolutionary creation would become a distinctive code of Cartier style. Louis dared to go back to the basics of pure design with no embellishments, a stark contrast to the trend then. With boldness, he created the renowned Cartier three-ring Trinity in 1924. The intertwining ring debuted at the 1925 Paris Exposition, when Cartier displayed the ring and bracelet alongside other more colourful, opulent jewellery. That year they were photographed by Edward Steichen for American Vogue and worn by the American interior designer and tastemaker Elsie de Wolfe. The design quickly gained a cult following with luminaries such as Cocteau and the Duke of Windsor, who famously adorned two rings on his pinkie. After its introduction, Cartier introduced the three-band ring in various colours and materials. Both ring and bracelet achieved resounding success, symbolizing elegance. With its flawless blend of clean lines, ideal proportions, and precise shapes, they emerged as a hallmark of design excellence achievable only by Cartier artisan jewellers. The ring's triumph owes much to its flawless design as well as its profound symbolism. Its interconnected nature invites myriad interpretations, from a symbol of family devotion passed down through generations to an emblem of enduring friendship or everlasting love. Objects imbued with such poetic significance effortlessly become cherished parts of our lives, resonating with memories and emotions. In 1997, following a decade of evolution, the three-band ring was officially christened Trinity. As part of the les must de Cartier line, the jewellery house crafted a version of the ring featuring an engraving of the slogan on the rose gold band. However, the brand later discontinued the slogan, and subsequent models of the ring did not include the engraving. As time passed, the style of the Trinity collection underwent various adaptations. Some iterations incorporated jewels into the design, while others saw shifts in shape and style to align with contemporary trends. In the 1990s, the ring was resized to larger proportions to reflect the prevailing preference for heavier jewellery. Over time, the Trinity collection evolved into a signature choice for a diverse array of personalities, from icons like Cary Grant and Grace Kelly to contemporary figures like Nicole Kidman, Paul Mescal, and Catherine, Princess of Wales. A century since its creation, both men and women still adorn themselves with the Trinity ring, necklace, earrings, and bracelet. This year, marking the Trinity's 100th anniversary, the Maison, reaffirming the enduring appeal of its innovative design. The charm of the Trinity collection remains as potent as ever.
Lot 66
A GEM SET AND DIAMOND DRESS RING, BY CHAUMET, CIRCA 1970 Of crossover design, set with a coral and possibly moonstone bead, each highlighted with single-cut diamonds, mounted in 18K gold, signed Chaumet, numbered, with maker's mark 'JC' for Joseph Chaumet, ring size H½** This lot may be subject to CITES Regulations when exported. Several countries prohibit the importation of property containing materials from endangered species, such as rhino horn, ivory, coral and tortoiseshell. If you are interested in bidding on a lot containing these materials and you wish to export, please ensure you are familiar with all relevant customs regulations prior to bidding. It is the buyer’s sole responsibility to obtain any relevant export or import licence and ensure before bidding of their legal requirements concerning Cites regulations pertaining to their country.
Lot 164
A DIAMOND DRESS RING Designed as an openwork bow, set with two principal heart-shaped diamonds, further enhanced by brilliant-cut diamonds, to shoulders composed of graduated oval links, set with brilliant-cut diamonds, mounted in gold, principal heart-shaped diamonds approximately 1.50ct total, remaining diamonds approximately 1.00ct total, ring size N
Lot 96
