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Lot 161
A DIAMOND SINGLE-STONE RINGThe round brilliant-cut diamond weighing 3.40cts within a four-claw setting, to a plain hoop, mounted in 18K gold, French assay mark, ring size N½Accompanied by a report from Gem & Solid Phase laboratory in France, stating that the diamond weighing 3.40cts is G colour, SI1 clarity. Report no. 20180728 dated July 28th 2018.
Lot 179
A THREE-STONE EMERALD AND DIAMOND RINGThe octagonal-shaped emerald weighing approximately 1.30cts, between two round brilliant-cut diamonds, within collet-setting, mounted in 14K gold, diamonds approximately 1.30cts total, ring size O½Accompanied by a report from GCS laboratory in London, stating that the emerald is of Colombian origin, with minor clarity enhancement. Report number 79208-40, dated April 8th 2019.
Lot 198
A SINGLE-STONE RINGThe round brilliant-cut diamond weighing 3.60cts within a four-claw setting, to a trifurcated plain hoop, mounted in 18K gold, ring size J½Accompanied by a report from the GIA laboratory in the USA, stating that the diamond weighing 3.60cts is K colour, VVS2 clarity. Report number 7318231699, dated November 6th 2018.
Lot 40
A DIAMOND AND GOLD 'CORDES LUDO' JARRETIERE BRACELET, BY VAN CLEEF & ARPELS, CIRCA 1945-50The flexible bracelet designed as four-rows of gold ropework, with pavé-set diamond cap and tassel terminals, to the round brilliant-cut diamond bar clasp with gold ropework trim, mounted in 18K gold, signed Van Cleef & Arpels, numbered, French assay marks, maker's mark 'P&Fils' length 26.4cmIn 1895, a young couple by the name of Estelle Arpels and Alfred Van Cleef, were married. She the daughter of a precious stones dealer and he the son of a stone-cutter, they found in each other not only a great love, but a shared love and passion for precious stones. Eager and enthusiastic to build more than just a life together, they founded a business which would become an international household name for over a century to come.In 1906, Alfred, together with Estelle’s brother Charles, established the Maison of Van Cleef & Arpels in Place Vendôme in Paris, in the heart of Parisian high fashion and society. They were subsequently joined by the two younger Arpel brothers, completing the family affair.Van Cleef & Arpels exhibited widely throughout the course of its rich history. In 1992, The Palais Galliera, also formally known as the Musée de la Mode de la Ville de Paris, held a major retrospective of the creations of Van Cleef & Arpels. The exhibition included pieces from the House’s own collection, put together over the years by Jacques Arpels, as well as a number of pieces loaned from loyal clients of the House. Article number 302 in the original exhibition catalogue is a “Bracelet Cordes Ludo”, exactly like the example included in this auction. Dating from 1949, it is described in the exhibition catalogue as “Collier trois rang de cordes or, le fermoir et le haut des glands est en brilliants montés sur platine. Collection Van Cleef & Arpels No d’origine 61967”.The “Cordes Ludo” bracelets come from a collection inspired by the couturier and their relationship with the textiles, cloths and ribbons which they weave into haute couture creations. In a similar way to the couturier, the jewellers of Van Cleef & Arpels wove and braided solid threads of gold, shaping the metal into a precious ode to the twill fabric created by couturiers. Embellished lightly with precious stones, carelessly knotted to one side and ending in stylish tassels, the “cordes ludo” bracelet appears simple and effortlessly chic.These twisted threads of gold were also woven into necklace chokers of gold rope, as in the case of the necklace also included in this auction.
