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Fine Jewellery & Watches

AUCTION 3 DECEMBER 2024 AT 4.00 PM

26 St. Stephen’s Green, Dublin 2. Ireland , D02 X665 +353 (01)6760261 adams.ie

ALL AUCTION VIEWINGS ARE FREE AND OPEN TO THE PUBLIC

Friday 29 November 10.00am–5:00pm

Saturday 30 November 1.00pm– 6.00pm

Sunday 1st December 1.00pm – 6.00pm

Monday 2nd December 10.00am–5:00pm

Tuesday 3rd December 10.00am–3:00pm

Please refer to the Buying At Auction section at the back of this catalogue, or adams.ie for further details on bidding in this auction, including absentee bidding.

PRIVATE VIEWINGS BY APPOINTMENT ONLY

26 St. Stephen’s Green, Dublin 2. Ireland +353 1 676 0261 jewellery@adams.ie | www.adams.ie

Brian Coyle FSCSI FRICS CHAIRMAN

Claire-Laurence Mestrallet BA, G.G DIRECTOR claire@adams.ie

Irish Art

James O’Halloran BA FSCSI FRICS MANAGING DIRECTOR j.ohalloran@adams.ie

Nicholas Gore-Grimes DIRECTOR nicholas@adams.ie

Niamh Corcoran BA FINE ART DEPARTMENT niamh@adams.ie

Stuart Cole MSCSI MRICS MANAGING DIRECTOR s.cole@adams.ie

Nicholas Gore Grimes DIRECTOR nicholas@adams.ie

James O’Halloran BA FSCSI FRICS DIRECTOR j.ohalloran@adams.ie

Amy McNamara BA MA ASSOCIATE DIRECTOR amymcnamara@adams.ie

Jewellery & Watches

Claire-Laurence Mestrallet BA, G.G DIRECTOR JEWELLERY & WATCHES DPT claire@adams.ie

Johanna Gallagher G.G JEWELLERY SPECIALIST johanna@adams.ie

Aoife Doyle JEWELLERY DEPARTMENT aoife@adams.ie

KEN ISRAEL HEAD OF WATCHES Ken@adams.ie

Eamon O’Connor BA DIRECTOR e.oconnor@adams.ie

Nathaniel Nicholson ASSOCIATE DIRECTOR n.nicholson@adams.ie

Valuations

Stuart Cole MSCSI MRICS DIRECTOR s.cole@adams.ie

Nathaniel Nicholson ASSOCIATE DIRECTOR n.nicholson@adams.ie

Mariachiara Danesi G.G JEWELLERY DEPARTMENT mariachiara@adams.ie

Amy McNamara BA MA ASSOCIATE DIRECTOR amymcnamara@adams.ie

Historical Documents

Stuart Cole MSCSI MRICS DIRECTOR s.cole@adams.ie

Mid-Century Modern

Asian Art

Nicholas Gore Grimes DIRECTOR nicholas@adams.ie

Dr Wei Wang BA MA HEAD OF ASIAN ART DEPARTMENT wei.wang@adams.ie

Online Art Auctions

Adam Pearson BA FINE ART DEPARTMENT a.pearson@adams.ie

Wine & Spirits

Adam Pearson BA FINE ART DEPARTMENT a.pearson@adams.ie

Conor Barry FINE ART DEPARTMENT Conor@adams.ie

Accounts

Eamon O’Connor BA FINANCIAL DIRECTOR e.oconnor@adams.ie

HITESH KHATRI ACCOUNTS DEPARTMENT hitesh@adams.ie

Administration

Collection & Shipping

Brendan Lingwood BA MA PORTER brendan@adams.ie

Niamh Corcoran BA FINE ART DEPARTMENT niamh@adams.ie

Weronika Kocurkiewicz FINE ART DEPARTMENT weronika@adams.ie

Conor Barry FINE ART DEPARTMENT conor@adams.ie

Stephanie Brennan FINE ART DEPARTMENT stephanie@adams.ie

Ronan Flanagan HDip WAREHOUSE MANAGER r.flanagan@adams.ie

1. ESTIMATES AND RESERVES

These are shown below each lot in this sale. All amounts shown are in Euro. The figures shown are provided merely as a guide to prospective purchasers. They are approximate prices which are expected, are not definitive and are subject to revision. Reserves, if any, will not be any higher than the lower estimate.

2. PAYMENT, DELIVERY AND PURCHASERS PREMIUM

All purchases must be paid for no later than Friday 6th December 2024. Please contact a member of staff to arrange collection/delivery of your purchases. Auctioneers commission on purchases is charged at the rate of 25% (inclusive of VAT). Terms: Strictly cash, card, bankers draft or cheque drawn on an Irish bank. Cheques will take a minimum of eight workings days to clear the bank, unless they have been vouched to our satisfaction prior to the sale, or you have a previous cheque payment history with Adam’s. We also accept payment by credit and debit card (Visa & MasterCard only). For payments by bank transfer please ensure all bank charges are paid in addition to the invoice total, in order to avoid delays in the release of items. Goods will only be released upon clearance through the bank of all monies due.

Artists Resale Rights (Droit de Suite) is not payable by purchasers.

3. VAT Regulations

All lots are sold within the auctioneers VAT margin scheme. Revenue regulations require that the buy er’s premium must be invoiced at a rate which is in clusive of VAT. This is not recoverable by any VAT registered buyer.

Lots marked * are to be sold whilst subject to Tem porary Admission (Import) regulations. For purchas ers based in the Republic of Ireland - the hammer price will be subject to import VAT at the reduced rate, currently 13.5%, and the Buyer’s Premium will be subject to VAT at the standard rate, currently 23%. For purchasers outside of the Republic of Ire land, please contact our Accounts Department for further details.

4. CONDITION

It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Please ensure that condition report requests are submitted before 12 noon on Tuesday 3rd December 2024 as we cannot guarantee that they will be dealt with after this time.

5. ABSENTEE BIDS

We are happy to execute absentee or written bids for bidders who are unable to attend or bid online themselves and can also arrange for bidding to be conducted by telephone. However, these services are subject to special conditions (see conditions of sale in this catalogue). All arrangements for absentee and telephone bidding must be made before 5pm on the day prior to sale. Bidding by telephone may be booked on all lots. Early booking is advisable as availability of lines cannot be guaranteed.

ALL LOTS ARE BEING SOLD UNDER THE CONDITIONS OF SALE AS PRINTED IN THIS

Mestrallet BA, GIA G.G DIRECTOR

JEWELLERY & WATCHES

claire@adams.ie

clm_adams_auctioneers

Claire-Laurence

© Photo Credit : Doreen kilfeather

If a picture is worth a thousand words, then a scent is worth a thousand pictures. Marija Aslimoska day dreams in scent, surrounding herself with beautiful perfumes that lift the spirit and inspire. Marija is a classically trained perfumer, having learned her craft in Grasse, the traditional home of perfume in the South of France. She deepened her knowledge by working with established perfume houses in the Grasse area, with whom she continues to collaborate. Back in Dublin, immersed in perfume, Marija divides her time between creation and curation. The delightfully intriguing smells that escape from her Ranelagh laboratory hint at some of the new scent formulations that Marija creates for both bespoke and commercial commissions, as well as of course, just for the sheer delight of discovery. On the curation side, Marija has established Parfumarija, a niche perfume boutique to provide a home for rare scents in Dublin.

Through the eyes of ... Marija Aslimoska

Lot 31. This antique diamond hair comb is, for me, the ultimate expression of luxury. Each diamond sparkles with a quiet beauty that feels personal and timeless, as though it was made just for me. I love the thought that someone, decades ago, treasured this piece, and now I get to carry its story forward. It’s not just an ac cessory, it’s a piece of art that makes me feel connected to a time when elegance was crafted to last.Wearing it, I felt wrapped in a legacy of true, effortless grace... (Est. €8,000-9,000)

Lot 46 and 50. Here’s the secret, these two vintage diamond bracelets combined together are everything. If you stack them with a long, simple black dress, you’ll get that effortless Amal Clooney vibe. Somehow, wearing two together makes it feel modern and a little edgy. It’s the kind of look that says, “I didn’t try too hard,” but still has everyone looking. Perfect for an evening where you want to feel like a total powerhouse without overdoing it. Just keep everything else simple, let the bracelets do the talking. (Est 6,000-7,000 & 10,000-15,000)

Lot 45. This oversized Art Deco blue aquamarine ring transports me straight to the Côte d’Azur summer evenings, warm, golden light, laughter in the air, and that carefree elegance. The rich blue stone sparkles like the Mediterranean at dusk, perfectly capturing those moments in flowy caftans, where every detail is effortlessly glamorous, from the polished waves of my hair to the joy in the air. It’s not just a ring; it’s a slice of endless summer and all its beautiful memories. (Est 7,000-9,000)

Lot 55. This big, chunky retro bracelet is the ultimate in cool, timeless style. With its bold, substantial links and unmistakable glow of solid gold, this bracelet commands attention while exuding vintage charm. It’s a piece that doesn’t just follow trends, it defies them. Whether worn on its own or stacked, this tank bracelet is a statement of confidence, and I would pair with jeans and crisp white shirt any day or for a cocktail soiree with a little black dress.(Est 6,500-7,500)

Lot 79. FRED PARIS.This Golden Necklace is a brilliant blend of versatility and elegance. Its removable pendant lets you seamlessly transition from day to night—wear it alone for a refined, understated look during the day, then add the pendant for an extra touch of glamour in the evening. The choker’s sleek golden design is both modern and timeless, hugging the neck in a way that feels effortlessly chic. With the pendant on, it becomes a bold, eye-catching piece, perfect for special occasions. This necklace is like having two pieces in one, giving you options for every moment. (Est. €6,000-7,000)

Lot 84. Van Cleef & Arpels.Once you put these coral earrings on, you’re not just accessorising; you’re transforming. As I was trying them, I also kept calling them “the mini facelift”. They change the whole face demeanour. They also exude such elegance and intrigue that everyone will stop and wonder, “Who is she?” These earrings aren’t just jewellery; they’re a mystery, an allure, and an unforgettable first impression. (Est. €22,000-28,000)

Lot 139. Bulgari. Where do I even be gin with this one. this necklace is pure mag ic. It’s made of these dainty little pearls, but then there’s this incredible sapphire clasp that just steals the show. Honestly, it’s the kind of piece that makes you feel like royalty the sec ond you put it on, like you’re stepping into some timeless, glamorous world.There’s just something about it that’s so effortlessly ele gant, the kind of sophistication that feels rare and totally unforgettable. (Est. €14,000-18,000)

Lot 85. Bulgari. This Bulgari pendant necklace, with its rutile quartz centrepiece reminiscent of a vintage perfume bottle, feels like wearable art. The stone shimmers hypnotically, capturing and reflecting light in a way that’s both alluring and bewitching. It’s a piece that doesn’t just accessorise, it creates a mood, making you feel impossibly chic and mysteriously nonchalant, as if you carry the essence of a beautiful fragrance around your neck. (Est. €4,000-5,000)

Lot 169. Cartier. Owning a Cartier Panthère ring is not just about having a piece of jewellery; it’s about embracing a legacy. The panther has been a symbol of the brand since the 1910s, representing strength, sensuality, and independence. For anyone who appreciates Cartier’s heritage and the exclusivity of discontinued items, this ring is a must-have. (Est 18,000-22,000)

Lot 207. This exquisite 18-carat white gold cuff is more than a bracelet, it’s a glimpse into a midnight garden. Black enamel sets a striking contrast against brilliant diamonds, forming mysterious flower motifs that feel like blooms touched by moonlight. The sparkle of each diamond petal catches the light like dew glistening on petals under a starlit sky. I could stare forever in its beauty that captured the essence of a secret garden and invites you into its magic. Add to almost any outfit and see it being transformed instantly.

