Embark on a journey through the captivating worlds of French and American Art Deco and vintage jewelry at our upcoming exhibition. Delight in the fusion of elegance and innovation as you explore a curated collection of exquisite pieces that reflect the opulence and glamour of their respective eras. From the geometric motifs and vibrant gemstones of Art Deco to the romanticism and intricate details of vintage designs, each jewel tells a unique story of craftsmanship and style. Whether you’re drawn to the sleek lines of Cartier or the intricate designs of Tiffany & Co., immerse yourself in the beauty of a bygone era brought to life through these timeless treasures. Join us for an unforgettable showcase where history and artistry intertwine, celebrating the enduring allure of French and American Art Deco and vintage jewelry.
MASTERPIECES
Embark on a journey through the captivating worlds of French and American Art Deco and vintage jewel- ry at our upcoming exhibition. Delight in the fusion of elegance and innovation as you explore a curated collection of exquisite pieces that reflect the opulence and glamour of their respective eras. From the geo- metric motifs and vibrant gemstones of Art Deco to the romanticism and intricate details of vintage de- signs, each jewel tells a unique story of craftsmanship and style. Whether you’re drawn to the sleek lines of Cartier or the intricate designs of Tiffany & Co., im - merse yourself in the beauty of a bygone era brought to life through these timeless treasures. Join us for an unforgettable showcase where history and artistry intertwine, celebrating the enduring allure of French and American Art Deco and vintage jewelry.
12555 14559
12555 14560
Art Deco cabochon emerald, with sapphire, emerald, ruby and diamond tutti frutti ring, c.1935, the center claw set with an oval cabochon emerald, to an articulated band set with round cabochon sapphires, rubies and emeralds and brilliant-cut diamonds, all claw set. Gifted to Patricia, Countess Mountbatten of Burma by Gwladys, Lady Delamere (1896-1943). Patricia Edwina Victoria Knatchbull, 2nd Countess Mountbatten of Burma, CBE, MSC, CD (1924-2017) was a British peeress and the third cousin of Queen Elizabeth II. She was the elder daughter of heiress Edwina Ashley, a patrilineal descendant of the Earls of Shaftesbury, first ennobled in 1661, and Admiral of the Fleet the 1st Earl Mountbatten of Burma. She was first cousin to Prince Philip, Duke of Edinburgh, and the last surviving baptismal sponsor to Prince Charles, Prince of Wales. Gwladys Helen Cholmondeley, Baroness Delamere, CBE (1897-1943), formerly Lady Charles Markham, was the first female Mayor of Nairobi from 1938 to 1940. She was awarded her CBE in 1941 for public services in Kenya. In March 1941 she gave evidence at the trial in Kenya of Sir Henry John Delves Broughton for the murder of Josslyn Hay, 22nd Earl of Erroll. She died on 22 February 1943 and was buried at Soysambu.
Mid-20th century turquoise bead and seed pearl three-row necklace by Cartier, c.1960, possibly New York, converting to a shorter necklace and bracelet, the round turquoise beads spaced by small white pearls, joined at the back by three circle and Chinoisserie bar clasp-links in gold and blue enamel, the back section with slightly smaller beads detaching to form the bracelet, inscribed signature ‘CARTIER’ and ‘18K’ to two of the links
2
3
12555 14561
12555 14563
20th century diamond, lapis lazuli and turquoise archer style cluster ring by Van Cleef & Arpels, Paris c.1970, the domed target cluster of round brilliant cut diamonds alternating round cabochon turquoise, raised on columnar sides set with vertical lines of round turquoise alternating round lapis lazuli, all claw set and delineated by bark-textured borders, mounted in 18K yellow gold, signed under gallery ‘VAN CLEEF & ARPELS’, French assaymark at back of shank, French workshop mark (worn) to inside of ring spring (thought to be contemporary).
Antique cushion cut sapphire and diamond graduating necklace, c.1890, alternating cushion cut sapphires with cushion cut diamonds, largest to the middle, each spaced by diamond set twin-leaf motifs, the diamonds of old brilliant, single and rose cut, each duo facing point-end toward the central stone, the sapphires claw set in gold, the diamonds cut-down collet set in silver backed with gold, all open.
4
5
12555 14564
12555 14565
Early 20th century oblong emerald and diamond cluster ring, c.1915, the Colombian emerald 3.12 ct. to a two row border of diamonds and calibré cut emeralds, pierced gallery, diamond foliate shoulders, SSEF report no. 129099 giving 3.123 ct. emerald a Colombian origin opinion and that it shows no indication of clarity modification (no oil).
Art Deco diamond tree-of-life cluster clip brooch by Tiffany, probably American c.1925, , of halo form centered by the stylized fan-shaped tree motif, to the middle a fancy half-moon diamond and with baguette cut diamond ‘trunk’, openwork and with pierced detail, the rounded frame set with two lines of diamonds, squared off at the bottom hinged end, millegrain set with old brilliant, single and transition cut diamonds, mounted in platinum, signed ‘TIFFANY & CO’ and stamped ‘IRID PLAT’, approximately 4.50 ctw. of diamonds in all.