Lot 47
A FINE DIAMOND BROOCH, BY CHAUMET, CIRCA 1955Of stylised openwork design, the principal round brilliant-cut diamond weighing approximately 1.40cts within a cluster of marquise-shaped diamonds, to a triple spray of brilliant and tapered baguette-cut diamonds, mounted in platinum, remaining diamonds approximately 8.00cts, signed Chaumet, within Chaumet fitted case, length 3.8cmChaumet was founded in 1780 by Marie-Etienne Nitot, with an establishment at the heart of place Vendôme. His creativity and quality of workmanship, led him to become one of the most sought-after jewellers in Europe and thus establish a loyal and prestigious clientele. Since its inception Chaumet has preserved and continued the Parisian tradition of expertly crafted fine jewellery.The history of Chaumet has been entwined with the History of France, with Nitot and his son, Francois Regnault Nitot becoming the official jeweller to Napoleon during the Consulate and the Empire, creating tiaras, official court jewels and fashion accessories. Napoleon’s marriage to Joséphine, then to Marie-Louise of Habsburg-Lorraine, Queen Marie-Antoinette’s great-niece, resulted in some impressive commissions for Chaumet. Following the fall of the Empire, Nitot’s successors Jean-Baptiste Fossin and his son, Jules, dedicated themselves to romantic jewellery inspired by the decorative arts of the Italian Renaissance and of the French 17th-century.In 1848, Jules Fossin set up a London branch in partnership with J.V., Morel, assisted by his son Prosper. On his return to Paris in 1954, Prosper Morel joined Jules Fossin whom he succeeded in 1868. Prosper Morel’s daughter married Joseph Chaumet in 1875. With exceptional creativity and inspired by the re-enchantment of nature, Joseph Chaumet came to be recognised as an undisputed master of the Belle Époque. In 1889, Chaumet took over the company and gave his name to the house.In 2001, the LVMH Group acquired the house and entrusted the reigns to Thierry Fritsch, an art lover who revived the business, all while preserving its original spirit. Pascal Bourdariat was made the 12th head of the workshop, and as tradition dictates, a special ceremony was held for the handover to initiate the new bearer of the tradition. The house’s skill is traditionally passed down from one head of the workshop to another, without interruption, reflecting the creativity and excellence of each era.In the 1920s Chaumet’s jewellery styles became more geometric in line, following art deco style, characterised by strong contrasts in colours and materials, the use of semi-precious stones, black and white, as well as exotic inspirations. The 1930s saw Chaumet becoming more feminine, continuing its style while exploring a certain modernity that echoed fine Parisian taste, ever in search of novelty and the avant-garde. In 1970, gold jewellery, sometimes set with hardstone, bronze or mother-of-pearl, was on offer in a new boutique concept.Chaumet’s legacy of bucolic beauty is a deep well of inspiration that bridges past and present designs. Today, the bees share Chaumet’s garden-inspired Jardin’s Collection with the spider, weaving its perilous web, playing their game of amorous hide-and-seek. The ‘Hortensia’ collections invite us into a delicate garden filled with vibrant colour, the ‘Bee my love’ collection, including the diamond bee and the honeycomb motif, celebrate an imperial pledge of love and the ‘Attrape Moi’ collection once again highlights the bee. The house’s international development continues with a network of stores across Europe, the Middle East, Japan and Asia. Chaumet’s headquarters at 12 Place Vendome still house the studio, workshop and boutique - including a “Tiara Hall” and a large 18th century lounge that has been classified as a national monument.For more than 230 years Chaumet’s excellence in high Jewellery has been passed down through generations of jewellers. Diamonds and precious stones, carefully selected for their exceptional clarity and brilliance, are sculpted into round, cushion, oval, emerald or the house’s signature pear-shaped cut, and then the jewellers, stone setters, polishers and engravers give life to the jewels, exhibited in magnificent pieces of jewellery. With inspiration drawn from Art Nouveau, nature and travels, Chaumet ceaselessly reinvents its aesthetic codes and creates jewels that are truly remarkable. The elegant diamond brooch embodies a naturalistic theme, with the large round brilliant diamond surrounded by smaller brilliant marquise shaped diamonds depicting a flower, all set to the side of an artistic design. This is a truly magnificent piece to be cherished, increasing the glamour stakes of any outfit.
