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Click here to subscribeA 19th century 8ct rose gold, paste and simulated pearl set brooch pin. The brooch pin set with a central simulated pearl surrounded by a halo of round cut white paste stones to three strand bar brooch set with graduating round cut white paste stones. The brooch having hinge pin and c-clasp to verso. Marked 333 to hinge pin. Measures 3.7cm x 1.2cm. Weighs 4.10g. All weights, measurements and sizes are approximate.
A pair of gold, garnet and pearl stud earrings. The earrings having a central mixed cut garnet set in a decorative mount surrounded by four pearls set in scalloped mounts to straight post versos with butterfly back fasteners. Unmarked however surface tests indicate gold. Garnets measure 11.4mm x 10mm x 4mm. Measures 2.1cm x 1.9cm. Weighs 5.4g. All weights, measurements and sizes are approximate.
A German Meyle & Mayer Jugendstil 800 silver brooch pin. The Art Nouveau round silver brooch pin having the portrait of a woman in enamel with a pearl set in her hair to pliqué-a-jour glass panel and pearl set on a silver stick to hinge pin and c-clasp verso. Marked Depose, 900 together with maker's mark for Meyle and Mayer. Measures 2.7cm x 2.7cm. Weighs 7.55g. All weights, measurements and sizes are approximate.
A hallmarked 9ct gold and cultured pearl golfing brooch pin. The 9ct yellow gold circular brooch pin having a golf club crossed with a flag and a cultured pearl surmounted by a number 1 with crown and leaves to top. The brooch pin having a hinge pin, roller clasp and bale to verso. Hallmarked for Birmingham, 1991. Measures 3cm x 4cm. Weighs 6.14g. All weights, measurements and sizes are approximate.
A collection of late Victorian/early Edwardian stick pins. The lot to include an Edwardian hallmarked 9ct gold pierced flower hat pin with metal beadwork decoration to white tone metal pin, hallmarked for Chester, 1907 together with maker's mark C.H. Two Victorian rolled gold snake stick pins with paste set snake heads to white tone metal pins, unmarked. The lot to also include four yellow tone metal stick pins with simulated pearls and fleur-de-lis heads and a silver star stick pin. Unmarked. Gold stick pin head measures 2.2cm x 1.5cm. Stick pin measures 20.2cm. Snake heads measure 3.2cm x 1.5cm. Snake stick pin measures 23cm. Simulated pearl stick pin measures 6cm. Star stick pin measures 5cm. Total weight 18g. All weights, measurements and sizes are approximate.
Mother of pearl stainless steel cake serving set by Pearlcraft / All lots are located at Gower Reclamation, Unit 17b, Crofty Industrial Estate, Gower, Swansea, SA4 3RS. Regretfully Wellers are unable to offer any type of shipping, please see our important information for collections information.
Six pearl-ware childrens mugs circa 1820-1830, some with age related wear, each 6cm high / All lots are located at Gower Reclamation, Unit 17b, Crofty Industrial Estate, Gower, Swansea, SA4 3RS. Regretfully Wellers are unable to offer any type of shipping, please see our important information for collections information.
