A diamond four-stone ring, comprising four round old cut diamonds, measuring approximately: 6.58mm x 6.54mm x 3.90mm, 6.70mm x 6.90mm x4.74mm, 6.51mm x 6.29mm x 3.93mm and 6.24mm x 6.40mm x 4.18mm, set to a lozenge shaped surround, interspersed by small mixed cut sapphires, head measuring 19mm x 17.6mm, set to a tapering plain polished 18ct yellow gold shank, marks for 'NAG' Birmingham 1996, ring size O 1/2, weight 7.9gmsCR: Two diamonds have an approximate clarity of I - the inclusions are visible with the naked eye. The two other diamonds have an approximate clarity of VS (though one does show a small chip to the girdle). Accurate colour grading cannot be provided due to setting, however when viewed face up, the VS examples show a minor draw of colour and have a good sparkle, and the I examples show a more obvious draw of colour and are slightly duller.
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An emerald and diamond 18ct gold ring, the central rectangular step cut emerald with canted corners measuring 11.5mm x 8.6mm x 4.1mm, with three round brilliant cut diamonds to each shoulder, all set in 18ct yellow gold to a plain polished shank, marks for 'SEJ', London 1998, ring size O, weight 6.6gmsCR; Please note: This emerald has not been tested for synthetic or natural origin, and has not been tested for oiling or treatment.There are several scratches, and some surface reaching fractures visible under reflected light. There are some minor chips and nibbles to the facet edges and girdle, however there are no large cracks chips or losses visible with the naked eye. There is some gapping between the stone and the setting, however the stone appears secure. All diamonds are present. One of the diamonds has a couple of chips, however none of the other diamonds show cracks chips or losses, only minor scratching and wear commensurate with age and use. Settings are in good order, no splitting, thinning or repair, moderate scratching and wear commensurate with age and use. Shank shows moderate scratching and wear, but no major thinning, splitting, resizing or repair.
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.
A peridot 9ct gold cocktail ring, the central oval mixed cut peridot measuring 10mm x 8mm, claw set to white stone set shoulders and plain polished 9ct gold shank, marks for 'TJC', ring size O 1/2, together with a Victorian style opal and red stone ring, central opal measuring 8mm x 6mm, with a round mixed cut red stone to each shoulder, all set to a scrolling surround, split shoulders and plain polished shank, marks for 'EWH', Birmingham 1978, ring size P, gross weight 5.4gms (2)
A selection of gold and gold coloured jewellery, to include an amethyst and diamond 9ct gold ring, marks for 'LA', Birmingham 2002 (at fault), a cultured pearl cocktail ring, pearl 7mm diameter, shank stamped '585', ring size N (at fault), a red stone (possibly synthetic spinel) 9ct gold cocktail ring, size P, a 9ct gold cultured pearl ring, size G 1/2 (at fault), a garnet and white stone 9ct gold cluster ring (at fault), a red and white paste 9ct gold cluster ring, size I, a gold coloured garnet set bar brooch, 55mm wide, a pair of gold coloured synthetic stone set drop earrings, each 6cm long, a pair of gold coloured hoop earrings, each 25mm diameter (at fault), a pair of 9ct gold half-hoop earrings, each 16mm long, and a pair of gold coloured stud earrings, each 6mm diameter (15)
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)
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.
An Art Nouveau peridot set brooch/pendant, the central rectangular step cut peridot measuring 7.2mm x 5.4mm, set to a pierced stylized border with beaded detail, simple pin and loop fastening and pendant bail to reverse, stamped 'IX', 31mm x 27mm, set to a fitted Goldsmiths & Silversmiths Company Ltd boxCR; Moderate nibbling to the central peridot. Some scratching to the table and facets. No cracks, chips or major loss. Central stone is secure. Frame largely in good order - general scratching, wear and some minor thinning commensurate with age and use. Some beginning signs of splitting to the reverse, around the pin (see picture), but no other major splits, or signs of repair.
A blue topaz and diamond cocktail ring, the oval mixed cut topaz measuring 16mm x 12mm x 8.5mm, with three round brilliant cut diamonds to each shoulder, all claw set in yellow metal to reeded shank, unmarked, size O, weight 8.7gmsCR: Central topaz is in good order - no cracks chips or losses. Some nibbling to the girdle of the stone, light scratching and wear commensurate with age and wear. Diamonds are in good order, no cracks chips or losses, minor scratching and wear commensurate with age and use only. Claws are settings in good order, no signs of major thinning, splitting or repair, all stones are secure, some scratching and wear commensurate with age and wear. Some denting to the highpoints of the shank, general scratching and wear commensurate with wear and use. No splitting, thinning resizing or repair.