A VERY FINE RUBY AND DIAMOND RING, BY BULGARI The cushion-shaped ruby weighing 2.92cts within a four-claw setting, between two pear-shaped diamonds, to a brilliant-cut diamond surround, mounted in 18K gold, diamonds approximately 3.00cts total, signed Bvlgari & 'CM 2.92', with maker's mark 'BB' for Bvlgari, ring size N½ Accompanied by a report from Gübelin laboratory in Switzerland, stating that the ruby weighing 2.92cts, is natural, of red colour, Burmese origin, with no indications of heating (NTE). Report no. 24010061, dated January 30th 2024. Accompanied by a gemstone rating card from Gübelin, rating the ruby 'excellent' with 88.2 points. Gubelin rating aspects: https://www.gubelingemlab.com/en/gemlab/gemstone-rating Accompanied with information sheets from Gübelin for unheated stones & rubies from Mogok, Burma. Mining for rubies, particularly in regions like the Mogok Valley in Burma (Myanmar), has a rich history dating back over a millennium. The Mogok area, renowned for its exceptional rubies, has sustained its reputation for producing some of the most desirable gems globally. These rubies, characterized by their red body colour, UV fluorescence, rutile silk, and distinct growth patterns, owe their formation to a complex interplay of geological factors. The geological conditions necessary for the creation of gem-quality rubies are rare and precise. Specific combinations of elements like aluminium and chromium, along with the right temperature and pressure conditions, are essential for their formation deep within the earth. These conditions are found in only a handful of locations worldwide, making the supply of high-quality natural rubies limited. Traditionally, rubies were cut and polished without significant enhancements, with imperfections considered acceptable. However, as demand for high-quality rubies increased, so did the need for treatments to improve their appearance. Modern heating techniques and chemical additives have been employed to enhance the visual appeal of rubies, mimicking the characteristics of untreated specimens. Despite advancements in treatments, the demand for natural, unheated rubies continues to outstrip the limited supply. These rubies, sourced from various regions including Burma (Myanmar), Mozambique, Madagascar, and others, remain highly sought after for their rarity and intrinsic beauty.Condition ReportDiamonds: approx. 3.00cts total, bright and lively Ruby: red hue, medium tone, good saturation, good transparency, facets are smooth. Natural inclusions visible under a bright light source and 10x magnification. Accompanied by a report from Gübelin laboratory in Switzerland, stating that the ruby weighing 2.92cts, is natural, of red colour, Burmese origin, with no indications of heating (NTE). Report no. 24010061, dated January 30th 2024. Accompanied by a gemstone rating card from Gübelin, rating the ruby 'excellent' with 88.2 points. Gubelin rating aspects: https://www.gubelingemlab.com/en/gemlab/gemstone-rating Accompanied with information sheets from Gübelin for unheated stones & rubies from Mogok, Burma. Maker's mark BB for Bulgari imported and sold in Switzerland Minor signs of wear, overall in good condition Total gross weight approx. 10g
Lot 234
A DIAMOND DRESS RING Of bombé design, centring a marquise-shaped diamond measuring approximately 14.79mmx7.9mm, within a four-claw setting, within a surround pavé-set with brilliant-cut diamonds and diamonds of yellow tint, mounted in 18K gold, ring size I * Please note that the principal diamond was verbally tested at GCS laboratory in London in March 2024 and was found to be natural with no signs of treatment.
Lot 109
AN IMPRESSIVE DIAMOND SINGLE-STONE RING The brilliant-cut diamond weighing 12.58cts within a six-claw setting, to a plain hoop, mounted in 18K gold, with maker's mark, ring size P½ Accompanied with a report from the HRD laboratory in Antwerp, stating that the natural diamond weighing 12.58cts, is L colour, VVS2 clarity. Report number 240000081772, dated April 9th 2024.
Lot 6
A DIAMOND 'FRIVOLE' COCKTAIL RING, BY VAN CLEEF & ARPELS Designed as a cluster of flowers, each set with a brilliant-cut diamond at the centre, mounted in 18K gold, signed VCA, numbered, with maker's mark 'GF' for Gay Frères, French assay mark, Swiss assay mark, European convention mark, ring size L (52)
Lot 26