6
7
12555 14566
12555 14568
Mid-20th century single stone aquamarine dress ring by Charlton, New York c.1940, the cut-corner rectangular aquamarine of mixed cut, approximately 16.00 cts., four claw set, the shank collet set to each shoulder with a baguette cut diamond, court shaped shank, mounted in platinum, signed ‘Charlton’ in script, total diamond weight 0.80 cts. in all.
Pair of 19th century diamond cluster sea dragon and briolette diamond pendant earrings, c.1880, each dragon motif suspended from their fish tail, pavé set with diamonds and with cabochon ruby eye, hung with a briolette diamond from the mouth, open set in silver and gold, total diamond weight approximately 4.00 ctw.
8
9
12555 14569
12555 14570
19th century vari-colored diamond, white enamel and gold ring, c.1870, renaissance revival, with five graduated cushion cut diamonds of brown, yellow, pinkish, greenish-blue and yellowish- green, approximately 0.65 ctw. in all, white enameled borders to the collet set mount, gold shank back, (the total diamond weight approximately comprises center stone of approximately 0.18 ct.; yellowish diamond approximately 0.16 ct.; greenish diamond approximately 0.15 ct.; and outer orangish and outer yellowish diamonds of 0.08 ct. each).
19th century pearl, ruby and diamond wide articulated strap bracelet, c.1860, designed as a seven row lattice of pearls alternating ruby and diamond flowerheads in box collets, the rubies of cushion cut, the diamonds rose cut, each quatrefoil flower edged in black enamel, mounted in gold, the reverse and sides engraved with foliate detail.
10
11
12555 14571
12555 14572
Pair of 18th century diamond six-petal flower earrings, c.1780, with largest stone forming stamen centers, the spaced petal of boat shape, each with three stone centers bordered by diamond line edge, close cut-down collet set in silver with cushion, old brilliant and double-eight cut diamonds, later gold peg fittings and saucer backs.
Pair of 19th century cushion and pear cut swing pendant earrings, c.1850, hung with principal pear cut diamonds articulated below two graduated cushion cut, within an articulated swing loop of graduating diamonds, from principal cushion cut tops, all open cut down collet set in silver and gold, the diamonds all of old brilliant and single cut in cushion, rounded and pear form, approximately 7.50cts in all.
12
13
12555 14573
12555 14574
Art Deco French-cut diamond line bracelet, c.1925, slightly graduated, millegrain channel set, 47 stones in all, mounted in platinum with anthemion pattern to the gallery sides, approximately 15.75 cts. in all.
Art Deco cabochon emerald and diamond cluster ring, c.1920, the Colombian emerald of approximately 2.50ct., cushion shaped outline and domed finish, within a cut-corner square border set with old single and double-eight cut diamonds and embellished by a emerald calibré cut darts to the corners, the fanning shoulders further set with old single cut diamonds, pierced gallery, part reeded shank, accompanied by GCS report no. 5784-0795 for the emerald giving Colombian origin, estimated weight of 2.50 cts., and that it shows evidence of minor clarity (oil) treatment.
14
15
12555 14575
12555 14576
Pair of mid-20th century carved emerald, ruby and diamond flower cluster earrings by John Rubel, New York c.1945, each hexagonal cluster with six petals formed of leaf-carved emeralds, gold struts between, around a central stamen cluster of diamond in ruby border, round cut stones, mounted in 18ct yellow gold, signed ‘JOHN RUBEL CO’. Background Rubel was an American jeweler famous for his 1940’s angel and dancer brooches. Before he became its competitor, John Rubel worked for Van Cleef & Arpels. His company, John Rubel Co. was one of its Parisian manufacturing jewelers. In 1939, Rubel moved to New York to help produce jewelery for Van Cleef’s recently opened shop in the city. Both firms shared designer Maurice Duvalet, a Frenchman who designed ballerina and cupid-motif brooches for both firms. The designs were highly successful. In 1943, the collaboration with Van Cleef ended, and Rubel opened his own showroom at 777 Fifth Avenue. In the years that followed, Rubel created jewels depicting French can-can dancers, Spanish flamenco dancers, the Rockettes, Louis XVI style dancers, and dancing flowers inspired by the film, Fantasia. The firm also produced a series of popular flower motif brooches featuring rubies, diamonds, and turquoise, a combination that was widely copied by other jewelers. In 1947, the firm closed its doors. Text courtesy of the ‘Antique Jewelry University’
19th century diamond cluster cross brooch-pendant, c.1850, the openwork cluster arms formed by diamond set double C scrolls centered by graduated lines of diamond collets, a central cluster with raised principal cushion cut stone, the suspension hoop with stylized diamond coronet cluster, all open cut-down collet.
16
17
12555 14577
12555 14578
Ruby and diamond strap bracelet by Charlton & Co., American, designed as two articulated caliber ruby panels, pavé set and trimmed by baguette-cut diamonds, joined by old-cut diamond buckle links, one forming the clasp, mounted in platinum, signed Charlton for Charlton & Co., approximately 20 cts. of rubies in all, approximately 12.90 cts. of diamonds in all.