VAN CLEEF & ARPELS: A MOTHER-OF-PEARL 'SWEET HEARTS' BRACELETThe heart-shaped mother-of-pearl plaque within a beaded frame at the centre, to a cable-link chain, mounted in 18K gold, signed VCA, numbered, with maker's mark, French assay mark, lengths 16cm & 17.5cm Condition Report: Normal signs of wear, overall in good conditionNumbered: BL221508Total gross weight approx. 1.8gFor a similar bracelet (with carnelian, not mother-of-pearl): retail price €1,720.-https://www.vancleefarpels.com/fr/fr/collections/jewelry/other-collections/vcarn59l00---sweet-hearts-bracelet.html
VAN CLEEF & ARPELS: A MOTHER-OF-PEARL 'SWEET ALHAMBRA' BRACELETThe quatrefoil mother-of-pearl plaque within beaded frame at the centre between a cable-chain, mounted in 18K gold, signed VCA, numbered, indistinct maker's mark, French assay mark, lengths 16cm & 17cm Condition Report: Small hoop link near clasp slightly loose, would need to get tightenNumbered JE307245Retail prices on Van Cleef & Arpels website:https://www.vancleefarpels.com/fr/fr/collections/jewelry/alhambra/vcarf68800---sweet-alhambra-bracelet.html
FRED PARIS: A GEM-SET AND PEARL 'FREDY'S, LA PATINEUSE' PENDANT/BROOCH, CIRCA 1990Designed as an ice skater executing a pirouette, of textured and polished gold with a brilliant-cut diamond collar and circular-cut ruby sleeves, to a round-shaped mabé pearl for face, with articulated polished gold bale, mounted in 18K gold, signed Fred Paris, with maker's mark 'Sté D' for Dorsey, length (excluding bale): 4.1cmFredy's were introduced by FRED PARIS in 1989. These cheerful characters—The Chipie (The Little Vixen), L’Amoureux (The Lover), Le Matelot (The Sailor), L’Ange (The Angel), Le Kid (The Kid), Le Joueur (The Artist), de Football et de Tennis (The Football et Tennis Player), were crafted in yellow gold, lacquer, white pearls, and coloured stones, embodying FRED's joyful style. Each precious little figurines could be worn as brooches or pendants.Over time, the Fredy jewellery collection grew with artistic collaborations, including French artist and graphic designer JP Goude, who in 2009 added his playful touch by designing Fredy's in zebra costumes, wearing eccentric hats, and with skateboards. In 2021 Valérie Samuel, the Artistic Director and Vice-President of FRED, continued this tradition by inviting Japanese custom fashion designer Tomo Koizum to bring his unique vision to the Fredy family. Condition Report: Diamonds: bright and livelyRubies: of red hue, medium tone, well matched in colourMabé pearl: high lustre with pink and green overtonesBale for pendant is articulated to hide on the reverse if worn as a broochPin closes securelySignature, maker's mark for Dorsey and French assay mark located on the reverse of the broochNormal signs of wear, overall in good conditionTotal gross weight approx. 18g
ZOLOTAS: A PAIR OF GOLD 'CLASSICS' EARCLIPSEach of bombé design with finely hammered surface, in 22K gold, signed Zolotas, with maker's mark, length 4.2cmZolotas is a jewellery house that blends modern fine jewellery with ancient Greek metalworking and decoration. Founded in 1895 in Athens by Efthimios Zolotas, who trained in Paris, the business quickly became successful. The store on Aiolou Street became a hub for the Athenian elite. To meet high demand, Zolotas started an apprentice school at his workshop, fostering new design and innovation.Xenofon, Zolotas' son, was a young academic prodigy and a Professor of Financial Law by age 24. He even served briefly as Prime Minister of Greece from 1989-1990. Despite his busy schedule, Xenofon remained involved in the family business, sharing a love of fine jewellery and Greek history. In the 1950s and 1960s, Xenofon and his wife Kallirhoe, a prominent figure in New York Greek society, formed exclusive partnerships with Greek archaeological museums. This allowed Zolotas to create jewellery inspired by ancient treasures like the Lions of Mycenae and Byzantine mosaics. Their aim was to make modern women feel like goddesses, a goal they achieved with clients like Maria Callas, Jackie Onassis, and Romy Schneider.In the 1970s, Zolotas established itself in Paris and became a centre for fine art creation. They collaborated with sculptors and painters, producing stunning pieces such as Taki's pearl jewellery that moves with body temperature and Claude Lalanne's laurel leaf necklaces. A notable collaboration was with Paloma Picasso, daughter of Pablo Picasso, who created successful pieces featuring daisies and moon phases.In the past twenty years, Zolotas has continued to blend modern and global influences with local ancient, specifically Hellenic and Cycladic, styles. Artistic director Georges Papalexis now leads the mission to interpret diamonds in a uniquely Greek way. Condition Report: Normal signs of wear, overall in good conditionClip on earringsTotal gross weight approx. 33.4gRetail price on Zolotas website: €12,000https://www.zolotasjewelry.com/jewelry/collections/classics-jewerly-collection-in-22kt-gold-with-diamonds-and-pearls/earrings-m822-1
