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Lot 492
A diamond and sapphire-set ring, the central brilliant-cut diamond claw-set above a row of brilliant-cut diamonds and circular-cut sapphires to the 18ct white gold setting, London hallmarksize L; 2.5 gmsCondition: Overall condition good/very good.Centre diamond estimated to weigh 0.80 cts approx. Several Additional images available via our on line catalogue. small black inclusions barely visible to the naked eye but not obvious. Colour J/K.Other stones: bright and clean. Sapphires well matched with medium blue hue, even saturation. Please note that the setting is hallmarked 18ct white gold (and not platinum), London 1977.Additional images available via oour on line catalogue.
Lot 133
An Art Deco Revival sapphire and diamond ring, the central cushion cut blue sapphire measuring approximately 9.5 carats, (10.9mm x 12.5mm x 7.4mm approx.), within a border surround of round brilliant cut diamonds with a baguette cut diamond to each side, all set in platinum, continuing to diamond set shoulders and reeded platinum shank, ring size N 1/2, weight 9.9gms With accompanying report from Gemological Certification Services, report no. 5782-2338, stating that the carat weight is 9.5 carats approx. that the stone is a natural corundum, of Sri Lankan origin, and shows indications of heating.
Lot 147
An early 20th century four-stone ring, comprising two central round old cut diamonds, flanked by a colourless old cut gemstone to each side, claw set in white metal to a tapering gold coloured shank, stamped 'XXX & PLAT', ring size O (at fault), together with a platinum wedding band, size M, gross weight 4.7gms (2)
Lot 60
A synthetic sapphire and diamond 18ct gold ring, the central oval mixed cut tanzanite measuring 8mm x 6mm, with a surround of single cut diamonds, all set in platinum to diamond set shoulders and a plain polished 18ct gold shank, ring size O 1/2, weight 4.2gmsCR: Central stone is in good order - some nibbling to a couple of the facet edges and girdle, and general scratching and wear commensurate with age and use, but no large cracks, chips or losses. Claws in good order, stone is secure. All diamonds are present and in good order, no major chips, cracks or losses, general scratching and wear commensurate with age and use. Settings are in good order, stones are secure. Shank shows moderate scratching and wear commensurate with age and use, and some minor thinning to the base, but no splitting, resizing or repair.
Lot 70
An early 20th century sapphire and diamond 18ct gold and platinum ring, designed as a central oval mixed cut sapphire 2.6mm x 2.2mm, set to an oval scalloped head set with mixed cut sapphires and rose cut diamonds, 9mm x 7.5mm, continuing to tapering shoulders and plain polished 18ct gold shank, marks for 'L.E.B & B', ring size Q, weight 2.5gmsCR; All sapphires are present. The sapphires show minor abrasion to the facet edges, but no cracks, chips or losses. All diamonds are present. The diamonds some chips and losses to the edges, and what appears to be naturals on some of the facets. There are some gaps between the edges of the diamonds and the setting (see pictures). Setting/gallery in good order, no splitting or major damage, general scratching and wear commensurate with age and use. Shoulders/shank in good order, no major thinning, splitting, resizing or repair, general scratching and wear commensurate with wear only.
Lot 107
A RARE & COLLECTIBLE MYSTERY-SET SAPPHIRE AND DIAMOND FLOWER BROOCH, BY VAN CLEEF & ARPELS The realistically modelled flowerhead mystery-set throughout with calibré-cut sapphires, with a brilliant-cut diamond cluster to the centre, mounted in 18K gold, signed Van Cleef & Arpels, numbered, maker’s mark for VCA, French assay marks, length 4.8cmPatented in 1933, Van Cleef & Arpels celebrated ‘Serti Mystérieux’ or ‘Mystery Setting’ marked a serious advancement in jewellery making. Developed by the renowned jeweller Alfred Langlois, who had been creating work exclusively for the maison since the year prior, the technique which would soon become synonymous with fine jewellery craftmanship was simple in concept but complex in execution. Although other maisons such as Cartier and Chaumet had also investigated this technique in their respective workshops, it would Van Cleef & Arpels that would release this revolution in jewellery making to the world.The Mystery Setting “is a technique which allows the jeweller to model any form, any movement”. The setting is so called for the apparently invisible mounting of the stones, an effect which makes them almost look as though they are floating. The method involves setting precious stones independent of any visible claws or prongs, allowing the full richness of the stone to create a dazzling landscape of colour for the viewer without the intrusion of metals. However, achieving this effect requires great skill from the jeweller, of which only a few in the world hold the ability, and it can take months to produce just one piece of jewellery. First, the stones must be cut to size, creating even, small chips that will lay alongside each other in perfect symmetry. These small chips are then whittled even further to create a groove at their base. This groove then allows the stone to slot neatly into the lattice that will secure it in place. The lattice, or rail, which consists of tiny wires no more than 0.2mm thick, is then placed in the main structure of the piece, acting a keystone by locking the stones in position. Each stone must line up exactly with one another to remain set and avoid gaps to create the seamless look that catapulted Van Cleef & Arpels to the lofty position they hold in the jewellery world to this day.Once the technique was mastered, the maison moved quickly and the Mystery Setting would feature heavily in their