Diamond set geometric fibula style brooch by John Rubel, French, the elongated ‘C’ shape set with lines of square, baguette and ‘pencil’ cut diamonds, a larger grouping to one end, the fancy cut stones forming stepped feathered edges, mounted in platinum, French assaymarks and workshop mark.
18
19
12555 14579
12555 14580
Art Deco three row turquoise bead and carved lapis lazuli panel necklace by Marchak, Paris c.1930, the graduated turquoise beads with lapis beads in between, centered by an oval lapis panel pierced and carved with a floral and foliate scroll design, the flowerheads with applied turquoise-colored enamel plaques, echoed at the back by the oval turquoise panel clasp, carved with flowerheads and applied with blue enamel beads, the front hung with three graduated bead fringes and a single line to the back, the panels mounted in gold, French gold assaymarks and workshop mark for Atelier Cristofol, unsigned but together with a contemporary fitted Marchak case.
Early 20th century cabochon sapphire and diamond cluster ring by Cartier, Paris c.1910, the principal Burma sapphire of oval outline, within an eye shaped cluster of diamonds inset with calibré sapphire line detail, the diamonds extending to a fully set shank, mounted in platinum, faint signature to back of shank ‘CARTIER’ and a French assaymark opposite (eagle’s head pre-platinum mark), accompanied by Laboratoire Francais de Gemmologie (LFG) report no. 329863 giving the Burma origin opinion and that the stone shows no evidence of heat treatment.
20
21
12555 14581
12555 14582
Art Deco diamond set geometric double clip brooch by Cartier, each side incorporating stylized scrolls and with Persianesque flame detail, fanning ends giving a bow-tie effect, of shaped oblong overall outline, each clip with principal rectangular diamond, fancy triangular and square cuts to the central adjoining edge, round brilliant cut diamonds to the remainder, signed to each ‘CARTIER’
Cabochon amethyst, enamel, diamond and gold ring by Strauss, Allard & Meyer, Paris, suppliers to the top jewelry houses, bought by family repute from Mauboussin, the principal sugarloaf cabochon amethyst of cut-corner rectangular outline, collet set and skirted by a gold border with lilac and black enameled geometric pattern, to each shoulder a black enameled rod-strut with cabochon amethyst terminal and rose cut diamond roundel border, gold shank, French workshop mark. The workshop mark for this ring is for Strauss, Allard & Meyer, the Parisian firm who specialized in fine jeweled cigarette cases and accessories, and were regular suppliers to many major jewelry houses throughout the 1920s including Lacloche Frères, Van Cleef & Arpels and Cartier. An example of this same ring design has been found also to have been retailed by Cartier Paris.
22
23
12555 14583
12555 14584
Cushion cut sapphire, emerald and sapphire bombé cluster ring by Cartier, Paris, circa 1997, the Ceylon sapphire, 11.08 ct., the principal sapphire four-claw set landscape, raised in an Archer’s style bold mount covered with polished emerald and sapphire beads of button form, and four Indian-carved sapphires of leaf form, to a tapering bold D section shank, mounted in platinum, inscribed within ‘Cartier’ PT950 and with serial number 732052, stamped number opposite 53, back of shank stamped with French platinum control mark, workshop mark, accompanied by SSEF report no. 114828 for the 11.087 ct. sapphire giving the Ceylon origin opinion and that the stone shows no indication of heating.
Carved emerald and diamond triple drop necklace by Cartier, London, with Indian-carved leaf and floral emeralds, the front pendant formed of three graduated drops, the largest central one also featuring a peacock type bird to each side, below a diamond and buff-top caliber emerald jardinère vase supporting a pyramid of small fluted emerald beads, each with diamond accent point, on a detachable diamond set suspension loop, hung on a necklace alternating diamond set baton and rondelle links with fourteen carved emeralds of drop and oval shape, one of the batons forming the clasp, the diamonds of old brilliant, transition and single cut, mounted in platinum, stamped ‘JC’ for Jacques Cartier of the London branch, PT 950 for platinum, serial numbered to the pendant 522 and 485, the pendant detachable and the necklace detaching from the suspension section for wear as a separate collar length necklace.
24
25
12555 14585
12555 14586
Diamond and gem greyhound dog brooch, French, in running pose, the characterful design modeled in relief with legs outstretched, pavé set with single and brilliant cut diamonds, its racing jacket indicated by a channel set line of rectangular cut rubies, sapphire accent and black enamel straps, black enamel nose and eye, mounted in platinum with white gold brooch fitting, French assaymarks and workshop mark.
Diamond and gem set brooch modeled as a crusader sailing ship by Mauboussin, the stylized Man O’ War design with Order of Christ cross to main sail, modeled in profile, with full billowing sails, and hull all pavé set with single and brilliant cut diamonds, the cross with buff top rubies and onyx terminals, caliber sapphire detail and to pennant flags, wire rigging, upon a caliber cut emerald wavy sea base, unsigned, serial number 90906, accompanied by a Mauboussin Certificate of Authenticity issued on 6th September 2010.