Lot 9
AN EARLY 19TH CENTURY NECKLACE AND EARRINGS EN SUITE, FRENCH, CIRCA 1840Designed as a series of graduated rose-cut colourless stone elements within foiled closed-back setting, suspending from a double gold trace-link chain to a square gold plaque clasp with floral engraved decoration, with a pair of earrings en suite set with rose-cut diamonds, mounted in silver and gold, French assay marks, maker's mark 'RG', necklace length 38cm, earrings length 1.5cm
Lot 98
A ROCK CRYSTAL, ONYX AND DIAMOND 'TORCHON' NECKLACE, BY SEAMAN SCHEPPSComposed of fluted rock crystal links, interspersed by further rock crystal and onyx discs, accented by five round brilliant-cut diamond rondelles, mounted in 18K gold, maker's mark for Seaman Schepps, length 97.5cmPlease note that this necklace can also be worn separately as two necklaces, lengths 46cm & 52cm.Jewellery designer Seaman Schepps is the embodiment of the American Dream. Schepps was born into an immigrant family and grew up in tenements on the Lower East Side of New York. His marvellous jewellery designs took the American market by storm in the 1930s allowing Schepps to rise through the social strata.With his pioneering designs including chunky brooches, barberic bracelets and bubble earrings, Schepps defined a new style of the American woman and his jewellery featured on the covers of top fashion publications such as Vogue, Harper's Bazaar and Look. He counted Katherine Hepburn, Coco Chanel, Elsa Schiaparelli, the Duchess of Windsor and Andy Warhol, as well as members of the Du Pont, Mellon and Rockerfeller families, all among his clients. In the late 1930s and early 1940s, Schepps began to experiment with rock crystal. Carving and engraving the precious stone, he created pieces in which it complimented and counterbalanced other precious gem stones such as emerald or jade. He also produced exquisite examples which allowed the rock crystal to shine in its own light, similar in design to the present lot (albeit a contemporary piece inspired by the designs of the founder). Rock crystal enjoyed a resurgence in the 1960s when Schepps created further pieces of clean simplistic design such as the barrel ear clips and ring and the familiar shell ear clips composed solely of rock crystal paired with yellow gold. After Schepps’ death in 1972, Patricia Schepps Vaill continued to make jewellery in her father’s style, often using elements from pieces he had designed. Vaill developed a new look in jewellery aimed at appealing to a younger clientele. After twenty years at the helm of her father’s company, Vaill retired and passed the baton to Jay Bauer and Anthony Hopenhajm who have continued to produce jewellery in the unique Schepps style.Today’s designs continue to draw on the Schepps archives which contain over 5,000 detailed jewellery renderings, and 650 moulds. The pieces created in the workshop continue to be made with cutting-edge methods and inventive, unusual materials. Classic pieces are rendered in new materials and signature materials are used for bold new styles. The flagship store on Park Avenue at 58th Street continues to attract socialites, movie stars, royalty and trend-setters who are drawn to Schepps’ innovative use of exotic materials. Today, some 50 years after his death, he continues to inspire modern jewellers.
Lot 5235
A ruby and diamond cluster ring, central raised round brilliant cut diamond, surrounded by a band of five vibrant red rubies and five brilliant cut alternating stones, total estimated approx stone weights, diamonds, 0.37ct, rubies 0.25ct, 18ct white gold shank, stamped 18ct, size L//M, 6.2g gross
Lot 178
9ct GOLD AND CELADON JADE PENDANT on fine chain; 9ct GOLD BRACELET; a PAIR OF WHITE AND YELLOW 9ct GOLD EARRINGS; a 9ct GOLD 'FLYING BIRD' PENDANT; a 9ct GOLD TEAR DROP SHAPE PENDANT, set with amethyst and seed pearl; a PAIR OF 9ct GOLD EAR STUDS, set with peridot; a 9ct GOLD FINE CHAIN NECKLACE suspending a white stone set PENDANT, 13.3gms gross all in (9)
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