A RARE ART NOUVEAU ENAMEL AND DIAMOND 'PANSY' RING, BY CHARLES RIVAUD, CIRCA 1900 The cushion-shaped diamond weighing approximately 2.20cts, within a raised petal mount, applied with blue enamel, to shoulders, set with rose-cut diamonds and blue enamel, mounted in 18K gold, signed CR for Charles Rivaud, French import mark, with maker’s original case stamped 'CH. Rivaud, 23, rue de Seine, Paris', ring size M A very similar model is reproduced in the book Paris Salons 1895 - 1914 - Joaillerie - II: les designers de L à Z by Alastair Duncan, with the mention Paris Salon 1904”. Charles Magloire Rivaud, an imaginative artist and skilled artisan, continues to captivate the jewellery world with his enduring legacy. Born on April 5, 1859, in the village of Boismorand, Loiret, France, Charles was destined for greatness in the realm of jewellery, inheriting a rich tradition spanning three generations. His journey began in Paris, where he discovered his passion and embarked on a transformative path in jewellery making. Rivaud delved into electroplating, pioneering techniques that would reshape the industry. His marriage later in life marked a significant turning point, merging his love for craftsmanship with a deep commitment to his beloved city. Establishing his workshop on the Quai de l'Horloge, Charles envisioned a space where creativity thrived, welcoming fellow artists and enthusiasts alike. Renowned for collaborating with esteemed sculptors such as Oscar Roty, Jean Dampt, and Victor Prouvé, Rivaud gained prominence as a publisher of meticulously sculpted medal-adorned brooches, notably the celebrated Broche du Souvenir in 1898. His partnership with Victor Prouvé was prominently featured at the Salon de la Société Nationale des Beaux-Arts, showcasing Prouvé's medal brooches—Aurore, Crépuscule, Gaule, le Bonheur—published by Rivaud. Amidst Parisian society, Charles remained steadfast in his pursuit of artisanal excellence. Collaborating with renowned sculptors and painters, he elevated his creations to unparalleled heights, captivating patrons, and critics alike. Through each meticulously crafted piece, Charles Rivaud breathed life into a world where tradition intersected with innovation, and beauty transcended the constraints of time. Among his remarkable creations, stands the iconic 'Centenary bracelet', a testament to his reverence for history and artistic genius. Crafted to commemorate the 100th anniversary of the French Revolution, this masterpiece encapsulated the essence of a bygone era, immortalizing the ideals of liberty, equality, and fraternity. Adorned with intricate details and symbols of enlightenment, the Centenary bracelet remains a timeless symbol of Charles Rivaud's enduring legacy. His participation in the Universal Exhibition in Paris exhibited Rivaud's important contribution to Decorative Arts. From 1901 to 1913, his Salon contributions spanned a diverse array of jewellery, from iron rings in 1903 to a corsage plate depicting Rodin's Head of Saint John in 1912. Rivaud's mastery was symbolised by his unique mark— the letters CR accompanied by an electric battery—a testament to his ingenuity and legacy in the world of decorative arts. His legacy extended beyond craftsmanship; Rivaud was also the founder of the Société du Salon d'Automne and a member of the Société des Artistes Décorateurs. Charles Rivaud contributions were noted in several Salons between 1906 before his passing in 1923. His son, André-Charles, succeeded him in 1924, ensuring the continuation of Rivaud's esteemed legacy. Rivaud leaves behind a legacy of innovation and creativity that continues to inspire generations. His unwavering dedication to excellence and passion for the craft. Victorians cherished hidden meanings: this fascination reflected in jewellery craftsmanship. Flowers, rich in romantic symbolism, conveyed sentiments through the Language of Flowers. To Victorians, blooms embodied tender emotions like attachment and compassion. During the era, this floral vocabulary became a discreet form of communication, aligning with Victorian propriety. Amid the excess of floral symbols, the pansy held a special significance, symbolising think of me, derived from the French word pensée for thought. Literature including Shakespeare's Hamlet, abounds with references to pansies, hinting at their contemplative essence. In the floral language, pansies conveyed thoughts of the giver toward the recipient, often associated with platonic or unrequited love. The pansy's potent symbolism transcended into bespoke jewellery, adorned with exquisite enamel work, reinforcing its status as a cherished symbol of affection and contemplation.