26
27
12555 14587
12555 14588
Art Deco diamond, emerald, amethyst and enamel floral panel bracelet by Mauboussin, French 1926, comprising four openwork rectangular panels, curved for fit, each with two graduated flowerheads collet set with round brilliant cut diamonds, decorated around with buff-top caliber cut emeralds and amethysts and black enamel scrolls, diamond line borders with rounded corners and small black enameled half-moons spaced around the outside, joined by diamond line bars with black enamel line edges, open set and mounted in platinum with white gold fittings, serial number 88432, French assaymarks, workshop mark for RD, together with a brown suede Mauboussin case with gilt tooled stamp for ‘Mauboussin, 3 rue de Choiseul, Paris’, accompanied by Mauboussin Certificate of Authenticity.
Round brilliant cut diamond and ruby cluster ring, of target design set with a 3.04 ct. diamond, bordered by French-cut rubies and outer border of small old cut diamonds of single and cushion cut, collet and millegrain edged, pierced gallery, trifurcated shoulders with triple wire shank.
28
29
12555 14589
12555 14590
Antique diamond and ruby cluster ring, French c.1915, principal round brilliant cut diamond bordered by caliber rubies and single cut diamonds in an oblique square, having rounded corners and millegrain set, diamond line shoulders, reeded shank, mounted in 18K gold and platinum, French assaymark, trace of a workshop mark.
Jadeite jade bead, gold and diamond necklace, Monture Cartier, Paris, the two beaded rows to the front upon a gold chain back, twenty-four jadeite beads of approximately 12.6 to 12.4 mm, spaced by seven spherical gold beads studded with circular cut diamond, secured upon gold hook and eye type ends with ribbed baton detail, the chain of foxtail link style, signed Monture Cartier, French assaymarks, accompanied by a photocopy of a Hong Kong Jade & Stone Lab report no. KJ103909 (1-3) for the jade beads giving a natural ‘Fei Cui’ Type A, untreated opinion (no resin detected).
30
31
12555 14591
12555 14592
19th century diamond tremblant pansy spray brooch, c.1850, the naturalistically modeled stem with three flowerheads, leaves and curling buds, open set throughout with old cushion, brilliant and single cut diamonds, the pansy heads with tremblant action, open collet set in silver and gold.
Turquoise and diamond stylized flower set by Cartier, French, comprising a brooch and a pair of earrings, the brooch featuring two flowerheads with angular petals pavé set with either round cabochon turquoise or round brilliant cut diamonds, one centered by a diamond, one by a turquoise, each upon a baguette diamond line stem, channel set, mounted in 18K yellow gold, signed ‘Cartier FRANCE’, ‘18KTS’ and with serial number 30945 and with French head-of mercury control mark, the earrings en suite each formed of a demi-flower, the angular petals alternating turquoise and diamonds, marked ‘18K’ ‘10% IRID’, probably for retail in America.
32
33
12555 14593
12555 14594
Pair of Art Deco diamond and ruby butterfly earrings, converting to clip brooches French c.1935, signed by ‘MARC PARIS’, of geometric design, with a pavé set diamond ground, caliber cut ruby edges and with baguette diamond and cabochon ruby accents, the centers formed of a round brilliant cut and baguette cut diamond, the fittings with hinged fold over pin sections forming the grips for wear as clip brooches.
Art Deco diamond, emerald and sapphire hanging flag brooch by Mauboussin, Paris, 1926, of stylized architectural design, of rectangular outline, pavé set with a principal rectangular cut diamond in border of baguette and square cut diamonds, to a ground of sapphires and emeralds, baguette diamond line border and pennant fringe of square cut diamonds, caliber triangular cut emeralds, black enamel delineation, the hanging pole appearing as a baguette diamond at either end of the flag and with black enamel line detail giving a perspective view, mounted in platinum, total diamond weight approximately 7.50 cts., total sapphire weight approximately 5.00 cts., total emerald weight approximately 1.25 cts., French platinum assaymark, serial number 88105, unsigned, accompanied by a photocopy of a Mauboussin Certificate of Authenticity also showing the original sketch, there is an image of this brooch on a Mauboussin advertisement from the time. Very similar example illustrated in ‘Mauboussin’ by Marguerite de Cerval, Edition du Regard, Paris 1992, p.98 .
34
35
12555 14595
12555 14596
Art Deco diamond geometric scroll brooch by Cartier London, of rectangular outline, centered by a principal emerald-cut diamond of approximately 1.25cts., collet set and raised on a diagonal bands of baguette cut diamonds and flanked by squared-off Chinoisierie style scrolls and arrowed ends ‘secured’ on baguette diamond arc joins, mounted in platinum with 18K white gold fitting, signed ‘Cartier London’, together with a pink leather Cartier case.
19th century gold belcher link chain necklace and a pair of matched bracelets en suite, with turquoise studded clasps, c.1820, the circular rounded links with a star pattern in low relief, on broader tubular ‘barrel’ clasps with applied wirework and bead florettes, similar borders to the four circular turquoise cabochons spaced around.