A diamond 9ct gold cluster ring, designed as a tiered circular cluster of single cut diamonds, 8.9mm x 8.2mm, continuing to diamond set twist shoulders and tapering 9ct gold shank, ring size N 1/2, together with a sapphire and diamond 9ct gold half-eternity ring, size M 1/2, and an emerald and white stone 9ct gold half eternity ring, size P, gross weight 5.2gms (3)
A sapphire and diamond 9ct gold cluster ring, the oval mixed cut sapphire measuring 10mm x 8mm, claw set to an illusion surround set with round mixed cut diamonds, continuing to a plain polished 9ct gold band, size Q, together with a 9ct gold cubic zirconia set three stone ring, size T, an (untested) blue gemstone and diamond three stone ring, stamped 'PT', size P, a blue sapphire and cubic zirconia 9ct gold cluster ring, size T, a nephrite jade and 9ct gold bar brooch, 5.5cm wide, and a gold plated wedding band, size N (6)
A diamond three stone ring, the central round mixed cut diamond weighing between 0.15-0.20 carats, with a a diamond to each side weighing between 0.08-0.10 carats, set in white metal to an illusion surround, set to twist shoulders and plain polished yellow metal shank, stamped '18ct', ring size I, weight 2.9gms
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
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
AN AQUAMARINE AND DIAMOND DRESS RINGThe cut-cornered step-cut aquamarine weighing approximately 8.65cts within a surround of brilliant-cut diamonds, between stepped shoulders set with baguette and further brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 0.90ct total, ring size NCondition Report: Aquamarine: Very good transparency, small fingerprint-like inclusion to one end evident under 10x magnification, couple of very small nibbles to pavilion evident through stone under 10x magnification. Slightly loose in settingDiamonds: Bright and lively but too small to accurately accessStamped 750 for 18K gold. Numbered 8.654 (referring to aquamarine weight) and 1 (likely referring to diamond weight)Insignificant wear to gold, overall good conditionTotal gross weight approx. 6.8g
A BLUE TOPAZ ‘M'AMA NON M’AMA’ RING, BY POMELLATOSet with a cushion-shaped blue topaz cabochon, mounted in 18K gold, signed Pomellato, numbered, Italian assay mark, ring size MCondition Report: Blue topaz: good transparency, some minor scuffs and residue between underside of stone and setting evident under 10x magnification Numbered C900029297Gold with insignificant wear, overall good conditionTotal gross weight approx. 3.4g
A DIAMOND THREE-STONE RINGComposed of three brilliant-cut diamonds within claw-setting, weighing approximately 3.00cts total, mounted in 18K gold, ring size N½Condition Report: Diamonds: approx. 1.00ct each, estimated colour J/K, estimated clarity SIStamped 750 for 18K gold inside hoopMinor signs of wear, overall in good conditionTotal gross weight approx. 6.93g
A DIAMOND SEVEN-STONE RINGComposed of seven brilliant-cut diamonds weighing approximately 1.00cts total, mounted in 18K gold, ring size P½Condition Report: Diamonds: approx. 1.00ct total, estimated colour H/I, estimated clarity VSNormal signs of wear, overall in good conditionTotal gross weight approx. 4.5g
A DIAMOND SINGLE-STONE RINGThe brilliant-cut diamond weighing 0.75ct within a four-claw setting to a plain gold hoop, mounted in 18K gold, ring size LPlease note that the diamond is laser inscribed by the GIA laboratory in America, stating that the diamond weighing 0.75ct is of G colour, VS1 clarity. Report number 2327808914, dated May 14th 2019Condition Report: Please note that the diamond is laser inscribed by the GIA laboratory in America, stating that the diamond weighing 0.75ct is of G colour, VS1 clarity. Report number 2327808914, dated May 14th 2019Minor signs of wear, overall in good conditionTotal gross weight 2g
A DIAMOND THREE-STONE RINGThe central old-cut diamond within a six-claw setting and between two old cushion-cut diamonds, mounted in 18K gold, principal diamond approximately 1.00ct, remaining diamonds approximately 0.80ct total, ring size MCondition Report: Principal diamond: approx. 1.00ct, estimated colour I/J, estimated clarity SIRemaining diamonds: approx. 0.80ct total, estimated colour one H/I, one I/J, estimated clarity SI (one small chip near claw visible with great attention under a bright light source with naked eye)Normal signs of wear, overall in good conditionTotal gross weight approx. 4.3g
AN IMPORTANT DIAMOND SINGLE-STONE RINGThe old European-cut diamond weighing 6.94cts within a four-claw setting, to a plain hoop, ring size OAccompanied by a report from the GIA laboratory in America stating that the diamond weighing 6.94cts is O to P colour range, SI2 clarity. Report number 2223465410, dated May 31st 2022Condition Report: White metal unmarked and untestedGIA report: 2223465410, colour range O to P, clarity SI2 - no fluo. - dimensions 13.16 - 13.46 x 6.56mmThe SI2 mainly around girdle - otherwise a couple of colourless pin points visible under 10x magnification located on tableNormal signs of wear, overall in good condition
Table clock. Central Europe. Late 19th century. Model representing a castle, typical of Central European landscapes. Polychrome brass and stone.Measurements: 21 x 10 x 9 cm.This piece belongs to the personal collection of Don Juan José Ontalva (Chinchón, 1930- Madrid, 2019), a famous watchmaker from Madrid, descendant of several family generations dedicated to the world of watches. During his career he achieved a high degree of precision and skill, becoming the master of other watchmakers. He is currently recognised for numerous works, including the commissioning and restoration of the Billeter astronomical clock, located in the Congreso de los Diputados (Congress of Deputies).