(Est. €9,000-11,000)

Lot 258. Gold diamond hoops are a game-changer. They have this magical way of catching the light, and the moment you put them on, they brighten up your whole face. The warm glow of gold combined with the sparkle of diamonds is just unbeatable, it’s like an instant radiance boost. These hoops are beautiful in a way that feels both classic and modern, so they work just as well with a casual look as they do with something dressy.They’re the kind of earrings that make you look like you’re glowing, no extra effort needed.

(Est. €4,000-5,000)

Lot 161. Van Cleef & Arpels. This solid gold bracelet with diamonds is a pure understated luxury. Its exceptional craftsmanship is evident in every detail, from the flawlessly polished gold to the perfectly set diamonds that add just the right amount of sparkle. It’s glamorous without being over the top, which makes it ideal for everyday wear.This bracelet brings an effortless elegance to any outfit, whether you’re dressed up or keeping it casual. It’s the kind of piece that feels luxurious and special, yet versatile enough to become a staple you’ll never want to take off.!

(€12,000-18,000)

Lot 111. I love this brooch because it embodies the same artistry I seek in perfumery: the ability to blend unique elements into a harmonious whole. Like a bouquet in a bottle, it reminds me of how precious ingredients come together to create something beautiful and timeless. I would most likely wear this every day. (Est. 3,000-4,000)

HERMÈS: A SILVER ‘MOMBASA’ TORQUE NECKLACE

The torque style collar designed of polished 925 silver, signed Hermes, with maker’s mark for ‘Emile Hermes’, French assay marks, with maker’s case, length approximately 37.7cm, inner diameter approximately 11cm

€ 500 - 700

ROBERTO COIN: A DIAMOND AND RUBY ‘LOVE IN VERONA’ BANGLE

The polished bangle highlighted with brilliant-cut diamonds to the front, accented with a circular-cut ruby on clasp and within interior, mounted in 18K gold, signed Roberto Coin, with photocopy of invoice fromWeir & Sons, retailed for €6,090.-, dated January 31st 2024, with maker’s case, inner diameter 5.8cm

€ 2,000 - 3,000

CARTIER: A TRINITY ‘MUST DE CARTIER’ RING

Composed of three polished interlocking bands in either yellow, rose or white gold, in 18K gold, signed ‘Les Must de Cartier’, with maker’s mark, ring size I (EU size stamped 51)

€ 500 - 700

TIFFANY & CO.: A DIAMOND ‘TIFFANY VICTORIA’ LINE BRACELET, 2008

Composed of a continuous line of brilliant-cut diamonds within claw-setting, finishing with a marquise-cut diamond cluster to the clasp, mounted in platinum, signed T&Co., English hallmarks for London 2008, diamonds approximately 4.00cts total, with maker’s case and outer box, length 17.5cm

€ 2,000 - 3,000 5

A BANGLE BRACELET

Of hinged slightly tapered polished design, in platinum and gold, English hallmarks for London 2001, retailed by and with case by Asprey & Garrard London, inner circumference 16.5cm

€ 1,200 - 1,800

Accompanied by an insurance valuation, dated 13th February 2002, from Asprey & Garrard London.

TIFFANY & CO.: A PAIR OF DIAMOND ‘CIRCLET’ DROP EARRINGS, 2008

Set throughout with brilliant-cut diamonds, mounted in platinum, signed Tiffany & Co., English hallmarks for London 2008, accompanied with its insurance valuation from Tiffany & Co. dated 2008, with maker’s case, length 2.2cm

€ 2,000 - 3,000

CARTIER:

A PINK SAPPHIRE AND DIAMOND ‘MÉLI MÉLO’ RING, CIRCA 2002

The knife-wire band set with marquise, oval and pear-shaped pink sapphires, highlighted with three brilliant-cut diamonds, mounted in platinum, signed Cartier, numbered, French assay mark, with maker’s case, accompanied with a certificate of authenticity from Cartier, ring size J¼ (EU size stamped 50)

€ 1,200 - 1,800

CARTIER: A SAPPHIRE AND DIAMOND ‘MÉLI MÉLO’ RING, CIRCA 2002

The knife-wire band set with marquise and oval-shaped sapphires accented with brilliant-cut diamonds, with-

The continuous line of alternating pear, oval and rectangular-shaped sapphires accented with brilliant-cut diamonds, with knife-wire connectors, mounted in 18K gold, signed Cartier, numbered, with maker’s mark ‘SAPB’ for Jean-Pierre Brun, with maker’s case, with copy of invoice from Cartier dated 2002, retailed for €8,500), length 17.7cm

€ 3,000 - 4,000

CARTIER: A DIAMOND ‘MÉLI MÉLO’ RING, CIRCA 2002

The knife-wire band set with marquise, oval and brilliant-cut diamonds, mounted in platinum, signed Cartier, numbered, with maker’s case, with copy of invoice from Cartier dated 2002, retailed for €11,560), ring size EU stamped 48

€ 2,000 - 3,000

A DIAMOND SINGLE-STONE RING

Set with a brilliant-cut diamond weighing approximately 2.20cts within a six-claw setting, between baguette-cut diamond shoulders, mounted in 18K gold, remaining diamonds approximately 0.40ct total, ring size J; together with a plain platinum hoop, ring size I¾

€ 10,000 - 15,000

MARGHERITA BURGENER: A PAIR OF DIAMOND AND TITANIUM EARRINGS

Each spiralled open hoop, highlighted with single-cut diamonds, mounted in 18K gold and grey titanium, diamonds 0.46ct total, signed Margherita Burgener, with maker’s mark ‘MB’, Italian registry mark, with maker’s case, length 2cm

€ 1,000 - 1,500

* Please note that this lot is sold without a reserve

A PAIR OF DIAMOND PENDENT EARRINGS

Set with pear-shaped diamonds weighing respectively approximately 2.38cts & 2.45cts, suspending from a brilliant-cut diamond, mounted in 18K gold, remaining diamonds approximately 0.60ct total, length 1.8cm

€ 8,000 - 12,000

14 A DIAMOND SINGLE-STONE RING

The brilliant-cut diamond weighing 2.58cts within a six-claw setting, mounted in platinum, French assay mark, ring size R

€ 15,000 - 20,000

Accompanied by a report from the HRD laboratory in Antwerp, stating that the diamond is natural, 2.58cts, G colour, VS2 clarity. Report number 230000053559, dated April 14th 2023.

A GROUP OF LATE 19TH CENTURY GEM-SET, ENAMEL, CULTURED PEARL AND DIAMOND HAT PINS; TOGETHER WITH A DIAMOND AND CULTURED PEARL BROOCH

Comprising; five hats pins, either set with a cultured grey pearl, a moon and star motif set with cultured pearls, horseshoe motif set with circular-shaped sapphires and old-cut diamonds, a scrolled foliate motif centring an old-cut diamond, scrolled snaked applied with blue guilloché enamel, with rose-diamond eyes and suspending a drop-shaped orangy-pink agate bead from its mouth and a moon and star barrel brooch set with old-cut diamonds and a cultured pearl, in silver and gold, four pins with fitted cases, length of pins 6.5, 6.7, 5.6, 7.2, 8.8cm, length of brooch 4cm

€ 500 - 700

A LATE 19TH CENTURY DIAMOND PENDANT/ BROOCH

The six-rayed star set throughout with old brilliant, single and rose-cut diamonds, with knife-wire detailing, with similarly-cut diamond bale suspending from a fine cable-link chain, mounted in silver and gold, chain in platinum, diamonds approximately 2.90cts, with velvet fitted case, brooch length 4.2cm

€ 1,200 - 1,800

A LATE 19TH CENTURY OPAL AND DIAMOND BAR BROOCH, CIRCA 1890

The bar brooch, embellished with a stylised bee with circular-cut opal cabochons for abdomen and thorax, the wings decorated with old cushion and rose-cut diamonds, with similarly-cut diamond eyes, to a shamrock terminal with similar stones, mounted in silver and gold, diamonds approximately 1.00ct total, width 6.2cm

€ 1,200 - 1,800

A LATE 19TH CENTURY AND DIAMOND BROOCH

Of crescent moon design, set with circular-shaped sapphires and European-cut diamonds, mounted in silver and gold, length 3.2cm

€ 800 - 1,200

A LATE 19TH CENTURY DIAMOND BROOCH, CIRCA 1890

Designed as an insect, with old cushion and rose-cut diamond body and wings, with circular-cut ruby cabochon eyes, mounted in gold, diamonds approximately 1.60ct total, length 2.2cm

€ 700 - 900

A 19TH CENTURY DIAMOND BUCKLE BROOCH

Modelled as a stylised buckle, the oval-shaped diamond frame with wrapped around snake, set with old cushion and single-cut diamonds throughout, with knife-wire prongs accented with a pearl, mounted in silver and gold, diamonds approximately 1.15cts, with case by ‘Gowland Bros, 48 Cornhill’, length 3.3cm, width 2.2cm

€ 600 - 800

In the early 19th Century in Britain, serpent jewellery was elevated to new heights when Prince Albert presented Queen Victoria with the first ever engagement ring as a symbol of his eternal love. The Royal engagement launched the popularity of the serpent as the dominant motif on rings, brooches and necklaces in the 1840s.