A CULTURED PEARL AND DIAMOND PENDANT ON CHAINOf openwork cross design, centring a pear-shaped diamonds within a surround pavé-set with brilliant-cut diamonds and cultured pearl to each cardinal point, suspending from trace-link chain, mounted in 18K gold, chain in 9K gold, diamonds approximately 4.00cts total, pendant length 4.9cm, chain length 56cm Condition Report: Pearl: of white tint, with pink and silver overtones, all well matched in colour, good lustreDiamonds: approx. 4.00cts total - bright and livelyStamped 750 on the reverse of the pendant for 18K goldChain stamped 375 for 9K goldNormal signs of wear, overall in good conditionTotal gross weight approx. 27.3g
A PAIR OF CULTURED PEARL AND DIAMOND PENDENT EARRINGSEach round-shaped cultured pearl measuring approximately 12.86mm, suspending from a brilliant and pear-shaped diamond surmount, mounted in 18K gold, diamonds approximately 4.70cts total, can be worn with or without the pearl, length 2.4cm and 3.7cm Condition Report: Diamonds: approx. 5.00cts total, estimated colour G/H with a few I and a couple of J, estimated clarity VS-SIStamped 750 and K18Normal signs of wear, overall in good conditionTotal gross weight approx. 15.9g
MIKIMOTO: A CULTURED PEARL NECKLACEComposed of a single row of cultured pearls of white tint measuring approximately 8.57mm - 8.88mm, to an 18K gold clasp and suspending an 'M' charm, signed Mikimoto, length 46cm Condition Report: Pearls: of white tint with pink and green overtones, very high lustre, superficial minor blemishes on a minority of pearls visible with a bright light sourceClasp: stamped 18K gold with Italian registry markMinor to normal signs of wear, overall in good conditionTotal gross weight approx. 48.8gIt is always advised to get your pearls restrung when bought at auction
A CULTURED PEARL NECKLACEComposed of a single strand of graduated South Sea pearls measuring approximately 13.42mm-17.07mm, finishing with an 18K white gold spring ring clasp, length 45cm Condition Report: Pearls: South Sea cultured pearl, of white tint with pink and green overtones, good lustre, natural blemishes visibleClasp stamped 750 for 18K goldNormal signs of wear, overall in good conditionTotal gross weight approx. 126.40gIt is always recommended to get your pearls restrung when bought at auction
A CULTURED PEARL AND DIAMOND BANGLE, ITALIAN, CIRCA 1960Of openwork foliate design throughout, the frontispiece embellished with cultured pearl acorns with brilliant and single-cut diamond accents, with textured gold leaves throughout, mounted in 18K gold, diamonds approximately 1.50ct total, Italian registry mark 354MI for Lischetti between '1944-1968', inner length approximately 18.5cm, inner diameter 6cm Condition Report: Pearls: of grey tint with pink and green overtones, high lustreDiamonds: approx. 1.50ct total, bright and livelyClasp with sliding bar - closes securelyNormal signs of wear, overall in good conditionTotal gross weight approx. 87.5g
A DIAMOND AND PEARL LONG CHAIN NECKLACEThe cable-link chain highlighted with cultured pearls, interspersed with rounded motifs set with brilliant-cut diamonds of brown tint and further collet-set similar diamonds, mounted in 18K gold, diamonds approximately 5.00cts total, French assay marks, length 92cm Condition Report: One diamond of brown tint deficientPearls: of gold tint, with pink, silver and green overtones, good lustreDiamonds: approx. 5.00cts total, of brown tint - overall well matched in colourEagle's head for French 18K gold located near the clasp, also 750 on clasp for 18K goldNormal signs of wear, overall in good conditionTotal gross weight approx. 53.8g