output. Initially the setting could only be applied to flat surfaces, such as cigar boxes and beauty compacts, but in 1935 the highly coveted Boule ring would be released, a design consisting of a thick, convex dome studded with rubies and sapphires that still appears prominently in the maison’s contemporary collections. A flood of brooches, necklaces and bracelets would follow and with them, the attention of the era’s style icons, such as the Duchess of Windsor. The ‘Deux feuilles’, or two leaves, design in particular, lent itself well to capturing the depth of colour the Mystery Setting evokes.Other techniques would be developed from the Mystery Setting by Van Cleef & Arpels; the Navette Mystery Set, created in 2000, utilises marquise-cut stones to create a more 3D effect echoing the depth of a bird’s plumage and flower petals, while the Vitrail Mystery Set, created in 2012, also conceals the back of the mount and gives the stones a translucency that plays with light and reflection. Although rubies were initially preferred for the setting, the maison would gradually enter sapphires, emeralds (previously deemed too brittle), and diamonds into the roster, such as in the ‘Licorne’ brooch from their 2016 Noah’s Ark collection which featured sapphires, emeralds, diamonds and turquoise in the traditional Mystery Setting.The consistent appearance of the Mystery Setting speaks to its perfection as a method and in the resulting jewellery.Condition Report: Sapphires: Generally well matched and with good transparency, medium tone. Some with zoning at certain angles. One sapphire deficient, two sapphires next to the deficient sapphire loose with chip and would also need to be replaced.Diamonds bright and livelyFrench eagle’s head assay mark for 18K gold, dog’s head for platinum, maker’s mark for VCA, signed, numbered M39819Clip with good tension, one pin slightly misshapenGold with light wearTotal gross weight approx. 27.8g
Lot 126
A DIAMOND ETERNITY RING, BY CARTIERThe continuous line of brilliant-cut diamonds within claw-setting, mounted in platinum, signed Cartier Paris, with maker's mark (indistinct), French assay mark, ring size PCondition Report: Diamonds: approx. 0.84ct total, estimated colour F/G, estimated clarity VS (some facet abrasions visible under 10x magnification with bright light source)Signature: Cartier Paris, located on the side of the hoop (starting to rub away)Dog's head for French platinum located on the side of the hoopMaker's mark, indistinct, also located on the side of the hoopNormal signs of wear, overall in good conditionTotal gross weight approx. 4.2g
Lot 127
A DIAMOND SINGLE-STONE RING, BY BULGARIThe central brilliant-cut diamond weighing 0.79ct within a four-claw setting, to a gallery pavé-set with similarly-cut diamonds, mounted in platinum, signed Bvlgari, with Italian registry mark, Swiss assay mark, ring size K¼Central diamond with laser inscription from the GIA laboratory in America, stating that the diamond is 0.79ct, D colour, VVS2. Report numbered 13625028, dated August 18th 2004Condition Report: Central diamond with laser inscription from the GIA laboratory in America, stating that the diamond is 0.79ct, D colour, VVS2. Report numbered 13625028, dated August 18th 2004Remaining diamonds: bright and well matchedMinor signs of wear, overall in good conditionTotal gross weight approx. 6.5g
Lot 20
AN EARLY 20TH CENTURY DIAMOND CLUSTER RINGSet with old brilliant and cushion-shaped diamonds forming a navette-shaped cluster, in closed back setting, scrolling shoulders detailing, mounted in platinum, diamonds approximately 3.00cts total, with case, ring size P½ Condition Report: Diamonds: please note that given the diamonds' closed back setting, the given total carat weight is particularly conservative. Approx. 3.00cts total, estimated colour I/J, central diamond K/L, estimated clarity VS-good SIWhite metal unmarked - tested by the jewellery department to be platinumNormal signs of wear, overall in good conditionTotal gross weight approx. 8.9g
Lot 33
AN EARLY 20TH CENTURY DIAMOND ETERNITY RING, CIRCA 1920The continuous row of old brilliant-cut diamonds, the sides of the hoop engraved with scroll detailing, mounted in platinum, diamonds approximately 2.00cts total, ring size K Condition Report: Diamonds: approx. 2.00cts - estimated colour H/I, estimated clarity VS-SI (two diamonds chipped)White metal unmarked, tested by the jewellery department to be 950 platinumNormal signs of wearTotal gross weight approx. 4.3g
Lot 43
A RETRO DIAMOND DRESS RING, CIRCA 1940Of odeonesque design, set with a row of old brilliant-cut diamonds and rose-cut diamond highlights to the terminals, mounted in platinum and gold, French import marks, indistinct maker’s mark, diamond approximately 1.00ct total, ring size MCondition Report: Diamonds: Bright and lively, cannot be accurately assessed for colour due to style of setting and rose mount, estimated clarity SIStamps to outer shank at base. Two French import marks - Bearded Man (platinum) and Owl (18K gold). Two further indistinct stampsSurface wear to gold, small knocks to base, overall good conditionTotal gross weight approx. 9.2g
Lot 63
A DIAMOND CLUSTER RING, CIRCA 1960The old-cut diamond weighing approximately 2.00cts, within a similarly-cut diamond surround and marquise-shaped diamond shoulders, to a bifurcated hoop, mounted in platinum, remaining diamonds approximately 1.60cts, ring size I¼Condition Report: Principal diamond: approx. 2.00cts, estimated colour J/K, estimated clarity SIRemaining diamonds: approx. 1.60cts total, estimated colour H/I/J, estimated clarity VS/SIWhite metal unmarked - perhaps mark hidden by sizing band - tested by the jewellery department to be platinumNormal signs of wear, overall in good conditionTotal gross weight approx. 11.8g
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