A LATE 19TH CENTURY DIAMOND BROOCH, CIRCA 1890

The twelve-rayed star set throughout with old and rose-cut diamonds, mounted in silver and gold, diamonds approximately 1.90cts total, length 4.3cm

€ 800 - 1,200 22

A LATE 19TH CENTURY ONYX AND RUBY BROOCH

Of circular openwork embossed design, centring a square-shaped polished onyx with a pyramidical motif set with oval and cushion-shaped rubies, further enhance with quarterly triangular-shaped motifs of similar design, mounted in 18K gold, length 4cm

€ 800 - 1,000

A LATE 19TH /EARLY 20TH CENTURY RUBY AND DIAMOND BANGLE BRACELET

The hinged bangle set to the front with graduated oval and cushion-shaped rubies, between old-cut diamonds, mounted in 9K gold, with case, inner circumference 16.5cm

€ 2,500 - 3,500 24

A LATE 19TH CENTURY EMERALD AND DIAMOND PENDANT BROOCH, CIRCA 1890

Designed as a stylised scrolled bow, set with rose-cut diamonds and square-shaped emeralds, suspending two foliate suspensions, accented with circular-shaped emeralds and rose- and old-cut diamonds, each terminating with an oldcut diamond weighing approximately 1.20 and 1.05cts, to a central line, claw-set with an old-cut diamond and a rectangular-cut emerald weighing approximately 1.60cts, mounted in silver and gold, length 7.8cm

€ 4,000 - 5,000

A LATE 19TH CENTURY DIAMOND BROOCH, CIRCA 1890

Of openwork circular design, set with graduated old-cut dia monds, mounted in silver and gold, diamonds approximately 3.00cts total, with case, width 3.1cm

€ 1,500 - 2,000

€ 1,200 - 1,800

A LATE 19TH CENTURY PEARL AND DIAMOND BROOCH

Of horseshoe design, set with graduated pearls and seed pearls interspersed by graduated old-cut diamonds, mounted in gold, length 3.8cm

€ 500 - 700

AN EARLY 20TH CENTURY DIAMOND PENDANT NECKLACE/BROOCH, CIRCA 1900

The pendant of openwork floral and foliate design set through-

A 19TH CENTURY PEARL AND DIAMOND BROOCH

Of crescent design, set with rose-cut diamonds, highlighted with two clovers, one set with a trio of old-cut diamonds, the other with seed pearls, mounted in 18K gold, with maker’s mark ‘CB’, with Austrian-Hungarian hallmarks for 18K gold between 1867-1922,Vienna, length 3cm

€ 500 - 700

A LATE 19TH CENTURY AMETHYST AND SEED PEARL RING

The cushion-shaped amethyst within a multi-claw setting, to a seed pearl frame, mounted in 14K gold, to a later plain hoop, ring size K

€ 1,200 - 1,800

A MID-19TH CENTURY DIAMOND HAIR ORNAMENT,

CIRCA 1860

The three-pronged comb (possibly tortoiseshell), surmounted by an openwork curved motif, set with an undulating series of old brilliant, cushion and rose-cut diamonds within partial closed-back setting, mounted in silver and gold, diamonds approximately 6.50-7.00cts total, length 9.4cm

€ 8,000 - 9,000

AN ART NOUVEAU DIAMOND BROOCH, FRENCH, CIRCA 1890

The scrolling openwork brooch, set throughout with old brilliant and rose-cut diamonds throughout, mounted in silver and gold, diamonds approximately 1.30ct total, with maker’s mark, numbered 4406, French assay marks, width 4.2cm

€ 900 - 1,100

A CULTURED PEARL AND DIAMOND CHOKER NECKLACE

Centring an early 20th century openwork panel, with collet-set old-cut diamonds and dangling diamonds, each corner accented with similarly and rose-cut diamonds, suspended from seven rows of cultured Akoya pearls measuring approximately 3.94mm, mounted in 14K gold, diamonds approximately 3.50cts total, clasp stamped 750 and with a maker's mark 'FP', shortest length approximately 34.5cm

€ 3,000 - 4,000

A 19TH CENTURY DIAMOND AND AGATE LETTER OPENER

The polished agate letter opener highlighted with rose-cut diamonds in a foliate motif, in silver and gold, French assay mark, length 17.2cm

€ 1,800 - 2,200

A LATE 19TH CENTURY DIAMOND HAIR ORNAMENT, CIRCA 1895

The detachable three-pronged comb (possibly tortoiseshell), surmounted by a scrolling openwork, set throughout with old brilliant-cut diamonds with open-back setting, mounted in silver and gold, diamonds approximately 13.00cts total, signed ‘From NU? 1895’, length (excl. comb) 10.8cm

€ 10,000 - 15,000

* Prospective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to coral, and tortoiseshell. Accordingly, prospective purchasers should familiarize themselves with relevant customs regulations prior to bidding if they intend to import this lot outside of the EU.

36 AN ART NOUVEAU GOLD BRACELET, CIRCA 1910

Of openwork design, with series of floral and bird motifs throughout, in 18K gold, with indistinct maker’s mark, French assay marks, length 20cm

€ 3,500 - 4,500

A RARE ART NOUVEAU ENAMEL, OPAL AND DIAMOND RING, CIRCA 1900

Designed as two opposing dragonflies, wings set with plique-à-jour green enamel and eyes applied with brilliant-cut diamonds, joining at the centre by two collet-set marquise-shaped opal cabochons, mounted in 18K gold, with maker’s mark ‘Sté F (or E) L’ with a scale as a symbol between letters within horizontal lozenge, French assay mark, with case, ring size L

€ 5,800 - 6,200

For a photo of the ring please see plate 121 in the ‘Art Nouveau Jewelry’ book by Vivienne Becker, published in 1985.

AN EARLY 20TH CENTURY DIAMOND HAT PIN

The pin set with a horse in motion, applied with rose-cut diamonds, mounted in platinum, French import mark, length of horse 2.3cm, total length of pin 6.7cm

€ 450 - 550

AN EARLY 20TH CENTURY ONYX AND DIAMOND BOW BROOCH, CIRCA 1920

Of bow design, millegrain pavé-set with old and rose-cut diamonds, to calibré-cut onyx borders, centring an old brilliant-cut diamond, mounted in platinum and gold, width 5.8cm

€ 1,200 - 1,800

AN ART DECO JADE, ONYX AND DIAMOND JABOT PIN, CIRCA 1925S

Set with a carved jade figure depicting the Buddha, with a millegrain-set rose and single-cut diamond headdress, further accented with similarly-cut diamonds and polished onyx, guard set with a fancy-shaped onyx, mounted in 18K gold, partial/indistinct maker’s mark, numbered 7863, French assay marks, length 9cm

€ 2,500 - 3,500

AN EARLY 20TH CENTURY DIAMOND BROOCH, FRENCH, CIRCA 1890-1900

The elongated capital C set throughout with old single-cut diamond highlighted with an old brilliant-cut diamond on each terminal, between borders of millegrain setting, mounted in platinum and gold, diamonds approximately 1.30ct total, French assay mark, length 5cm

€ 800 - 1,000

AN EARLY 20TH CENTURY DIAMOND CLUSTER RING, FRENCH, CIRCA 1920

Centrally set with an old European-cut diamond weighing approximately 1.35cts, within a similarly-cut diamond frame, to tapering single-cut diamond shoudlers, with geometric pattern detailing to the gallery, mounted in platinum, remaining diamonds approximately 1.20cts total, partial maker’s mark, French assay mark, ring size N½

€ 3,000 - 4,000

AN EARLY 20TH CENTURY AQUAMARINE AND DIAMOND BROOCH

Of openwork geometric design, the pierced brooch set centrally with a rectangular-cut aquamarine, within an old brilliant and single-cut diamond surround, millegrain detailing, diamonds approximately 1.60ct total, width 4.3cm

€ 2,500 - 3,000

ATTRIBUTED TO CARTIER: A RARE ‘TUTTI FRUTTI’ GEM-SET &

DIAMOND CLIP BROOCH, CIRCA 1930

Of shield shape, the central carved sapphire foliate motif, within emerald bead borders, to an old European and single-cut diamond surround accented with baguette-cut diamonds, mounted in platinum and 18K gold, unsigned, French import marks, length 3cm, width 2.4cm

Accompanied with a certificate of authenticity from IAJA (The International Antique Jewellers Association) based in Paris, stating that the brooch is by Cartier NewYork, circa 1930. Report no. Xp1527 - 040124

Bernhard Berger is a renowned jewellery consultant who served as Director of Cartier Tradition for 22 years. He is widely regarded as one of the world’s leading authorities on the Maison Cartier.

is a distinguished jewellery consultant and expert, and a member of the Compagnie Nationale des Experts. Initially an antique art dealer, he has spent the past 20 years specialising in vintage Cartier jewels. He authored Cartier, Exceptional Objects with Alain Cartier and In The Beginning Was The Line: Cartier Art Deco Drawings 1910-1930. His extensive expertise has established him as an internationally recognised specialist on vintage Cartier jewellery.

With its origins in the Art Deco designs of the 1920s, Cartier's 'Tutti Frutti' style has become one of the most sought-after jewellery motifs to this day. The design is a distinct multicultural fusion of Eastern and Western influences. By combining colourful Indian carved stones with the period’s monochromatic trends, Cartier upheld their motto: "never copy, always create."

The term ‘Tutti Frutti’ was coined in the 1970s and copyrighted by Cartier in 1989. Its roots trace back to 1901, when Queen Alexandra of the United Kingdom commissioned Pierre Cartier to create a necklace to complement her colourful Indian gowns. This piece, adorned with rubies, emeralds, and sapphires, was a foundational influence for Cartier’s 'Tutti Frutti' jewellery. Jacques Cartier drew further inspiration during his 1911 trip to India for the Delhi Durbar, where he encountered Maharajas adorned in vibrant jewels. Captivated by their ornamentation, Cartier sourced the most exquisite gems and antiquities to be sold from the London branch to the European elite. By 1925, “Art Deco” was officially recognized at the Paris Exposition des Art Décoratifs et Industriels Modernes. The Cartier brothers emerged as trendsetters; their designs blending Western

clean lines with Eastern carved gems and colourful beads were heralded as a celebration of global cultures and creativity. Initially referred to as the “foliage” line or “pierres de couleur,” these pieces featured carvings of flowers and leaves, with many stones varying in quality and colours. Their popularity surged after the Crash of 1929, signalling the public’s desire for vibrancy and novelty.