Lot 7
A GOLD 'TRINITY' BANGLE, BY CARTIER Composed of three interlocking polished 18K tri-coloured gold bangles, signed Cartier Paris, with maker's mark 'SCA' for société cartier anonyme, with maker's mark 'AG' for Gross, French assay marks, with maker's pouch, inner diameter approximately 6.5cm Gross is a Parisian workshop founded in 1860 by August Gross. They were originally chain makers and have worked for Cartier amongst others. The Cartier Trinity collection is shrouded in numerous myths and tales rich with symbolism. However, the true story begins in the 1920s, amid its roaring Art Deco era, almost 80 years after Cartier was established and famed for its colourful and exotic creations in geometric forms, high-contrast colour combinations, and carved precious gemstones. Louis Cartier, the son of the namesake founder, designed an intertwined ring. This revolutionary creation would become a distinctive code of Cartier style. Louis dared to go back to the basics of pure design with no embellishments, a stark contrast to the trend then. With boldness, he created the renowned Cartier three-ring Trinity in 1924. The intertwining ring debuted at the 1925 Paris Exposition, when Cartier displayed the ring and bracelet alongside other more colourful, opulent jewellery. That year they were photographed by Edward Steichen for American Vogue and worn by the American interior designer and tastemaker Elsie de Wolfe. The design quickly gained a cult following with luminaries such as Cocteau and the Duke of Windsor, who famously adorned two rings on his pinkie. After its introduction, Cartier introduced the three-band ring in various colours and materials. Both ring and bracelet achieved resounding success, symbolizing elegance. With its flawless blend of clean lines, ideal proportions, and precise shapes, they emerged as a hallmark of design excellence achievable only by Cartier artisan jewellers. The ring's triumph owes much to its flawless design as well as its profound symbolism. Its interconnected nature invites myriad interpretations, from a symbol of family devotion passed down through generations to an emblem of enduring friendship or everlasting love. Objects imbued with such poetic significance effortlessly become cherished parts of our lives, resonating with memories and emotions. In 1997, following a decade of evolution, the three-band ring was officially christened Trinity. As part of the les must de Cartier line, the jewellery house crafted a version of the ring featuring an engraving of the slogan on the rose gold band. However, the brand later discontinued the slogan, and subsequent models of the ring did not include the engraving. As time passed, the style of the Trinity collection underwent various adaptations. Some iterations incorporated jewels into the design, while others saw shifts in shape and style to align with contemporary trends. In the 1990s, the ring was resized to larger proportions to reflect the prevailing preference for heavier jewellery. Over time, the Trinity collection evolved into a signature choice for a diverse array of personalities, from icons like Cary Grant and Grace Kelly to contemporary figures like Nicole Kidman, Paul Mescal, and Catherine, Princess of Wales. A century since its creation, both men and women still adorn themselves with the Trinity ring, necklace, earrings, and bracelet. This year, marking the Trinity's 100th anniversary, the Maison, reaffirming the enduring appeal of its innovative design. The charm of the Trinity collection remains as potent as ever.
Lot 127
A GOLD 'CHAÎNE D'ANCRE ENCHAÎNÉE' RING, BY HERMÈS Composed of a continuous row of rigid anchor chain links, in 18K rose gold, signed Hermès, numbered, Italian registry mark, Swiss assay mark, European convention mark, with certificate from Hermès, with maker's case and outer box, ring size M (53)
Lot 10
A TRINITY RING, BY CARTIER, CIRCA 2015 Designed as three interlocking bands, two polished white gold hoops and one in black ceramic, mounted in 18K white gold, numbered, Swiss assay mark, European convention mark, with certificate of authenticity from Cartier, dated 2015, ring size O½ (56) The Cartier Trinity collection is shrouded in numerous myths and tales rich with symbolism. However, the true story begins in the 1920s, amid its roaring Art Deco era, almost 80 years after Cartier was established and famed for its colourful and exotic creations in geometric forms, high-contrast colour combinations, and carved precious gemstones. Louis Cartier, the son of the namesake founder, designed an intertwined ring. This revolutionary creation would become a distinctive code of Cartier style. Louis dared to go back to the basics of pure design with no embellishments, a stark contrast to the trend then. With boldness, he created the renowned Cartier three-ring Trinity in 1924. The intertwining ring debuted at the 1925 Paris Exposition, when Cartier displayed the ring and bracelet alongside other more colourful, opulent jewellery. That year they were photographed by Edward Steichen for American Vogue and worn by the American interior designer and tastemaker Elsie de Wolfe. The design quickly gained a cult following with luminaries such as Cocteau and the Duke of Windsor, who famously adorned two rings on his pinkie. After its introduction, Cartier introduced the three-band ring in various colours and materials. Both ring and bracelet achieved resounding success, symbolizing elegance. With its flawless blend of clean lines, ideal proportions, and precise shapes, they emerged as a hallmark of design excellence achievable only by Cartier artisan jewellers. The ring's triumph owes much to its flawless design as well as its profound symbolism. Its interconnected nature invites myriad interpretations, from a symbol of family devotion passed down through generations to an emblem of enduring friendship or everlasting love. Objects imbued with such poetic significance effortlessly become cherished parts of our lives, resonating with memories and emotions. In 1997, following a decade of evolution, the three-band ring was officially christened Trinity. As part of the les must de Cartier line, the jewellery house crafted a version of the ring featuring an engraving of the slogan on the rose gold band. However, the brand later discontinued the slogan, and subsequent models of the ring did not include the engraving. As time passed, the style of the Trinity collection underwent various adaptations. Some iterations incorporated jewels into the design, while others saw shifts in shape and style to align with contemporary trends. In the 1990s, the ring was resized to larger proportions to reflect the prevailing preference for heavier jewellery. Over time, the Trinity collection evolved into a signature choice for a diverse array of personalities, from icons like Cary Grant and Grace Kelly to contemporary figures like Nicole Kidman, Paul Mescal, and Catherine, Princess of Wales. A century since its creation, both men and women still adorn themselves with the Trinity ring, necklace, earrings, and bracelet. This year, marking the Trinity's 100th anniversary, the Maison, reaffirming the enduring appeal of its innovative design. The charm of the Trinity collection remains as potent as ever.