LALIQUE: AN ART NOUVEAU GOLD RING, CIRCA 1900Designed as a tapered wide band etched with a series of dancing nymphs, signed Lalique, with maker's mark 'RL' for René Lalique, ring size QA very similar ring sold for US$12,000 at Christie's in New York, on April 12th 2005 (lot 273)The Art Nouveau movement flourished at the turn of the twentieth century, underpinning a period of creativity and artistic innovation across all fields of design. Artists, inspired by and drawing heavily on forms of the natural world, embraced new, fluid, organic and graceful lines within their work. The Art Nouveau style was broadcasted to a global audience at the 1900 Paris Exposition with René Lalique, hailed as the “Master of Art Nouveau Jewellery,” making his international debut.Japanese art, with its simplicity of form, deference to the natural world, and use of colours, lent itself well as a source of inspiration for Art Nouveau jewellers. A preference for delicate pastel hues led them to experiment with semiprecious stones like amethyst, agate, softly curved and shimmering opal, pearl and moonstone. The gentle glow of these stones embedded a sense of finely crafted dynamism and mystery in Art Nouveau jewellery that emphasised its unique aesthetic as having pioneered a language of design distinct from that of mainstream jewellery at the time. Eugène Gaillard, a designer particularly inspired by exotic art forms, specialised in the technique of “plaque de cuisson” and worked often with horn, enamel, opal and coloured stones.The Art Nouveau movement coincided with a period of significant social change and female empowerment. This shift is reflected in the jewellery of the time, which often featured a highly symbolic female form as its central motif. That symbolism was intwined with a sort of mystic femininity, with female forms depicted as a spirits of nature, goddesses, nymphs and fairies. Lalique drew inspiration from the natural world and the place of man within in it, with his ethereal designs evoking an engagement with these motifs and themes of amorous liberation; delicate orchids, iridescent dragonflies, sinuous snakes, and mysterious profiles of women intertwined with the flora and fauna appear frequently in his work. His designs reflect these themes of feminine liberation and fantasy, which can be seen especially in his designs in which the figures of nymphs and spirits are raised in relief as though their liberation is symbolically linked to their physicality.Lalique’s designs envisioned jewellery as a point of focus rather than a decoration for its wearer. His pieces were often large, bold, and sculptural – informed by his foundational knowledge of traditional techniques such as “plique-a-jour” enamelling, and blended with the distinct, dynamic aesthetic he pioneered. The iconic “Femme Libellule” (dragonfly-woman) brooch was de signed by Lalique in 1882, and perfectly encapsulates his vision. The piece depicts a nude woman as its central motif, with the figure emerging out of a dragonfly, seemingly frozen in a process of metamorphosis. This brooch, evoking a sense of rarified femininity, was worn by Sarah Bernhardt, a French actress and follower of Lalique’s career, at the height of her fame. After taking over the workshop of a Parisian jeweller, Lalique worked independently for private clients such as Bernhardt, as well as opera stars and aristocrats, whose patronage ensured his lasting legacy. The timeless and global appeal of Lalique’s designs remains, with his pieces featuring in the prestigious collections of The Metropolitan Museum of New York and the Victoria and Albert Museum in London. Condition Report: Normal signs of wear, commensurate with ageTotal gross weight approx. 13.9g
GAY FRÈRES: A CULTURED PEARL NECKLACE WITH ENAMEL AND RUBY CLASPComposed of a row of graduated cultured pearls measuring approximately 11.26mm-12.84mm, finishing with a leopard clasp decorated with black enamel spots and circular-cut ruby eyes with ropetwist detailing, mounted in 18K gold, with maker's mark 'GF' for Gay Frères, French assay marks, length 42.8cm Condition Report: Pearls: of brown tint, with pink and green overtones, good lustre, some pearls with presence of blemishesClasp: secureMinor signs of wear, overall in good conditionIt is always recommended to get your pearls restrung when bought at auctionTotal gross weight approx. 86.2g
REPOSSI: A PAIR OF CULTURED PEARL AND DIAMOND RINGSEach double shank pavé-set with brilliant-cut diamonds, suspending a cultured pearl drop of white tint or black tint with caped with similarly-cut diamonds, each mounted in 18K gold, diamonds approximately 1.00ct per ring, each signed Repossi Constantino, ring sizes L & M Condition Report: White pearl: with pink, green and silver overtones, measuring approx. 10.83mm, superficial scratches visible under 10x magnification due to normal wear - not visible with the naked eyeGrey pearl: with pink and green overtones, measuring approx. 10.94mm, a line of growth and a couple of minor blemishes visible under a bright light source with 10x magnificationDiamonds: approx. 1.00ct on each ring, bright and livelyNormal signs of wear, overall in good conditionTotal gross weight approx. 16.9g