Throughout the 1920s and 1930s, 'Tutti Frutti' designs flourished, inspiring jewellers across Europe and America. Notable figures like Daisy Fellowes commissioned the exquisite “Collier Hindou” necklace in 1936, while Marjorie Merriweather Post requested a pendant with Mughal emeralds. These commissions elevated the style and its popular legacy further.

As World War II approached, jewellery design shifted from the delicacy of Art Deco to the boldness of the Retro period. Nevertheless, Cartier's timeless 'Tutti Frutti' creations endure, remaining coveted by collectors today. Each piece tells a story of cultural fusion and artistic innovation, embodying the prestige of the iconic Cartier house.

A

FINE ART DECO AQUAMARINE AND DIAMOND COCKTAIL RING, CIRCA 1925-30

The rectangular-cut aquamarine weighing approximately 31.00cts within a four-claw setting, between tapering shoulders of baguette and brilliant-cut diamonds with millegrain detailing, to a pierced geometric decoration gallery, mounted in platinum, diamonds approximately 1.50cts total, ring size L

€ 7,000 - 9,000 46

AN ART DECO DIAMOND BRACELET, FRENCH, CIRCA 1920

Composed of a series of openwork geometric convex plaques set with old European, single and baguette-cut diamonds connected by similarly-cut diamond spacers, mounted in platinum and 18K gold, diamonds approximately 6.00cts total, with partial maker’s mark ‘S’, numbered 0371, French assay marks, length 17.8cm

€ 6,000 - 7,000

AN ART DECO SAPPHIRE AND DIAMOND DRESS RING

The rectangular cut-cornered sapphire weighing approximately 7.36cts, within a double-claw setting, to brilliant and step-cut diamond shoulders, the gallery decorated with geometric detailing, mounted in 18K gold, diamonds approximately 1.50ct total, ring size J½

€ 15,000 - 20,000

Accompanied by a report from CISGEM laboratory in Italy, stating that the natural sapphire weighing 7.36ct, is of Sri Lankan origin, with no indications of heating. Report no. 23875, dated January 13th 2023.

AN EARLY ART DECO EMERALD AND DIAMOND DRESS RING, CIRCA 1920

The cut-cornered rectangular-cut emerald, weighing 1.36cts, within a single-cut diamond surround accented with four calibré-cut emeralds, mounted in platinum, partially numbered 024410?4, French assay mark, ring size L¼

€ 8,500 - 9,500

Accompanied by a report from CGL laboratory in France, stating that the natural emerald weighing 1.36cts, is of Colombian origin, with minor oil. Report number CGL21146, dated January 2020.

A RETRO DIAMOND DRESS RING, CIRCA 1940

Of odeonesque tank design, set with brilliant, single, rose and European-cut diamonds, mounted in 18K gold and platinum, French assay marks, ring size J½

€ 3,000 - 4,000

AN IMPORTANT DIAMOND BRACELET, CIRCA 1940

Of openwork design, composed of three panels centring marquise-shaped diamonds accented with European and baguette-cut diamonds, with similarly-cut diamond connectors, mounted in platinum, diamonds approximately 15.00cts total, length 17.9cm

€ 10,000 - 15,000

AN EARLY 20TH CENTURY EMERALD AND DIAMOND BROOCH

Of openwork scallop-design, centring a millegrain-set circular-shaped emerald, within a foliate surround set with old-cut diamonds and enhanced with three pearls, mounted in platinum, length 5.1cm

€ 1,200 - 1,800

A PAIR OF SAPPHIRE AND DIAMOND CLUSTER EARRINGS

Each oval-shaped sapphire within a rose-cut diamond frame, mounted in 18K gold, length 1.3cm

€ 800 - 1,200

AN EARLY 20TH CENTURY EMERALD AND DIAMOND RING

The square mount set with a rectangular-shaped emerald, within a scalloped frame set with old European-cut diamonds, to a plain band, mounted in platinum, diamonds approximately 0.50ct total, with case from ‘Jewellers & Silversmiths Skinner & Co. 10 old Bond Str, W1’, ring size L1/3

€ 1,000 - 1,500

AN EARLY 20TH CENTURY EMERALD AND DIAMOND DRESS RING

The rectangular cut-cornered emerald weighing 4.03cts within a four-claw setting, between millegrain European and single-cut diamond shoulders, mounted in platinum, ring size Q

€ 20,000 - 25,000

Accompanied by a report from the AGL laboratory in America, stating that the natural emerald weighing 4.03cts, is of Colombian origin, with minor oil. Report number 1117016, dated August 17th 2021.

Of tank bi-coloured design, composed of convex polished links, alternating with raised connectors, in 18K gold, with maker’s mark for Gross, French assay marks, length 18.5cm

€ 6,500 - 7,500

Gross is a Parisian workshop founded in 1860 by August Gross. They were originally chain makers and have worked and produced for Cartier amongst others.

TIFFANY & CO.: A RETRO SAPPHIRE AND DIAMOND BROOCH, CIRCA 1950

Of floral cascade-design, the engine-turned heart-shaped leaf motifs set with brilliant-cut diamonds, with stems accented with circular-shaped sapphires, mounted in 14K gold, signed Tiffany & Co., length 4.3cm

€ 1,200 - 1,800

A GOLD RETRO BRACELET, FRENCH, CIRCA 1940

A GOLD RETRO BRACELET, FRENCH, CIRCA 1940

Of tank design, composed of closed-back concave, convex and triangular-shaped polished motifs, in 18K gold, French assay marks, length 19cm

€ 8,500 - 9,500

The circular-shaped engine turned box with stirrup handle, to edges engraved with Greek pattern design, in 9K gold, maker’s mark ‘JC’ for Jacques Cartier, English hallmarks, length 3cm

€ 400 - 600

* This lot is sold without a reserve

CARTIER: A 9K GOLD PILL BOX, 1945

PAUL LACKRITZ: A RETRO DIAMOND AND RUBY BROOCH, CIRCA 1945-50

Of ribbon and scrolled design, set with brilliant-cut diamonds and calibré-cut (possibly) synthetic rubies, mounted in 14K gold and platinum, diamonds approximately 4.00cts total, signed Lackritz, length 5.8cm

€ 3,500 - 4,500

Paul N. Lackritz, a distinguished name in American jewellery, opened his first store on Milwaukee Avenue, Chicago, in 1898. Lackritz was born in Russia in 1872, and immigrated to the U.S. in 1892, where he quickly established himself as a skilled jeweller. His expertise in craftsmanship and design extended beyond gold and platinum jewellery to include silver serving pieces, watches, and eyewear, with his signature style blending influences from the Arts and Crafts, Art Deco, Retro Deco, and Mid-Century Modern movements.

Pieces from Lackritz’s broad oeuvre are highly sought after, celebrated for their exceptional craftsmanship and unique design. After his passing in 1941, his son Harry continued to run the business until its close in the early 1950s.

A RETRO RUBY AND DIAMOND RING, CIRCA 1945

The sculpted mount set with calibré-cut synthetic rubies accented with sin gle-cut diamonds within millegrain, mounted in 18K gold, ring size M½

€ 1,000 - 1,500

MAUBOUSSIN: A RETRO GEM-SET AND DIAMOND JARRETIÈRE BRACELET, CIRCA 1950

Of articulated textured design, composed of hexagonal links, enhanced with circular-cut emerald and rubies, to a lozenge-shaped clasp with similarly-cut rubies and brilliant-cut diamonds, with ropetwist detailing, mounted in 18K gold, signed Mauboussin Paris, with indistinct maker’s mark, French assay mark, length 19.7cm

€ 6,500 - 7,500

A PAIR OF NOVELTY BROOCHES, ITALIAN, CIRCA 1960

Each textured gold whimsical ducks, with circular-cut cultured pearl or coral tummy and circular-cut ruby eyes, mounted in 18K gold, brooches connected with a gold security chain, Italian registry mark between ‘1944-68’ for 567MI, length for each 2.9cm

€ 1,200 - 1,800

A CITRINE AND DIAMOND BRACELET, CIRCA 1955

The fancy-link chain, highlighted with rectangular-cut citrines with rose-cut diamond accents, mounted in 18K gold and platinum, length 18.9cm

€ 1,500 - 2,000

A MID-20TH CENTURY GOLD JARRETIÈRE BRACELET, FRENCH, CIRCA 1955

Composed of a woven strap with rope-twist borders, clasp of scrolled polished design with ropetwist detailing, in 18K gold, partial/indistinct French maker’s mark, French assay mark, longest length once closed 18.5cm, total length 23cm

€ 5,000 - 6,000

A PAIR OF DIAMOND BROOCHES, CIRCA 1950

Each designed as a bi-coloured pierced starfish, centring a crescent moon motif, set with single-cut diamonds, mounted in 18K gold and platinum, French import marks, length 4.5cm

€ 1,500 - 2,000

A RETRO GOLD BRACELET, ITALIAN, CIRCA 1950

The wide articulated band, composed of a series of triangular-shaped links, in 18K gold, Italian registry mark between 194468’, length 19.3cm, width 3.9cm

€ 5,000 - 6,000 67

A GEM-SET NOVELTY BROOCH, FRENCH, CIRCA 1960

The whimsical duckling, of textured gold design, the belly centring a turquoise cabochon and eye set with a cabochon red stone (ruby or garnet), mounted in 18K gold, with indistinct maker’s mark, French assay marks, length 3.3cm

€ 1,200 - 1,800

AN ENAMEL AND RUBY NOVELTY BIRD BROOCH, ITALIAN, CIRCA 1965

Designed as a stylised toucan, beak applied with red guilloché enamel and feathers applied with white enamel, circular-cut ruby eye detail, to a textured wing and tail, mounted in 18K gold, indistinct Italian registry mark between 1944-1968, possibly for Lunati, length 5cm

€ 1,500 - 2,000

GEORGES

LENFANT: A GOLD AND SAPPHIRE CHARM BRACELET, CIRCA 1965

Composed of fancy reeded links with circular hoop connectors, suspending a charm pendant of similar style accented with a collet-set circular-cut sapphire cabochon, mounted in 18K gold, with maker’s mark ‘GL’ for Georges Lenfant, French assay mark, length 19.3cm

€ 6,500 - 7,500

A DIAMOND BROOCH, FRENCH, CIRCA 1950

Of bow design, with scrolled detailing, set with marquise, European, single and tapered baguette-cut diamonds, mounted in platinum and 18K gold, diamonds approximately 3.50-4.00cts total, French assay marks, length 4.7cm

€ 5,500 - 6,500

AN EMERALD AND DIAMOND DRESS RING

The cut-cornered rectangular-cut emerald, within an old and single-cut diamond surround, mounted in platinum, ring size I½

€ 10,000 - 15,000

Accompanied by a report from AGL laboratory in America, stating that the natural emerald measuring approximately 9.1 x 6.4 x 3.32mm, is of Colombian origin, with minor oil. Report number 8092520, dated September 30th 2024.