36
37
12555 14624
12555 14625
Art Deco diamond and platinum strap bracelet by Linzeler & Marchak, Paris, with three oblong sections featuring a central row of principal round brilliant cut diamonds to triangular lappet motifs along either side, pierced pavé set diamond ground, set throughout with old and transition brilliant and single cut diamonds, spaced by baton dividers set with rose cut diamonds, mounted in platinum and white gold, inscribed ‘R.LINZELER & MARCHAK’ and with serial number 1440, French assaymarks for platinum and gold Joseph Marchak set up his own jewelery and goldsmith’s workshop in 1878. By 1913 Marchak was supplying 38 jewelery stores and up-market workshops as well as managing production for his own boutique. He also opened a school for underprivileged children in Kiev where they were taught ironwork, steel-engraving and wood carving. During this year, Alexander Marchak, who had just graduated from Law school in France, returned from his studies to help his father and brothers in the family business. Known as the ‘Cartier of Kiev’ Marchak was employing 150 staff, specializing in enameling and making extraordinary jewels. In 1918 Joseph Marchak dies. After the War, 1920’s Paris was alive again. Designers, craftsmen and jewelers came back from the front. As soon as he arrived in Paris, Alexander Marchak sensed the approach of a new incredible era and
rapidly opened a shop on the famous Rue de la Paix, at number 4, right next to Place Vendôme and the Hotel Ritz Paris. The epicenter of the luxury industry, the Place Vendôme and Rue de la Paix neighborhood already hosted numerous renowned designers, a perfumer, many jewelers, goldsmiths, glove makers, shirt designers as well as hat makers. True to its origins, Marchak’s originality and the quality of its creations set him apart from the others in the Parisian jewelery sphere. The firm rose to prominence during the Art Deco period, creating highly romanticized pieces featuring the favorite themes of birds and sprays of flowers. In 1922 Alexander Marchak launched a collaboration with Robert Linzeler. Their names have become linked with some of the greatest jewels of the Art Deco period. Marchak and Linzeler were one team of only 30 exhibitors who were invited to the Exposition des Arts Decoratifs, where they won the Grand Prix. This was a groundbreaking achievement for the House. However, the partnership broke up shortly after the exhibition. Marchak went on to another Gran Prix, at the Colonial Exhibition in 1931 and exhibited at the International Arts and Techniques in Modern Life fair. In the 1940’s, despite the war, the firm prospered, during which their pieces evolved to reflect changing tastes, shifting from platinum to gold.
Pair of diamond and gold C scroll earrings by Van Cleef & Arpels, New York, of triple C scroll design, pavé set with round brilliant cut diamonds either side of a central yellow gold snakelink section, one of the diamond scrolls extending to overlap at the base, mounted in platinum and 18K gold, signed ‘VAN CLEEF & ARPELS’, ‘serial number ‘N.Y.17498’, approximately 7.0 cts. of diamonds in all.
38
39
12555 14626
12555 14628
Art Deco aquamarine, ruby, diamond and crystal brooch, hung with a large aquamarine briolette pendant, the upper heurtoir style section set with a principal trap cut rectangular aquamarine upright within a frosted rock crystal oval frame embellished with pavé set diamond and caliber cut ruby elements, supporting a diamond foliate cluster set with leaf-carved rubies and surmounting a diamond arrowhead set with baguette and circular cut diamonds, the arrowhead forming the hinged suspension clasp for the briolette aquamarine pendant with later diamond set cap, the ruby leaf and diamond arrowhead detachable for wear as a clip, the upper brooch clip and arrow both with serial number 3363, upper brooch with French white gold import assaymarks, the rectangular aquamarine of approximately 65.00 cts.
Diamond asymmetric double clip brooch of feathery leaf design by Cartier, Paris, designed as a two stylized plumes one scrolling up and over to the right forming the larger of the clips when worn separately, the other a shorter gentle curve, both pavé set with round brilliant and single cut diamonds, the shorter clip embellished with a line of stepped baguette cuts, the larger one with a channel set spine of graduating rectangular cuts, mounted in platinum and with white gold fittings, joined upon a pushbutton clasp, both elements signed ‘Cartier Paris’ and with serial number 06370, French assaymarks, approximately 13.00 cts. in all.
40
41
12555 14629
12555 14630
19th century graduated vari-colored gem and diamond cluster necklace, c.1880, each circular cluster with a principal round cut colored gem or diamond bordered by old single and double eight cut diamonds, open cut down collet set in silver and gold, the colored gems including sapphires, pink, green and blue tourmalines, orange garnets, zircons and emeralds.
Cushion cut ruby and diamond bombé ring by Cartier, collet set landscape with a 2.39 ct. Burma ruby, atop a high oval domed mount pavé set with round brilliant cut diamonds, having a scalloped edged rim around the bottom, cutting away either side of single stone collet detail, open collet set and with broad tapering shank in platinum, signed ‘Cartier Paris’, French assaymark, indiscernible partial workshop mark, together with a Cartier ring case, total diamond weight approximately 6.30 cts.