ARTHUS BERTRAND: A GOLD AND CULTURED PEARL ROSARYThe cultured pearls interspersed by gold beads and rondelles, leading to a circular gold plaque depicting in relief the portrait of Virgin Mary, suspending a similarly-set pierced baptismal cross, in 18K gold, French assay marks, signed Arthus Bertrand, length 47cm (approx. length of necklace (no clasp): 67cmFor over 200 years, Maison Arthus Bertrand has been known for its exceptional craftsmanship in jewellery, passed down through six generations of the same family. Founded in 1803 by Arthus Claude Bertrand, the company initially published travel accounts funded by the Napoleonic Empire, gaining recognition for its detailed work. Located on Rue d’Hautefeuille in Paris, it became renowned for its creative excellence and scholarly publications, eventually becoming the official publisher for the French Navy’s geographic society.A significant turning point came when Arthus-Claude Bertrand married the daughter of Michel-Ange Marion, leading to a merger with Maison Marion, known for its embroidery, insignia, military flags, and Legions of Honour. This merger shifted the focus entirely to jewellery and insignia. Over generations, the Maison expanded its expertise, using techniques like bas-relief sculpture, stamping, grand feu enamelling, and engraving. In 1937, the launch of its first jewellery collection, featuring religious medallions and avant-garde pieces, marked a pivotal moment.Under the creative direction of Emmanuel Aubry in 2016, and later Camille Toupet, Arthus Bertrand embraced contemporary jewellery design while honouring its heritage. Toupet's innovative approach introduced fresh designs, such as the ribbed grosgrain texture of the Ruban collection and the laurel leaves of the Gloria Etoilée collection. The Maison continued to innovate with vibrant enamelled medallions and the refined Royale collection. Arthus Bertrand’s appeal lies in blending historical elements with modern elegance, resulting in sophisticated and feminine creations that resonate with contemporary lifestyles.Once mainly seen in religious settings, rosaries have now become fashionable. Designers and style icons have embraced the rosary's intricate beauty and symbolism, incorporating them into modern outfits. This trend blends Gothic and Renaissance influences, making rosary jewellery a meaningful and stylish accessory. Rosary necklaces have evolved from tools for prayer and meditation to fashionable jewellery pieces. While they still represent faith and reflection, their versatile designs make them suitable for occasions like baptisms, confirmations, weddings, or birthdays. Modern rosary necklaces serve as stylish reminders of spiritual commitment, with various designs, metals, and gemstones allowing for subtle self-expression. This evolution has integrated the rosary into contemporary fashion, broadening its appeal and gently challenging traditional views of religious accessories in everyday style. Condition Report: Pearls: of white tint with pink and green overtones, high lustreCircular clasp: with personal inscription: ‘14 juin 2009, Lara Poupée, Mamie’ located on the reverse with signature Arthus BertrandNormal sign of wear, overall in good conditionTotal gross weight approx. 36.2g
PIAGET: A LADY’S 18K AND DIAMOND-SET ‘LIMELIGHT MAGIC HOUR’ WRISTWATCHThe 8-jewel Cal-690P quartz movement, oval mother-of-pearl dial with Arabic diamond-set numerals for 3 & 9, to an elliptical case pavé-set with brilliant-cut diamonds, case secured with 8 screws on back, diamond-set crown, on black satin signed strap to an 18K gold signed buckle pavé-set with further brilliant-cut diamonds, case, dial and movement signed, Ref. no. P10213 & 924193, Swiss assay marks, European convention marks for gold, with maker’s case and outer box, with service invoice dated 2021 length 21.2cm, case 40mm Condition Report: No papers, with maker's case and outer boxGlass: a scratch near 9 o'clock visible under a bright light sourceDiamonds: bright and livelyBuckle: diamonds bright and lively - signed Piaget, with swiss assay mark and European convention mark for gold - normal signs of wear, overall in good conditionBlack satin strap: signed Piaget, minor signs of wearIn running condition at the time of cataloguingTotal gross weight approx. 59.1gAn external watch specialist who verifies every watch prior to each auction in order to open them, checks their working condition and mentions any potential damage, mentions any movement, reference numbers etc...The movement is running at the time of cataloguing, however, it was not tested for the accuracy of time or duration of the power reserve and may need servicing at the buyer's discretion. Please note that Adam's cannot guarantee the future working of the movement. The jewellery department is happy to offer any additional assistance.