A DIAMOND ‘TOI ET MOI’ DRESS RING & A PAIR OF DIAMOND EARSTUDS

CONVERTIBLE

INTO A

PAIR OF DIAMOND PENDENT EARRINGS

Ring: of cross-over design, set with two brilliant-cut diamonds weighing 3.05cts and 3.07cts, between tapered baguette-cut diamond shoulders, mounted in 18K gold, ring size L½; Earstuds: each set with a brilliant-cut diamond weighing 0.99ct and 1.00ct, within multiple-claw setting, mounted in 18K gold

Each principal diamond mounted on screw fitting to be set on a pair of pendent earrings

€ 50,000 - 60,000

Accompanied by a reports from the IGI laboratory in Antwerp stating that:

One natural diamond weighing 3.07cts, is I colour, VVS2 clarity. Report no. 629460667, dated August 28th 2024

One natural diamond weighing 3.05cts, is J colour, VVS2 clarity. Report no. 629460662, dated August 28th 2024

One natural diamond weighing 0.99ct, is K colour, SI2 clarity. Report no. 629460658, dated August 28th 2024

One natural diamond weighing 1.00ct, is J colour, VS1 clarity. Report no. 629460660, dated August 28th 2024

A PAIR OF TURQUOISE AND DIAMOND EARCLIPS, CIRCA 1960

Each set with an oval-shaped cabochon turquoise, framed by old-cut diamonds, mounted in 18K white gold, diamonds approximately 5.00cts total, length 2.5cm

€ 4,000 - 5,000

A TURQUOISE AND DIAMOND RING, CIRCA 1960

Centring a cabochon turquoise weighing approximately 13.00cts, framed by old-cut diamonds, within a raised gallery, mounted in 18K gold, diamonds approximately 2.50cts total, ring size N¾

€ 2,000 - 3,000

A DIAMOND SINGLE-STONE RING

The brilliant-cut diamond weighing approximately 5.30cts, within a six-claw setting, to a plain hoop, mounted in 18K gold, with maker’s mark ‘JM’, ring size O

€ 25,000 - 35,000

A 9K GOLD NECKLACE

The chain necklace composed of textured gold circular links with X-shaped connectors, in 9K gold, length approximately 60cm

€ 1,500 - 2,500

TIFFANY & CO: AN 18K GOLD BROOCH, CIRCA 1960

Of textured naturalistic leaf design, in 18K gold, signed Tiffany & Co, with maker’s case ‘Tiffany & Co. NewYork’, length 4.2cm

€ 800 - 1,200

A PAIR OF EMERALD AND DIAMOND EARSTUDS

Each of cluster design, centring a square-shaped emerald, within a scalloped border, millegrain-set with brilliant-cut diamonds, mounted in 18K gold, with English hallmarks for London 1970, with case from ‘Jewellers & Silversmiths Skinner & Co. 30, Old Bond Str.W1’, length 1.2cm

€ 800 - 1,200

FRED PARIS: A DIAMOND PENDANT NECKLACE, CIRCA 1970

The articulated textured gold chain highlighted with brilliant-cut diamonds to the front, suspending a detachable matching pendant, mounted in 18K gold, signed Fred Paris, with partial maker’s mark ‘?+oval egg+M’ possibly for Roger Mathon, French assay marks, with gold security chain, necklace length 41cm, pendant length 4.9cm

€ 6,000 - 7,000

Roger Mathon was a workshop located in Paris, who has worked for Van Cleef & Arpels, Fred Paris, amongst others.

VAN CLEEF & ARPELS: A PAIR OF CORAL EARCLIPS, CIRCA 1965-1970

Each textured gold cluster embellished with coral beads with beading detailing, mounted in 18K gold, signedVCA, numbered, with maker’s mark ‘CB’ for Camille Bournadet, French assay marks, length 2.3cm

€ 7,500 - 8,500

Camille Bournadet’s workshop was located in Paris and is known to have worked for Cartier,Van Cleef & Arpels, Lacloche amongst others.

* Prospective buyers are advised that several countries prohibit the importation of items containing materials from endangered species, such as coral.Therefore, buyers should familiarise themselves with relevant customs regulations before bidding if they plan to import this lot into another country.

KUTCHINSKY:

A DIAMOND NECKLACE, 1963

Of articulated textured gold design, the frontispiece highlighted with a series of brilliant-cut diamonds, mounted in 18K gold, with maker’s mark for Kutchinsky, English hallmarks for London 1963, length approximately 41.5cm

€ 8,500 - 9,500

KUTCHINSKY:

A GOLD BRACELET, 1963

Designed as a coil of textured gold links with flattened backs, in 18K gold, with maker’s mark for Kutchinsky, English hallmarks for London 1963, length 18.6cm

After fleeing Poland with his family, Hirsch Kutchinsky founded the Kutchinsky business in London’s East End in 1893. Before leaving Poland, Kutchinsky and members of his family had worked as jewellers in the court of Ludwig of Bavaria, and the brand quickly garnered a reputation for exquisite craftsmanship and whimsical design.

The easing of wartime restrictions in the vibrant post-war era of the late 1940s and 1950s was celebrated by a marked return to luxury and creative expression.This character became a hallmark feature of the Kutchinsky brand, and the name grew to be synonymous with flamboyant pieces adorned with marquise and baguette diamonds,

often featuring playful animal motifs that captured the imagination of collectors.

Among its most celebrated masterpieces is the Argyle Library Egg, a stunning homage to the legendary Fabergé eggs, standing more than 2 feet tall, crafted in 18K gold, and studded with 24,000 pink diamonds.

Renowned as “the David Webb of London,” Kutchinsky designs stand out for their unique artistry and luxurious appeal. Each piece is not just jewellery but a narrative of creativity and individuality, distinguishing itself from mass-produced items and enhancing its collectability.

GEORGES LENFANT FOR O.J PERRIN: A COLLECTIBLE BI-COLOURED GOLD BRACELET, CIRCA 1970

Composed of a series of alternating bi-coloured textured gold links, in 18K white and yellow gold, signed O.J Perrin, with maker’s mark ‘GL’ for Georges Lenfant, French assay marks, length 18.7cm

€ 12,000 - 14,000

Nestled in the heart of Paris at the historic Place Vendôme, O.J. Perrin has long been recognized as a premier destination for exquisite jewellery. Since its founding in 1961, the brand has attracted a diverse clientele of celebrities, politicians, and discerning collectors from around the globe, such as Charles Aznavour and Mireille Mathieu. With a deep commitment to timeless sophistication and modern elegance, O.J. Perrin’s collections epitomize the very essence of Parisian luxury.

The Maison’s signature pieces are informed by an exceptional understanding of contemporary design; defined by their graceful lines, each piece is a seamless blend of modern innovation with a classic aesthetic. Whether creating original pieces or reimagining cherished heirlooms, O.J. Perrin has become renowned for its ability to personalize jewellery to reflect the individuality of its clients. This bespoke approach has helped elevate O.J. Perrin pieces into a symbol of exclusivity in the world of fine jewellery. This dedication to craftsmanship and artistry echoes the legacies of other prominent Parisian jewellers, such as Georges Lenfant, whose story also began near the iconic Place Vendôme. Born into the world of French jewellery design, Georges Lenfant quickly mastered his trade, undertaking apprenticeships and studying jewellery design in both Paris and abroad. In 1900, he established his own workshop at 47 rue des Petits-Champs, just minutes away from the jewellery houses of Place Vendôme and Rue de la Paix. By 1903,

his exceptional work was already recognized, earning him a listing in the Revue de la Bijouterie, Joaillerie, Orfevrerie. Lenfant’s designs, celebrated for their creative brilliance and flawless execution, attracted attention from the leading jewellery houses of the day, including OJ Perrin, Cartier, Mellerio dits Meller, and Van Cleef & Arpels. Determined to establish his own identity, Georges created a maker's mark in 1909, ensuring his pieces stood apart.

In the period following World War II, Georges Lenfant continued to innovate, expanding further with the acquisition of Verger Frères. This partnership led to an exciting collaboration with Vacheron Constantin, producing exquisite timepieces and jewellery, including designs for Hermès. Jacques, who succeeded his father in the 1960s, infused the brand with a renewed focus on goldsmithing, creating beautifully textured pieces that celebrated the versatility of gold. One of his signature designs was the interlocking chain motif, which resulted in over 3,000 unique pieces, now considered some of the most iconic works of the Georges Lenfant legacy.

Much like O.J. Perrin, a pillar of Parisian luxury under the direction of Ralph Aljord, Georges Lenfant has built a lasting legacy in the world of fine jewellery. The two houses have collaborated in the past, creating exquisite pieces that combine elegant details with innovative design. These creations perfectly exemplify a commitment to exceptional craftsmanship, personalized design, and the seamless blending of timeless elegance with contemporary flair.