Lot 9
A DIAMOND TRINITY PENDANT ON CHAIN, BY CARTIER Composed of three interlocking tri-coloured gold hoops connected with a brilliant-cut diamond bale, suspending from a curb-link rose gold chain, mounted in 18K gold, both signed Cartier, numbered, Italian registry mark '1TO', pendant length 2.1cm, chain length 42cm The Cartier Trinity collection is shrouded in numerous myths and tales rich with symbolism. However, the true story begins in the 1920s, amid its roaring Art Deco era, almost 80 years after Cartier was established and famed for its colourful and exotic creations in geometric forms, high-contrast colour combinations, and carved precious gemstones. Louis Cartier, the son of the namesake founder, designed an intertwined ring. This revolutionary creation would become a distinctive code of Cartier style. Louis dared to go back to the basics of pure design with no embellishments, a stark contrast to the trend then. With boldness, he created the renowned Cartier three-ring Trinity in 1924. The intertwining ring debuted at the 1925 Paris Exposition, when Cartier displayed the ring and bracelet alongside other more colourful, opulent jewellery. That year they were photographed by Edward Steichen for American Vogue and worn by the American interior designer and tastemaker Elsie de Wolfe. The design quickly gained a cult following with luminaries such as Cocteau and the Duke of Windsor, who famously adorned two rings on his pinkie. After its introduction, Cartier introduced the three-band ring in various colours and materials. Both ring and bracelet achieved resounding success, symbolizing elegance. With its flawless blend of clean lines, ideal proportions, and precise shapes, they emerged as a hallmark of design excellence achievable only by Cartier artisan jewellers. The ring's triumph owes much to its flawless design as well as its profound symbolism. Its interconnected nature invites myriad interpretations, from a symbol of family devotion passed down through generations to an emblem of enduring friendship or everlasting love. Objects imbued with such poetic significance effortlessly become cherished parts of our lives, resonating with memories and emotions. In 1997, following a decade of evolution, the three-band ring was officially christened Trinity. As part of the les must de Cartier line, the jewellery house crafted a version of the ring featuring an engraving of the slogan on the rose gold band. However, the brand later discontinued the slogan, and subsequent models of the ring did not include the engraving. As time passed, the style of the Trinity collection underwent various adaptations. Some iterations incorporated jewels into the design, while others saw shifts in shape and style to align with contemporary trends. In the 1990s, the ring was resized to larger proportions to reflect the prevailing preference for heavier jewellery. Over time, the Trinity collection evolved into a signature choice for a diverse array of personalities, from icons like Cary Grant and Grace Kelly to contemporary figures like Nicole Kidman, Paul Mescal, and Catherine, Princess of Wales. A century since its creation, both men and women still adorn themselves with the Trinity ring, necklace, earrings, and bracelet. This year, marking the Trinity's 100th anniversary, the Maison, reaffirming the enduring appeal of its innovative design. The charm of the Trinity collection remains as potent as ever.
Lot 233
AN OPAL, GEM-SET AND DIAMOND COCKTAIL RING The central oval-shaped opal cabochon weighing approximately 12.00cts within a four-claw setting, to an oval-shaped yellow and green sapphire surround accented with circular-cut blue sapphires and brilliant-cut diamonds, mounted in 18K gold, sapphires approximately 6.50cts total, ring size M
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