VAN CLEEF & ARPELS: A MOTHER-OF-PEARL 'LUCKY ALHAMBRA' BUTTERFLY PENDANT NECKLACEThe mother-of-pearl butterfly plaque within a beaded frame, suspending from a cable-link chain, mounted in 18K gold, signed VCA, numbered, French assay mark, lengths 37.5 & 42cm Condition Report: Normal signs of wear, overall in good conditionNumbered BL227395Total gross weight approx. 5.9gRetail price on Van Cleef & Arpels website: €3,600.- https://www.vancleefarpels.com/fr/fr/collections/jewelry/alhambra/vcard99500---lucky-alhambra-butterfly-pendant.html
FRED PARIS: A GEM-SET AND PEARL 'FREDY'S, LA CHIPIE' PENDANT/BROOCH, CIRCA 1990Designed as a little girl holding her teddy bear, with textured braided hair highlighted with circular-cut sapphires and diamonds for ribbons, to a round-shaped cultured mabé pearl for face, the coat with circular-cut ruby buttons and brilliant-cut diamond collar, the teddy bear in textured and polished gold, with articulated polished gold bale, mounted in 18K gold, signed Fred Paris, with maker's mark 'Sté D' for Dorsey, length (excluding bale): 3cm Condition Report: Sapphires: of blue hue, medium tone, overall well matched in colourRubies: of red hue, medium tone, overall well matched in colourMabé pearl: a minor crack visible near the chin of the face - high lustre with pink and green overtonesSignature, maker's mark for Dorsey and French assay mark located on the reverse of the broochPendant bale is articulated to hide on the reverse when worn as a broochPin is slightly bent but closes securelyTotal gross weight 15.9g
AN ART NOUVEAU GOLD AND SEED PEARL BRACELET, CIRCA 1900Composed of a series of openwork oval links, each centring the profile of a snake biting on a seed pearl, mounted in 18K gold, indistinct maker's mark, another mark 'T', French assay mark, length 18cmThe Art Nouveau movement flourished at the turn of the twentieth century, underpinning a period of creativity and artistic innovation across all fields of design. Artists, inspired by and drawing heavily on forms of the natural world, embraced new, fluid, organic and graceful lines within their work. The Art Nouveau style was broadcasted to a global audience at the 1900 Paris Exposition with René Lalique, hailed as the “Master of Art Nouveau Jewellery,” making his international debut.Japanese art, with its simplicity of form, deference to the natural world, and use of colours, lent itself well as a source of inspiration for Art Nouveau jewellers. A preference for delicate pastel hues led them to experiment with semiprecious stones like amethyst, agate, softly curved and shimmering opal, pearl and moonstone. The gentle glow of these stones embedded a sense of finely crafted dynamism and mystery in Art Nouveau jewellery that emphasised its unique aesthetic as having pioneered a language of design distinct from that of mainstream jewellery at the time. Eugène Gaillard, a designer particularly inspired by exotic art forms, specialised in the technique of “plaque de cuisson” and worked often with horn, enamel, opal and coloured stones.The Art Nouveau movement coincided with a period of significant social change and female empowerment. This shift is reflected in the jewellery of the time, which often featured a highly symbolic female form as its central motif. That symbolism was intwined with a sort of mystic femininity, with female forms depicted as a spirits of nature, goddesses, nymphs and fairies. Lalique drew inspiration from the natural world and the place of man within in it, with his ethereal designs evoking an engagement with these motifs and themes of amorous liberation; delicate orchids, iridescent dragonflies, sinuous snakes, and mysterious profiles of women intertwined with the flora and fauna appear frequently in his work. His designs reflect these themes of feminine liberation and fantasy, which can be seen especially in his designs in which the figures of nymphs and spirits are raised in relief as though their liberation is symbolically linked to their physicality.Lalique’s designs envisioned jewellery as a point of focus