CLEEF &

A RARE PAIR OF CORAL AND DIAMOND EARCLIPS, CIRCA 1975

Of openwork scalloped design, each centrally set with circular-cut coral cabochons, within a brilliant-cut diamond frame, mounted in 18K gold, signed Van Cleef & Arpels, numbered, with maker’s mark ‘P&Fils’ for Pery & Fils, French assay marks, length 3cm

€ 22,000 - 28,000

VAN

ARPELS:

85

BULGARI: A QUARTZ PENDANT ON CHAIN, WCIRCA 1970

Composed of an oval-shaped rutile quartz cabochon within collet-setting, with reeded bale, suspending from a cable-link chain, mounted in 18K gold, signed Bvlgari, Italian registry marks, pendant length (including bale): 3.6cm, chain length 51cm

€ 4,000 - 5,000

BULGARI: AN ONYX AND DIAMOND BROOCH, FRENCH MADE, CIRCA 1970

Of stylised bow design, pavé-set with brilliant-cut diamonds, between borders set with baguette-cut diamonds and onyx, mounted in 18K gold, signed Bvlgari, numbered, with maker’s mark ‘P & Fils’ for Pery & Fils, French assay mark, with maker’s case, width 2.8cm

€ 3,000 - 4,000

86 A QUARTZ COCKTAIL RING

Set with an oval-shaped rutile quartz cabochon, within a scrolled textured gold naturalistic mount, mounted in 18K gold, ring size O

€ 1,200 - 1,800

AN ENAMEL AND DIAMOND DRESS RING

Of bombé design, the frontispiece set with brilliant-cut diamond highlighted with black enamel motifs, mounted in 18K gold, diamonds approximately 1.80ct total, ring size N

€ 1,500 - 2,000

GILBERT ALBERT: A GOLD AND DIAMOND ‘LES BILLES-BIJOUX’ PENDANT WITH GEMSTONE BEADS AND LEATHER NECKLACES

The interchangeable bead pendant of textured and polished organic design, accented with a brilliant-cut diamond, accompanied by rhodonite, hydrogrossular garnet, hematite, labradorite, malachite, unakite, rutile quartz, jasper chalcedony, agate chalcedony, tiger’s eye, agate chalcedony and sugilite together with six leather strap necklaces in pink, green, red, brown, purple and grey hues, pendant mounted in 18K gold, maker’s mark for Gilbert Albert, accompanied by brochures from Gilbert Albert, length of pendant 4.3cm, length of necklaces 41.5cm

€ 1,800 - 2,200

Gilbert Albert was born on September 30, 1930, in Geneva. Inspired by his father’s reverence for the natural world, Albert’s creative vision redefined the relationship between nature and adornment.

Albert’s design journey began early with him attending the esteemed School of Industrial Arts in Geneva. His exceptional talent caught the eye of Patek Philippe, and by the age of 25 he was working in Philippe’s workshop, where he revolutionized watch design. Breaking away from conventional forms, Albert introduced asymmetrical cases and sculptural aesthetics, creating iconic timepieces that transcended mere functionality. His groundbreaking “Ricochet” series, celebrated for its daring geometry, earned him three prestigious Diamonds International Awards during his tenure—recognition that solidified his status as a leading innovator in horology.

In 1962, Albert opened his own atelier, transforming the unconventional into the extraordinary with materials such as meteorites, fossilised bones, and the exoskeletons of scarab beetles. His philosophy was to preserve the inherent beauty of nature without alteration, a principle that infused his jewellery with an air of mystery and allure. Among his most iconic pieces is the innovative necklace with interchangeable beads, which affords its wearer a highly individualised expression of beauty. His work often featured the sacred beetle pattern, paying homage to ancient cultures that revered these creatures. His passing in October 2019 has been exceeded by the legacy Gilbert Albert left behind, with his creations highly sought after in auction houses worldwide, celebrated as masterpieces of both art and nature.

GEORGES

LENFANT FOR HERMÈS: A GOLD AND RUBY BROOCH, CIRCA 1970

Designed as a bird in flight, in textured gold with circular-cut ruby for eye, mounted in 18K gold, signed Hermès Paris, numbered, with partial maker’s mark for Georges Lenfant, French assay mark, length 4.2cm, width 3.7cm

€ 3,000 - 4,000

A DIAMOND SINGLE-STONE RING

The oval-shaped diamond weighing approximately 3.30cts within a four-claw setting, the shoulders pavé-set with brilliant-cut diamonds, mounted in 18K gold, French assay mark, ring size M½

€ 10,000 - 15,000

BULGARI: A GOLD AND STEEL BANGLE

The flexible steel bangle with polished gold links, in 18K gold and steel, signed Bvlgari, Italian registry mark, with maker’s case, inner circumference (flexible): 13.5cm

€ 2,500 - 3,500

CARLO WEINGRILL: A TRI-COLOURED GOLD BRACELET

Composed of three interlocking tubogas bands, in 18K yellow, white and rose gold, signedWeingrill, Italian registry mark ‘15VR’, inner diameter approximately 5.5cm

€ 6,500 - 7,500

A STAINLESS STEEL AND GOLD NECKLACE

Of bi-coloured design, composed of stainless-steel anchor-link motifs, to 18K gold oval-shaped hoop connector links, in stainless steel and 18K gold, with maker’s mark, French assay mark, length 51cm

€ 800 - 1,000

BULGARI: A PAIR OF GOLD AND EMERALD TUBOGAS EARRINGS, CIRCA 1990

Each of slightly tapered tubogas-link design, accented with squareshaped emeralds, mounted in 18K gold, signed Bvlgari, Italian registry mark, with maker’s pouch, length 2cm

€ 3,000 - 4,000

A SAPPHIRE, RUBY AND DIAMOND RING, CIRCA 1990

Centrally set with an oval-shaped sapphire cabochon and two similarly-cut rubies, accented with calibré-cut rubies, within a surround pavé-set with brilliant-cut diamonds, mounted in 18K gold, Italian registry mark, ring size N½

€ 1,500 - 2,000

POMELLATO: A PAIR OF GOLD AND SILVER CUFFLINKS

Each designed as a profile of a dog, with cable-link chain connector, to a circular plaque, mounted in 18K yellow gold and 925 silver, signed Pomellato, Italian registry mark, dog plaque profile length 1.8cm

€ 500 - 700

TIFFANY & CO.: A GEM-SET AND DIAMOND NOVELTY BROOCH

Designed as a stylised bee, its body set with circular-shaped sapphires, accented with a brilliant-cut diamond, with circular-cut ruby eyes, to reeded gold wings, mounted in 18K gold, signed Tiffany & Co., with maker’s case, length 2.2cm

€ 600 - 800

100

BULGARI: A CITRINE AND DIAMOND ‘CANDY’ BROOCH

Designed as a candy with wrapper centring a carved citrine, accented with brilliant-cut diamonds, mounted in 18K gold, signed Bvlgari, with Italian registry mark, with maker’s case, width 4.8cm

€ 1,200 - 1,800

102

CARTIER: A GARNET DRESS RING, 1993

The oval-shaped pyrope-almandite garnet weighing approximately 3.20cts, within a bombé mount, mounted in 18K gold, signed Cartier 1993, numbered, with maker’s mark ‘Sté LMD’, French assay mark, with maker’s case, ring size I (stamped with EU size 48)

€ 1,200 - 1,800

POIRAY: A CITRINE DRESS RING

The oval-shaped citrine cabochon within collet-setting, to polished bombé frame and buckle-type hoop, mounted in 18K gold, signed Poiray, with maker’s mark, French assay marks, ring size L

€ 800 - 1,000

101

VAN CLEEF & ARPELS: AN 18K GOLD PENDANT/ BROOCH ON CHAIN

The pendant of polished infinity loop design, suspended from a box-link chain, in 18K gold, both signed VCA, numbered, French assay mark, partial maker’s mark, pendant length 4.5cm, length of chain 65.5cm

€ 3,000 - 4,000

103

VAN CLEEF & ARPELS: A GOLD BROOCH, CIRCA 1970

Of openwork design, the textured gold heart, in 18K gold, signed VCA, numbered, with maker’s mark ‘AV’ for André Vassort, French assay mark, length 3.3cm

€ 3,500 - 4,000

104 A PAIR OF DIAMOND PENDENT EARRINGS

Of openwork design, each composed of graduated concentric hoops, pavé-set with brilliant-cut diamonds throughout and suspending from similarly-cut diamond surmounts, mounted in 18K gold, diamonds approximately 4.50cts total, length 4.5cm

€ 1,800 - 2,200

105 A DIAMOND PENDANT ON CHAIN

Of openwork design, composed of graduated concentric hoops, pavé-set with brilliant-cut diamonds throughout, to a similarly-cut diamond bale, suspending from a bead-link chain, pendant and chain mounted in 18K gold, diamonds approximately 4.00cts total, pendant length 5.9cm, chain length 45cm

€ 1,200 - 1,800

106 A DIAMOND PENDANT

The pendant of circular target design, centring a millegrain-set old-cut diamond cluster with scalloped borders, framed by brilliant-cut diamonds in square-shaped claw-mounts and scrolled gallery, suspended from a fancy-shaped motif similarly-set, accented with a fancy-shaped diamond, mounted in platinum, diamonds approximately 5.50cts total, length 5.8cm

€ 3,000 - 4,000

108

A DIAMOND ETERNITY RING

Composed of a continuous row of brilliant-cut diamonds, mounted in 18K gold, diamond weight stamped inside to be 2.73cts, ring size M½

€ 2,800 - 3,200

107 A PAIR OF DIAMOND CUFFLINKS

Each circular-shaped disc centring a brilliant-cut diamond, within a textured surround and polished border, in 18K white gold, with maker’s mark, French assay mark, Italian registry mark, length of discs 1.4cm, length of links 2.3cm

€ 600 - 800

109 AN EMERALD AND DIAMOND CLUSTER RING

The cut-cornered rectangular emerald, within a four-claw setting, to a brilliant-cut diamond frame, mounted in 18K gold and platinum, French assay marks, ring size O

€ 1,500 - 2,000

110 TABBAH: A PAIR OF DIAMOND EARCLIPS, CIRCA 1985

Of stylised ribbon bow design, each set with brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 4.50cts total, signed Tabbah, with maker’s mark ‘JA’, French assay marks, length 2.4cm

€ 2,000 - 3,000

Maison Tabbah seamlessly blends Western elegance with Oriental generosity, creating an aesthetic of purity and joy. Founded in the mid-19th century by Joseph Tabbah in Zahlé, its journey from exquisite silk to fine jewellery is steeped in craftsmanship.

Now in the heart of Beirut, the boutique reflects the belle époque charm, designed by French architect Albert Planque.This jewel box of serene luxury features intricate details, from the stunning chandelier to elegant arabesque windows.

The Tabbah family, now in its fifth generation, is dedicated to rarity and exclusivity, crafting unique pieces that resonate with the modern woman’s desire for sensuality and boldness. Each creation invites the wearer into a timeless legacy, where beauty is eternal.