42
43
12555 14631
12555 14632
Gold, ruby, tourmaline, emerald and pearl Indianesque fringe ‘Hindou’ pendant brooch by Cartier, Paris, made for the Duchess of Windsor, hung with a large openwork cartouche fringed panel, centered by a principal pear shaped emerald, the gold wirework scroll ground further set with ten rubies and emeralds of cushion and pear cut, and with two apertures hung each with a baroque pearl, four smaller diamonds of table and cushion cut accenting, all hung with a fringe of polished pink tourmalines, emerald, and watermelon tourmaline beads with pearl accents, to gold coilwork and beaded cluster mounts, similar pearl and gold shorter fringes, the whole upon a twin chain below coil and pearl link and suspended from a matching gold scroll bar panel set with cushion cut rubies and square cut emeralds, unsigned, serial number N6790 and with CSA workshop mark for Cartier SA, the pin also with partial workshop mark and gold French assaymark, accompanied by IAJA Expertise report no. XP1203-060623 signed by Olivier Bachet and Bernhard Berger declaring that in their opinion, the brooch-pendant is ‘a genuine Cartier item’, by Cartier Paris ‘adapted to a Special Order for the Duchess of Windsor’.
Sapphire and diamond cluster ring by Yard, New York, of slightly bombé form, set with a cushion cut Kashmir sapphire of 2.23 ct., the central sapphire bordered by twelve brilliant cut diamonds, within a further border of baguette cut diamonds that extend into the shoulders to form an overlapping swirl shape, all mounted in platinum, signed to inside of shank: ‘YARD’, accompanied by AGL report no. 1132349 for the 2.23ct cushion sapphire giving the Kashmir origin opinion and that the stone shows no evidence of heat treatment.
44
45
12555 14633
12555 05015
Art Deco diamond set geometric windmill brooch, French, the tapering body and base set with circular and baguette cut diamonds, similar to the four slender sails, pierced window details, the circular cuts of old and transition single and brilliant cuts, mounted in platinum, the hinged clip fitting in white gold, French assaymark and partial workshop mark, serial number 1902, approximately 1.25 cts. of diamonds in all.
Pair of early 20th century garland style diamond pendant earrings by Tiffany & Co, c.1910, each hung with a diamond set ribbon style loop, below an articulated diamond line and ribbon bow diamond tops, all being old round cut diamonds millegrain set in platinum with scroll fittings, stamped ‘TIFFANY & CO’, approximately 0.90 cts. of diamonds in all.
46
47
12555 14635
12555 14636
Art Deco ruby, diamond and gem set jardinière brooch by Cartier, designed as a branching pot plant with three flowerheads, each flowerhead centered by a marquise cut diamond in buff-top ruby petal border, on a cluster of small navette-shaped chrysoprase leaves, all atop a taperign diamond set stem, the openwork pot formed of five baguette diamond uprights with line of round cut diamonds forming top and base, mounted in platinum, white gold fitting, signed at bottom ‘CARTIER’.
Art Deco diamond and colored gem set flower vase brooch by Van Cleef & Arpels, the low wide vase formed of a diamond line frame centered at the base and forming the bowl with fancy cut diamonds of lozenge, triangle and trapezium cut, supporting a cluster of brightly colored carved gem stone flowerheads in ruby, sapphire, amethyst and citrine, each with a diamond collet center, caliber cut emerald leaves dotted around, signed ‘V.C.A. and with a serial number 2769, approximately 1.50 cts. of diamonds.
48
49
12555 14637
12555 14638
Art Deco diamond and sapphire brooch in the form of a marlin fish by Warren Perry, New York, formerly Du Pont family, modeled in full profile, the distinctive form pavé set to the body and finned tail with brilliant cut diamonds, cabochon ruby eye, caliber cut sapphires to the upright principal back fin and smaller fin details, black enameled under fin, mounted in platinum and forming the pointed sword bill, signed ‘WARREN PERRY NY’, gift dedication inscriptions: ‘A.A. du P.P. from H.A.P. 3-10-40’ and ‘M.L.H.M. from D.F.M. San Francisco 12.25.67’.
Art Deco ruby, diamond, emerald and jade jardinière brooch by Cartier, Paris, in the form of a potted plant, the spreading diamond set foliage with diamond collet and small cabochon emerald buds, accented by marquise cut rubies as candle style blossom, from a flaring jade pot edged by diamonds to rim and base, the diamonds of round transition brilliant, single and baguette cut, the rubies set culet up, collet, channel and bracket-claw set in platinum, signed ‘Cartier’ and ‘FRANCE’, partial workshop mark and French platinum assaymarks to gallery and pin, approximately 4.00 cts. of diamonds.
50
51
12555 14639
12555 14641
Art Deco diamond strap and buckle motif bracelet by Cartier Paris, 1928, for Cartier New York retail, with seven rows of French cut diamonds, spaced by two rectangular buckle motif links of bombé form, one forming the clasp, the French cuts channel set, the buckle links pavé set with old brilliant cut diamonds and with two castellated principal brilliants, the buckle sides secured on diamond scrollover channel joins featuring French cuts to middle and extending to geometric palmettes of arrowhead outline, the palmettes with pierced border and integral to rectangular pavé panels bookending the lines of French cuts, mounted in platinum and gold fitting, signed ‘CARTIER’ and ‘MADE IN FRANCE’ (worn), serial number L.5336, French platinum assaymarks, approximately 45.00 cts. in all, accompanied by IAJA Expertise report no. XP1429-061123 signed by Olivier Bachet and Bernhard Berger declaring that in their opinion, the bracelet is ‘a genuine Cartier item’.