rather than a decoration for its wearer. His pieces were often large, bold, and sculptural – informed by his foundational knowledge of traditional techniques such as “plique-a-jour” enamelling, and blended with the distinct, dynamic aesthetic he pioneered. The iconic “Femme Libellule” (dragonfly-woman) brooch was de signed by Lalique in 1882, and perfectly encapsulates his vision. The piece depicts a nude woman as its central motif, with the figure emerging out of a dragonfly, seemingly frozen in a process of metamorphosis. This brooch, evoking a sense of rarified femininity, was worn by Sarah Bernhardt, a French actress and follower of Lalique’s career, at the height of her fame. After taking over the workshop of a Parisian jeweller, Lalique worked independently for private clients such as Bernhardt, as well as opera stars and aristocrats, whose patronage ensured his lasting legacy. The timeless and global appeal of Lalique’s designs remains, with his pieces featuring in the prestigious collections of The Metropolitan Museum of New York and the Victoria and Albert Museum in London. Condition Report: Normal signs of wear, overall in good condition and commensurate with ageAll marks located on the tongue of the claspGold security chain brokenTotal gross weight approx. 16.4g
A PAIR OF CULTURED PEARL AND DIAMOND PENDENT EARRINGSEach cultured pearl drop of white tint, measuring approximately 12.90mm caped with single-cut diamonds, suspending from a brilliant-cut diamond connector to a cultured pearl and similarly-cut diamond bow surmount, mounted in platinum and 14K gold, diamonds approximately 1.50ct total, length 4.5cm Condition Report: Diamonds: bright and livelyPearls: approx. 12.90mm width, of white tint with green and pink overtones, good lustre, some growth marks apparent and some natural blemishes visible with naked eyeFor pierced ears, with good tensionWhite metal unmarked, tested by the jewellery department to be platinum and clip 14K goldNormal signs of wear, overall in good conditionTotal gross weight approx. 21.8g
A CULTURED PEARL AND DIAMOND DRESS RINGOf flowerhead design, centring a cultured South Sea pearl measuring approximately 14.71mm, the petals pavé-set with brilliant-cut diamonds and similarly-cut diamond shoulders, mounted in 18K gold, diamonds approximately 1.83cts, ring size M Condition Report: South Sea Cultured Pearl: of white tint, with green and pink overtones, high lustreDiamonds: approx. 1.83cts total (weight stamped inside hoop), bright and livelyMinor signs of wear, overall in good conditionTotal gross weight approx. 12.9g
ROLEX: AN 18K GOLD AND MOTHER-OF-PEARL 'DATEJUST' WATCH, CIRCA 2007/2008The 31-jewel Cal-2235 automatic movement, circular mother-of-pearl dial, applied polished Roman numeral hour markers, magnified date aperture at 3, polished baton hour markers, centre seconds, brushed and polished tonneau case, screw down back, fluted bezel, to a fitted polished 18K white gold presidential link bracelet with signed folding clasp stamped E03 & 11/301, case, dial and movement signed, Rolex maker's mark, Swiss assay mark, European convention mark for gold, serial no. Z815517, three spare links, case 26mm Condition Report: ** No box, no papers **Glass: no scratches observedBracelet: in very good conditionSwiss assay marks and European convention marks located on back of case and folding clasoIn running condition at the time of cataloguing - the movement has been observed to be cleanTotal gross weight approx. 100g and spare links approx. 6.4gAn external watch specialist who verifies every watch prior to each auction in order to open them, checks their working condition and mentions any potential damage, mentions any movement, reference numbers etc...The movement is running at the time of cataloguing, however, it was not tested for the accuracy of time or duration of the power reserve and may need servicing at the buyer's discretion. Please note that Adam's cannot guarantee the future working of the movement. The jewellery department is happy to offer any additional assistance.