111 A GEM-SET AND DIAMOND ‘GIARDINETTO’ BROOCH, ITALIAN

The flower basket set with a rectangular-shaped pierced and carved jade plaque, between brilliant-cut diamond set handles, flowers and leaves set with cultured pearls of white tint, oval-shaped yellow and blue sapphires, circular, cabochon, pear and marquise-shaped rubies, carved emeralds and old- and brilliant-cut diamonds, mounted in 18K gold, Italian registry mark, length 5.5cm, width 5cm

€ 3,000 - 4,000

112 AN 18K GOLD NECKLACE

Of bi-coloured design, composed of alternating polished scrolled and dropshaped motifs, in 18K gold, inner circumference 39cm

€ 4,500 - 5,500

113 AN 18K GOLD AND DIAMOND BRACELET

Of bi-coloured design, composed of alternating polished scrolled and drop-shaped motifs, eight drop-shaped motifs pavé-set with brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 2.40cts total, with maker’s mark, French assay mark, Italian registry mark, length 19cm

€ 3,500 - 4,500

114 LALAOUNIS: A PAIR OF SODALITE EARCLIPS

Each circular earclip set with a sodalite cabochon to the centre, within reeded detailing, mounted in 18K gold, with maker’s marks for Lalaounis, numbered H17, stamped ‘Greece’, with London import marks for 1987, French assay mark, length 2.5cm

€ 1,500 - 2,000

116 LALAOUNIS: AN 18K GOLD AND EMERALD NECKLACE

Composed of a woven chain of slightly flexible design, suspending two bull heads as terminals, each enhanced with a circular-cut emerald and with rope-twist detailing, to an adjustable barrel-shaped motif of similar detailing, in 18K gold, signed Lalaounis, numbered A21, with partial maker’s mark, French import assay marks, adjustable length, longest length 69cm

€ 1,800 - 2,200

115 LALAOUNIS: AN 18K GOLD AND SODALITE NECKLACE

The circular-shaped sodalite disc set with a motif depicting an ancient Greek vessel, suspended from a sodalite bead necklace with gold roundelle spacers, to a textured bead clasp, mounted in 18K gold, maker’s mark for Lalaounis, numbered A21, length 40.5cm

€ 1,000 - 1,500

117 AN ETRUSCAN REVIVAL GOLD AND LAPIS LAZULI BANGLE BRACELET

Of openwork hinged design, each opposing terminal set with a circular collet-set cabochon lapis lazuli with ropetwist detailing, bangle of textured and hammered design decorated with polished scrolled motifs, mounted in 18K gold, inner circumference 17cm

€ 3,500 - 4,000

118 ILLIAS LALAOUNIS: A SAPPHIRE AND DIAMOND BROOCH

Designed as a mythical sea creature, of textured and polished bi-coloured design, set with brilliant and single-cut diamonds, accented with circular-shaped sapphire eyes, mounted in 18K gold, signed Illias Lalaounis, maker’s mark, length 9.3cm

€ 3,500 - 4,000

Ilias Lalaounis was born in Athens in 1920, the third generation of a family of goldsmiths and watchmakers from Delphi. After completing his university studies, he joined his uncle’s jewellery firm, where he apprenticed as a goldsmith and honed the skills that would define his future as a master craftsman.

Amid the instability of World War II, Lalaounis took over the family business and began exploring the art of his ancestors, driven by a deep passion for history.

As Greece recovered from the war, Lalaounis’s vision took shape. He sought to revitalise Greek museum artifacts by transforming them into jewellery. Reviving ancient techniques, he introduced modern technology while focusing on educating his fellow craftsmen in forgotten skills such as granulation, filigree, hand-weaving, and hand-hammering. In 1957, he founded the Greek Jewellers Association and unveiled his first collection, the Archaeological Collection, which drew inspiration from Classical, Hellenistic, and Minoan-Mycenaean art. This fusion of modern jewellery with historical elements garnered international attention. After his uncle’s passing, Lalaounis established his own company, setting up headquarters on Karyatidon

Street, at the foot of the Acropolis.

Unlike many of his peers, who often preferred diamonds and large gemstones, Lalaounis discovered his passion for gold early in his career, referring to it as "the most human material." His collections, rich in 18- and 22-karat gold, were inspired by a wide range of cultures and historical periods, from prehistoric to Minoan art, as well as Persian, Byzantine, Chinese, and Tudor styles.

In the 1970s, Lalaounis continued to innovate, exploring new forms of expression influenced by nature, science, the intricate movements of cells, and celestial themes. As recognition of his work grew, so did his business, expanding across Europe, Asia, and America. He became the first goldsmith to be honoured by the Institut de France, Académie des Beaux-Arts et des Lettres, for his remarkable contributions to the art of jewellery. Since 1998, Lalaounis’s legacy of creativity has been carried on by his four daughters. They continue to uphold a long-standing family tradition, ensuring that the LALAoUNIS legacy is passed down to future generations.

119 A GEM-SET COLLAR NECKLACE

Designed as graduated tapered plaques, applied with granulation and filigree detailing, further applied with collet-set square, circular and oval-shaped emeralds, rubies and sapphires, mounted in 18K gold, inner circumference 42cm

€ 4,000 - 5,000

120

A GEM-SET BRACELET

€ 3,000 - 4,000

121 A PAIR OF GEM-SET EARRINGS

Each tapered plaque, applied with granulation and filigree detailing, further applied with collet-set square, circular and oval-shaped emeralds, rubies and sapphires, mounted in 18K gold, length 3.5cm

€ 1,000 - 1,500

122

HERMÈS: A DIAMOND ‘KELLY CHAIN

DOUBLE’ BRACELET, 2023

The elongated cable-link chain, highlighted with a ‘Kelly’ turnclasp pavé-set with brilliant-cut diamonds, mounted in 18K rose gold, signed Hermès, numbered, with maker’s mark, French assay marks, Irish import marks, with certificate of authenticity from Hermès at Brown Thomas in Dublin, with maker’s case and outer box, length 37cm (SM) (can be worn as a choker)

€ 3,500 - 4,500

124

HERMÈS: A DIAMOND ‘AMULETTE CONSTANCE’ PENDANT ON CHAIN, 2024

The pendant modelled as a ‘mini Constance handbag’ pavé-set with brilliant-cut diamonds to the front, suspended from a thin cable-link chain, to a stylised padlock clasp, mounted in 18K rose gold, signed Hermès, numbered, with maker’s mark, French assay marks, with certificate of authenticity from Hermès in Amsterdam, with photocopy of invoice, with maker’s case and outerbox, chain length 39.5cm, pendant length 1.7cm

€ 2,800 - 3,200

HERMÈS: A DIAMOND ‘KELLY CHAÎNE LARIAT’ NECKLACE,

The elongated cable-link chain highlighted with a ‘Kelly’ turnclasp pavé-set with brilliant-cut diamonds, with circular hoop link accents, mounted in 18K rose gold, signed Hermès, numbered, with maker’s mark, French assay marks, with certificate of authenticity from Hermès, with photocopy of invoice, with maker’s case, size SH, interior circumference 40cm, drop length 5cm

€ 4,000 - 5,000

124

125

HERMÈS: A DIAMOND ‘COLLIER DE CHIEN’ BANGLE, 2022

The oval hinged bangle highlighted with two pyramidal motifs pavé-set with brilliant-cut diamonds within millegrain setting, mounted in 18K rose gold, signed Hermes, numbered, with maker’s mark, French assay mark, with certificate of authenticity from Hermes, maker’s case and outer box, size ST, inner diameter 5.8cm

€ 4,000 - 5,000

126

KUTCHINSKY: A GEM-SET AND DIAMOND BROOCH

Of openwork foliate design, each three brilliant-cut diamond within a surround of marquise-shaped sapphires or rubies or emeralds, to a tapered baguette-cut diamond frame, mounted in 18K gold, signed Kutchinsky, diamonds approximately 3.00cts total, length 3.8cm

€ 4,000 - 5,000

128

A RUBELLITE AND DIAMOND DRESS RING

The cushion-shaped rubellite weighing approximately 5.70cts within a four-claw setting, to a surround of pear rose-cut diamonds, the shoulders pavé-set with brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 1.90cts total, ring size L¾

€ 6,000 - 7,000

127 A DIAMOND AND GEM-SET DRESS RING

The wide band centring a brilliant-cut diamond weighing approximately 0.60ct, within a circular-cut emerald frame, to a wide band pavé-set with brilliant-cut diamonds, accented with oval and circular-cut sapphires and emeralds, mounted in 18K gold, ring size M¾

€ 4,000 - 5,000

129

AN AQUAMARINE AND DIAMOND DRESS RING

The rectangular-cut aquamarine weighing 10.56cts, within a brilliant-cut diamond surround, to similarly-cut diamond shoulders, mounted in 18K gold, diamonds approximately 1.10cts total, ring size M

€ 4,000 - 5,000

Accompanied by a report from RAG laboratory in Torino, stating that the aquamarine weighing 10.56cts is natural. Report number C10440, dated March 27th 2002.

130

AN EARLY 20TH CENTURY DIAMOND RING

Of target design, the cluster centring a European-cut diamond weighing approximately 1.60cts, framed by old-cut diamonds within millegrain setting, to a plain hoop, mounted in platinum and gold, ring size Q

€ 2,500 - 3,500

131

A DIAMOND AND COLOURED DIAMOND DRESS RING, CIRCA 1960

Centring a pear-shaped diamond weighing approximately 1.00ct, framed by marquise-shaped diamonds of orangy-brown tint, between baguette-cut diamond shoulders, mounted in 18K gold, remaining diamonds approximately 2.60cts total, ring size M½

€ 2,500 - 3,500

DAVID MORRIS: A PAIR OF DIAMOND PENDENT EARRINGS

Of chandelier-design, each composed of marquise-shaped motifs set with marquise and brilliant-cut diamonds, to brilliant-cut diamond spacers, mounted in 18K white gold, signed David Morris, with maker’s case, length 6cm

€ 12,000 - 18,000

Accompanied by its invoice and insurance valuation from David Morris in London, stating that the diamonds are weighing 11.41cts in total, dated June 6th 2011 and January 29th 2014.

David Morris, a family-run business which is one of the last British workshops to create their jewellery on-site in their London Bond Street atelier today, is a favourite of royal families and celebrities alike.