Pair of diamond and emerald palmette double clip brooches forming a bracelet by Cartier, Paris, the clips converting to form the center of a three row cultured pearl bracelet, each designed as a diamond leaf cluster formed of three graduating spaced rows of round brilliant and baguette cut diamonds, above a curve of five graduated emerald-cut emeralds, a circular pavé diamond cluster below around a sixth emerald accent stone, in platinum and 18K gold, and converting to a bracelet with three rows of slightly graduating cultured pearls, both clips and bracelet clasp signed Cartier Paris, serial number to clips possibly 010028, Cartier SA crossed C’s workshop marks to clips, clasp and the white gold bracelet frame, French assaymarks for platinum and gold, approximate total diamond weight 15.00 cts, approximate total emerald weight 8.10 cts. (ranging 0.40 ct. to 1.20 ct.).
52
53
12555 14642
12555 14643
Gold and ruby buckle strap bracelet by Mauboussin, Paris, 1938, the flexible gold band of articulated scale links, each scale inset with a small circular faceted ruby, upon a square gold buckle secured by ribbon style scrollover fasteners pavé set with rubies and diamond point accents in between, one fastener hinged to form the clasp, the rubies and diamond of circular faceted cut, signed ‘MAUBOUSSIN PARIS’, French gold assaymarks, ‘VP’ workshop mark, stamped 750. Example illustrated in: Marguerite de Cerval, ‘Mauboussin. Joaillier de l’Emotion’, published by Mauboussin Paris 2007, p.66 and Marguerite de Cerval, ‘Mauboussin’, Edition du Regard, Paris 1992, p.147.
Gold and diamond multi ball cluster bracelet by Cartier, Paris, the articulated line cluster of gold balls each topped by a round brilliant cut diamond, all upon a gaspipe type bracelet and each ring-mounted for movement and random cluster effect, the balls in three sizes, approximately 85 in all, the diamonds collet set, signed ‘Cartier Paris’, with French assaymarks and workshop mark (worn).
54
55
12555 14644
12555 14645
Gold and diamond flower stem brooch by Cartier, Paris, with articulated ‘night-and-day’ petals, the five petal flower upon an S scroll gold stem with wirework leaf below, the flowerhead with bold ball shaped stamen topped by a round brilliant cut diamond in radiating baguette diamond border, surrounded by the five boat-shaped petals with gold ropetwist borders, pavé set with diamonds to one side and ridged gold to the other, each articulated to rotate for wear with either the diamond or gold side facing out, also adjustable for differing positions, signed ‘Cartier Paris’, serial number 09384, French assaymarks and crossed C’s workshop mark for Cartier SA, approximately 6.50 cts. in all.
Early 20th century diamond foliate bandeau tiara, English c.1905, in the garland style, designed as a tapering openwork band of ten lozenge shaped quatrefoil motifs, floating within looped oval beaded wire frames, each spaced by single stone diamond collets with leafy duos, the largest to center, all within a diamond line border with shaped detail at intervals, the diamonds of old brilliant, double-eight and single cut all millegrain set in platinum, later side fittings.
56
57
12555 14646
12555 14649
Belle époque diamond and pearl garland panel pendant by Cartier, Paris 1907, the openwork design of shaped triangular form, centered by a floating circlet of five pearls spaced by diamond bellflower motifs, to a ground of acanthus leaves, diamond line border and fancy bellflower terminals, topped by a flowerhead and laurel leaf surmount, the lower incurved sides of the triangular panel hung each with an articulated floral swag-pendant, and principal pear shaped diamond in spaced collet cluster hung below, millegrain set throughout with old brilliant, double-eight and single cut diamonds, mounted in platinum, workshop mark for H. Droguet, with Cartier Heritage number ‘HSA 1005’, upon a fine tracelink chain necklace detachable from hooks at either side, probably later, the pear shaped brilliant approximately 1.10 cts., the remainder of the diamonds approximately 5.00 cts.
Art Deco round cabochon emerald and diamond cluster three stone ring by Cartier, centered by a principal Colombian emerald, between old brilliant cut diamonds, these flanking stones within diamond line borders, tapering bifurcated shoulders set with graduated diamonds, the smaller diamonds all old single and double-eight cut, mounted in platinum, signed ‘CARTIER’ to side of shank, serial number within shank: possibly 361_800, the emerald estimated weight very approximately 7.75 cts., approximately 2.10 cts. old diamonds in all, together with a salmon-pink Cartier ring case, accompanied by AGL report no. 1138680 giving a Colombian origin opinion for the emerald and that the stone shows insignificant to minor traditional clarity treatment.
58
59
12555 14650
12555 14652
Art Deco carved emerald and diamond jabot pin by Cartier, New York c.1927, the emerald 29.93 ct., the principal scroll carved pear shaped emerald to a stepped diamond set mount, onyx and black enamel highlights, the opposite bullet shape end with caliber emeralds, onyx and pavé set with diamonds, mounted in platinum, accompanied by a Cartier case.
Burma ruby and diamond cluster collar necklace, converting to a tiara, the tapering front section slightly bombé with alternating lines of cushion cut rubies and graduated brilliant cut diamonds, terminating in diamond set squares bridged by an arc of baguette cut diamonds, to tapering sections of geometric design.