Music box with automaton, after 17th century models; late 19th century.Silver, enamelled with emerald, river pearls and garnets.It presents faults in the stone and the enamel.Measurements: 5 x 10 x 6,5 cm.Music box with automaton made of silver and decorated with enamel and cabochon-shaped stones, located on the sides and in the upper area. This type of object was very popular from the 19th century onwards, with a great variety of models, factories, materials, etc., normally trying to hide the mechanism that moves them in order to surprise the spectator and often accompanied by a musical mechanism. However, they were always intended for the upper classes, as their construction and design required high quality and mastery due to the delicate machinery and materials chosen.
Bovet, London. A silver key wind open face chronometer pocket watchDate: London Hallmark for 1835Movement: Gilt full plate, cut and compensated bi-metallic over sized Z balance with large compensation weights, Earnshaw type spring detent escapement, helical balance spring, diamond end stone, No.708Dial: White, black Roman numerals, black outer minute track, subsidiary seconds at 6, blued steel spade handsCase: Polished consular, No.656Signed: Movement, case stamped GPSize: 54mmFor further information on this lot please visit Bonhams.com
An 18ct gold and diamond brooch/pendant by Andrew Grima, 1967, the cast grass seed head with diamond highlights, contained within a tapered sheath with serrated edges, the reverse signed ‘GRIMA’, with maker’s mark ‘HJCo.’, London hallmark, with leather maker’s pouch, total diamond weight approximately 0.30 carat, length 7.5cm. £2,000-£3,000 --- Andrew Grima (1921-2007) was born in Rome to Italian-Maltese parents. Raised in London, he studied mechanical engineering at the University of Nottingham. He joined the Royal Engineers, serving in Burma during World War II. After the war, he started working in his father-in-law’s jewellery firm in London. In 1951, when his father-in-law died, Grima took over the business and sold it to a stone dealer in Knightsbridge, on condition that he stayed on as a designer. Entirely self taught, his limitless imagination led him to create bold and striking designs - each piece being hand wrought, and typically only creating one of each design. In 1960 Grima’s talent was spotted by the art director at Goldsmiths’ Hall, Graham Hughes, who introduced his protégé to many of the rich and famous people who were to become his clients. In 1966 his success was sealed when Prince Philip chose one of his pieces, a stunning ruby brooch, as a present for the Queen, 1966 also being the year that Grima received his royal warrant. In the late 1960s he opened his exclusive gallery in Jermyn Street, Mayfair - the opening event being hosted by Lord Snowdon, then married to Princess Margaret, and his career continued to escalate, attracting a clientele of royalty and society jet-setters of the day. Winner of numerous awards for his contribution to the jewellery industry, including the Duke of Edinburgh Prize for Elegant Design in 1966, and the De Beers Diamonds International Awards - awarded 13 times, (more than any other jeweller)), today Grima is recognised as one of the greatest modernist jewellery designers of the 20th century.
A gem-set acrostic pendant, circa 1830, the domed heart-shaped pendant supporting a foliate motif set with six vari-cut gemstones; Ruby, Emerald, Garnet, Amethyst, Ruby and Diamond, spelling the word ‘REGARD’, around a further central stone, to a beaded border and plain suspensory loop, length 35mm. £300-£500
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