A KUNZITE, SAPPHIRE AND DIAMOND COCKTAIL RINGThe oval-shaped kunzite weighing approximately 34.00cts within an oval and pearl-shaped sapphire surround, to diamond pavé-set claws and shoulders, mounted in 18K gold, sapphires approximately 4.40cts total, diamonds approximately 1.50ct total, ring size M Condition Report: Kunzite: approx. 34.00cts total, of purplish-pink hue, medium tone, good transparency, facets are smoothSapphires: approx. 4.40cts total, of cornflower blue hue, light to medium tone, good transparency, overall well matched in colourDiamonds: approx. 1.50ct total, bright and livelyStamped 750 inside hoopMinor signs of wear, overall in good conditionTotal gross weight approx. 15.4g
AN ART NOUVEAU AMETHYST, ENAMEL AND SEED PEARL PENDANT, WITH LATE 19TH/EARLY 20TH CENTURY GOLD CHAIN NECKLACEOf openwork foliate design, centring a lozenge-shaped amethyst weighing approximately 24.00cts, within a green enamel frame, to knife-wire honeycomb pattern detailing accented with seed pearls and further pansy coloured enamel within scrolling decorations, suspending a seed pearl within similar style, in 14K and 9K gold, French assay marks, suspended from a fancy-link chain with a similar foliate motif, in 18K gold, with partial maker's mark '?AO', French assay marks, pendant length (including bale): 9cm, chain length approximately 152cmThe Art Nouveau movement flourished at the turn of the twentieth century, underpinning a period of creativity and artistic innovation across all fields of design. Artists, inspired by and drawing heavily on forms of the natural world, embraced new, fluid, organic and graceful lines within their work. The Art Nouveau style was broadcasted to a global audience at the 1900 Paris Exposition with René Lalique, hailed as the “Master of Art Nouveau Jewellery,” making his international debut.Japanese art, with its simplicity of form, deference to the natural world, and use of colours, lent itself well as a source of inspiration for Art Nouveau jewellers. A preference for delicate pastel hues led them to experiment with semiprecious stones like amethyst, agate, softly curved and shimmering opal, pearl and moonstone. The gentle glow of these stones embedded a sense of finely crafted dynamism and mystery in Art Nouveau jewellery that emphasised its unique aesthetic as having pioneered a language of design distinct from that of mainstream jewellery at the time. Eugène Gaillard, a designer particularly inspired by exotic art forms, specialised in the technique of “plaque de cuisson” and worked often with horn, enamel, opal and coloured stones.The Art Nouveau movement coincided with a period of significant social change and female empowerment. This shift is reflected in the jewellery of the time, which often featured a highly symbolic female form as its central motif. That symbolism was intwined with a sort of mystic femininity, with female forms depicted as a spirits of nature, goddesses, nymphs and fairies. Lalique drew inspiration from the natural world and the place of man within in it, with his ethereal designs evoking an engagement with these motifs and themes of amorous liberation; delicate orchids, iridescent dragonflies, sinuous snakes, and mysterious profiles of women intertwined with the flora and fauna appear frequently in his work. His designs reflect these themes of feminine liberation and fantasy, which can be seen especially in his designs in which the figures of nymphs and spirits are raised in relief as though their liberation is symbolically linked to their physicality.Lalique’s designs envisioned jewellery as a point of focus rather than a decoration for its wearer. His pieces were often large, bold, and sculptural – informed by his foundational knowledge of traditional techniques such as “plique-a-jour” enamelling, and blended with the distinct, dynamic aesthetic he pioneered. The iconic “Femme Libellule” (dragonfly-woman) brooch was de signed by Lalique in 1882, and perfectly encapsulates his vision. The piece depicts a nude woman as its central motif, with the figure emerging out of a dragonfly, seemingly frozen in a process of metamorphosis. This brooch, evoking a sense of rarified femininity, was worn by Sarah Bernhardt, a French actress and follower of Lalique’s career, at the height of her fame. After taking over the workshop of a Parisian jeweller, Lalique worked independently for private clients such as Bernhardt, as well as opera stars and aristocrats, whose patronage ensured his lasting legacy. The timeless and global appeal of Lalique’s designs remains, with his pieces featuring in the prestigious collections of The Metropolitan Museum of New York and the Victoria and Albert Museum in London. Condition Report: Amethyst: approx. 24.00cts, of purple hue, medium tone, good saturation, good transparency, facets are smoothEnamel: no loss observed, overall in good conditionSeed pearls with good lustreWith shell and trefoil French assay marks on pendant and stamped 14KOverall in good condition, normal signs of wear and commensurate with ageTotal gross weight for chain approx. 26.6gTotal gross weight for pendant approx. 17.1g
A pearl and diamond three stone ring, the central pearl between two claw set brilliant-cut diamonds, (pearl untested), stamped ‘PLAT’, ring size R. £300-£400 --- Condition Report The diamonds approximately 0.25 carat, quite bright and lively. The pearl is untested for natural vs. cultured origin, slightly bouton shape, silky lustre. Mount shows general surface wear.
A pearl and diamond cluster ring, 1901, the half-pearl centred within a surround of old single-cut diamonds, to bifurcated scrollwork shoulders, mounted in 18ct gold, Chester hallmark, (pearl untested), ring size N. £260-£300 --- Condition Report General light surface wear commensurate with age and use. Resized to the shank and hallmarks look compressed. Pearl with good lustre and pinkish-silver overtones, untested. The diamonds bright and lively. Gross weight 2.4gm.
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