60
61
12555 14658
12555 14664
Pair of button pearl, gold and gem set cluster earrings by Van Cleef & Arpels, New York, each with a principal white pearl framed by an openwork gold ropetwist flowerhead, bordered by six round brilliant cut diamonds, to the outside six ruby, emerald and sapphire stones spaced at intervals, serial number ‘1533 S.O.’, accompanied by GIA report.
Diamond set geometric Persianesque brooch, the Cupid’s bow form pavé set with round brilliant cut diamonds, out-turned ends terminating in pear shaped diamonds, a third pear diamond set upright in between and flanked by graduated stones, to the lower middle a principal round brilliant cut diamonds.
62
63
12555 14670
12555 14671
Diamond, enamel and faience winged scarab brooch, French, the turquoise-blue Egyptian faience scarab between similar outstretched wings, the scarab bordered by diamonds and surmounted by diamond and black enamel ‘antennae’ with green and red enamel striped egyptianesque flowers either side, the wings edged by black.
Emerald and diamond broad articulated strap bracelet, with seven rows of square and rectangular cut emeralds, channel set, edged by half-moon cut diamonds, spaced by three rectangular buckle style links, each pavé set with diamonds and joined on twin bars, one forming the clasp, serial number trace _110_.
64
65
12555 14672
12555 14557
Ruby and diamond strap bracelet, composed of articulated baton shaped links set throughout with rows of rectangular cut rubies, half-moon diamonds along each side spaced by three pavé diamond buckle motifs, one forming the clasp.
Art Deco onyx and diamond two row crossover cluster ring, c.1925, each row with flaring diamond set arm supporting a principal shield shaped stone, one a diamond, one an onyx, the diamond shield upon a bevelled edged ‘tail’ of graduated baguette onyx flanked by end-to-end baguette diamonds, the onyx shield to a tail of baguette diamonds flanked by end-to-end onyx, double shank.
66
67
14673
by choreographer Jack Cole to become a featured dancer as one of the three Prin- cesses of Ababu in the original Broadway production of “Kismet.” Her appearance in New York’s Versailles Club prompted director George Abbott and legendary choreographer Bob Fosse to immediately cast her as the dancing lead, Gladys Hotchkiss, in the Broadway musical, “The Pajama Game.” There she first saw her name on Broadway’s St. James Theatre’s marquee. Her talent caught the attention of the MGM movie studio and she quickly be- came the studio’s hottest young starlet in her first feature film, “This Could Be the Night.” During this time, Neile met and mar- ried, actor, Steve McQueen. The couple made the cover of LIFE magazine and were considered a true Hollywood power couple. Together, the McQueens had two children, Terry and Chad, and grand- children, Steven R., Chase and Madison. Neile’s husband Steve passed in 1980. In 2023, Neile celebrated the birth of her first great-grandchild, Michael. From 1974 to 2017 Neile performed in her often biographical cabaret shows in Los Angeles, New York, Paris and London, including an appearance at a Royal Gala at The London Palladium. Her final public performance was on October 15, 2017 at Catalina Jazz Club in Hollywood, CA. A feature film is currently in development based on Neile Adams McQueen’s first book, her best-selling memoir, “My Hus- band, My Friend,” which she is currently working on with producers and writers. In addition, Guggenheim Films is producing a documentary film on the life of Neile Adams.
Single stone old brilliant cut diamond and platinum ring, Monture Cartier, Paris, for- merly belonging to Hollywood actor Steve McQueen and gifted to his wife Neile Ad- ams, the old European cut diamond of ap- proximately 3.50ct, J/I, SI, rubover collet set and raised in a broad tapering plati- num mount, signed ‘MONTURE Cartier’, serial number P9866, French platinum as- saymark to shank back. Provenance: Gifted by Steve McQueen to his wife Neile Adams McQueen Originally bought by Steve McQueen for himself, but after deciding it was not quite right for him, his wife Neile spoke up and said it would be perfect for her. Background: Neile Adams McQueen’s prolific career on Broadway, on television, and in movies has spanned eight decades. After graduating from high school at Rosemary Hall in Greenwich, CT and spending a year at Marjorie Webster Ju- nior College in Washington D.C., Neile moved to New York and was given a schol- arship to the Katherine Dunham School of Dance. A year later she was part of the opening act of the Lena Horne Show at the Co- conut Grove in Los Angeles, CA. Shortly thereafter the 21-year-old was selected
68
Dallas | Houston | deBoulle.com
Page 1 Page 2-3 Page 4-5 Page 6-7 Page 8-9 Page 10-11 Page 12-13 Page 14-15 Page 16-17 Page 18-19 Page 20-21 Page 22-23 Page 24-25 Page 26-27 Page 28-29 Page 30-31 Page 32-33 Page 34-35 Page 36-37 Page 38-39 Page 40-41 Page 42-43 Page 44-45 Page 46-47 Page 48-49 Page 50-51 Page 52-53 Page 54-55 Page 56-57 Page 58-59 Page 60-61 Page 62-63 Page 64-65 Page 66-67 Page 68-69 Page 70-71 Page 72Made with FlippingBook Ebook Creator