The eponymous business, also known as “The London Jewellers”, was founded in 1962 and soon reflected the extravagance expected from the Swinging Sixties. Only a year after opening, David Morris and his partner won the prestigious 9th De Beers Diamonds International Award in New York, heralding a career and future that exemplify exaction and creativity. Morris even went on to win the award again the following year.

An appreciation of nature and natural shapes is a clear throughline in the work of David Morris. The House is known for utilising the rarest and most-prized gemstones, from Colombian emeralds to sapphires found in the remote hills of Kashmir. A strong admiration for the translucent and majestic diamond lies at the heart of all David Morris pieces and can be seen in the opulent use of the expertly cut gems.

It is not an exaggeration to say that pieces by David Morris have

been cemented as the signifier of fine jewellery in the popular imagination.The brand was first commissioned by a royal family in 1967, on the occasion of the marriage of Crown Prince Hans Adam of Liechtenstein to Countess Kinsky of Austria. The following decades came with many important and visible commissions such as the Miss World crown, a Welsh Dragon mascot for the Prince of Wales’s Aston, and the title sequence gems in the James Bond movie “Diamonds are Forever”; David Morris designs were subsequently used in a further four Bond films.

Today David Morris pieces often appear on the red carpet, having been worn by celebrities such as Barbra Streisand, Oprah Winfrey, Catherine Deneuve, and Adele. In 2003, David’s son Jeremy took over as Managing Director and Principal Designer, with a focus on limited collections inspired by nature, mythology, and travel.

The work of David Morris can be summed up as the resurrection of vintage glamour meets contemporary grace and minimalism. The end result is jewellery that transcends time and trends for a dramatic effect suitable for any occasion.

133 PIRANESI: A FANCY COLOURED DIAMOND AND DIAMOND RING

The rectangular-cut Fancy Deep Yellow diamond, weighing 5.31cts, between fancy-cut diamond shoulders, mounted in 18K gold and platinum, remaining diamonds approximately 0.67ct total, signed Piranesi, ring size J¼

€ 30,000 - 40,000

Accompanied by a report from the GIA laboratory in America, stating that the diamond is natural, Fancy DeepYellow, SI2. Report number 2131131094, dated February 28, 2011.

Accompanied with certificate of appraisal, from Piranesi Jewellers in NY, replacement value $77,000.- dated 2011.

Established in 1845, Piranesi is a multi-generational Italian brand renowned for its exquisite artistry and luxurious jewellery. Originally founded in Milan and relocating to New York City in 1976, Piranesi has captivated collectors for over a century with its rich heritage and exceptional craftsmanship. The brand masterfully blends the elegance of Italian Renaissance art with oriental influences, creating timeless pieces that feature rare and exotic gemstones, often combined with dazzling diamonds.

A defining chapter in Piranesi’s history came in the 1980s, when the brand collaborated with the legendary Elizabeth Taylor. Known for her unparalleled beauty and iconic style, Taylor’s passion for fine jewellery led her to Piranesi, where she sought

to create bespoke pieces that reflected her distinctive glamour. This collaboration resulted in a series of creations that embodied the elegance and opulence of Hollywood’s golden age, capturing the essence of Taylor’s personal taste and the sophistication for which she was renowned.

Today, Piranesi honours this rich legacy, preserving some of Taylor’s most cherished designs for a select group of esteemed collectors. The brand continues to stand as a beacon of luxury, inviting you to explore creations that celebrate life’s most precious moments. Through its dedication to craftsmanship and the enduring inspiration of icons like Taylor, Piranesi transcends time, seamlessly blending sophistication, elegance, and contemporary luxury.

Yellow diamonds, often referred to as “canary diamonds,” are among the rarest and most sought-after gemstones in the world. Known for their brilliant, radiant hue, they symbolise joy, creativity, good fortune, and purity. These fancy coloured diamonds are remarkably rare, with only 1 in 10,000 earthmined diamonds exhibiting nitrogen: the unique trace element responsible for their vivid yellow colour. Like white diamonds, yellow diamonds are graded using the GIA Colour Grading System, with six distinct grades: Fancy Light, Fancy, Fancy Dark, Fancy Deep, Fancy Intense, and Fancy Vivid—the deeper the

hue, the rarer and more valuable the diamond. The allure of yellow diamonds has captivated many of the world’s most celebrated figures, most famously, the Tiffany Yellow Diamond—a stone that once weighed 287.42 carats before being expertly cut to 128.54 carats by gemmologist George Frederick Kunz—has graced the necks of numerous celebrities. Audrey Hepburn famously wore the Tiffany Yellow Diamond in promotional photos for Breakfast at Tiffany’s, while Lady Gaga wore it to the Oscars, solidifying its place as one of the most iconic diamonds in history.

A SAPPHIRE AND DIAMOND CLUSTER RING

Set with a cushion-shaped sapphire weighing 3.62cts, within a four-claw setting, to a brilliant-cut diamond surround, mounted in platinum, diamonds approximately 0.50ct total, ring size M

€ 5,000 - 6,000

Accompanied by a report from GCS laboratory in London, stating that the natural sapphire weighing 3.62cts, is of Sri Lankan origin, with no indications of heating. Report number 5784-3707, dated October 15th 2024.

AN EMERALD AND DIAMOND BROOCH

Of openwork foliate design, each three brilliant-cut diamond within a surround of circular-cut emeralds, to a tapered baguette-cut diamond frame, mounted in 18K gold, diamonds approximately 2.70cts total, Italian registry mark, length 3.5cm

€ 3,000 - 4,000 136

A PAIR OF EMERALD AND DIAMOND EARRINGS

Each set with an oval-shaped emerald, framed by brilliant-cut diamonds, to a similarly-set suspension, mounted in 18K white gold, Italian registry marks, length 1.8cm

€ 2,000 - 3,000

A SAPPHIRE AND DIAMOND CLUSTER RING

The oval-shaped sapphire weighing approximately 5.14cts, within a brilliant and tapered baguette-cut diamond surround, mounted in 14K gold, diamonds approximately 1.50ct total, ring size N

€ 10,000 - 15,000

Accompanied by a report from RAG laboratory in Torino, Italy, stating that the sapphire weighing approximately 5.14cts is natural, with no indications of heat treatment. Report no. JR24041, dated May 28th 2024.

138 A FINE EMERALD AND DIAMOND THREE-STONE RING

The cushion-shaped emerald set between two brilliant-cut diamonds, mounted in gold, diamonds approximately 0.60ct total, ring size Q

€ 3,000 - 5,000

Accompanied by a report from the SSEF laboratory in Switzerland, stating that the emerald is of Colombian origin, with no indications of clarity modification. Report number 80357, dated June

BULGARI: A SEED PEARL AND GEM-SET TORSADE NECKLACE, CIRCA 1985-90

Composed of a multi-strand seed pearl and green bead torsade, centring an oval-shaped sapphire cabochon stated to weigh 10.56cts, set between brilliant and square-cut diamonds, mounted in 18K gold, signed Bvlgari, diamonds approximately 4.50cts total, length 45.5cm

€ 14,000 - 18,000

MAUBOUSSIN: AN ELEGANT RUBY AND DIAMOND CLUSTER RING

The central oval-shaped ruby weighing approximately 2.04cts, within a marquise-shaped diamond surround and calibré-cut ruby shoulders, mounted in 18K gold, diamonds approximately 3.50cts total, signed Mauboussin Paris, numbered, with maker’s mark ‘Sté JB’, French assay mark, ring size L

€ 15,000 - 20,000

Accompanied by a report from C. Dunaigre in Switzerland, stating that the ruby is natural, of Thai origin, with indications of heating. Report no. CDC2404135, dated April 17th 2024.

141

A PAIR OF CULTURED PEARL AND DIAMOND EARRINGS

Each set with a cultured pearl of white tint, within a brilliant-cut diamond surround, mounted in 18K gold, diamonds approximately 6.00cts total, length 2.5cm

€ 3,500 - 4,500

143

A DIAMOND PENDANT NECKLACE

Designed as a star, set with brilliant-cut diamonds within millegrain setting, suspending from a cable-link chain, mounted in 18K gold, with maker’s mark ‘Sté JA’, pendant length 1.2cm, chain length 44.7cm

€ 1,200 - 1,800

145

A RUBY AND DIAMOND CLUSTER RING

The oval-shaped ruby weighing 1.90cts within a multiple-claw setting, to a brilliant-cut diamond surround, mounted in platinum, diamonds approximately 1.40ct total, ring size U½

€ 5,000 - 6,000

Accompanied by a report from CISGEM laboratory in Milan, stating that the natural ruby weighing 1.90cts, of Thai origin, with no indications of heating. Report no. 26761, dated January 19th 2024.

142

SEAMAN

SCHEPPS: A CULTURED PEARL AND GEM-SET BRACELET

Composed of four rows of cultured pearls, to a flowerhead clasp set with circular-cut rubies, sapphires, emeralds and brilliant-cut diamonds, mounted in 14K gold, signed Seaman Schepps, length 18cm

€ 2,800 - 3,200

144

A YELLOW SAPPHIRE AND DIAMOND DRESS RING

Centring an elongated cushion-shaped yellow sapphire weighing approximately 10.00cts, within a raised mount set with three rows of graduated brilliant-cut diamonds, mounted in gold, diamonds approximately 3.00cts total, ring size L½

€ 7,000 - 8,000

146

FRIEDRICH: A PAIR OF DIAMOND EARSTUDS

Of bi-colour design, each brilliant-cut diamond within collet-setting, mounted in 18K yellow and white gold, signed Friedrich, length 9mm

€ 1,500 - 2,000

Friedrich is a well-known retailer and manufacturer based in Frankfurt, Germany, with a rich history that began in 1947 when Karl Friedrich opened the business in the city’s lively retail district. Today, it is owned by gemmologist Marc D. Stabernack, who uses his expertise to create stunning haute joaillerie with striking stones and timeless designs. The company has built a strong reputation, winning the prestigious Diamonds International Award three times, as well as notable German awards like the Golden Shell and the Golden Loupe. Friedrich has become known among the elite; a famous Hollywood celebrity once said, “Jewels from Friedrich,” when asked what she loved about Germany. Friedrich's creations have also attracted the attention of British royalty, evidenced by a letter of appreciation from the private secretary of Clarence House. To celebrate its 40th anniversary, the salon’s history was highlighted in the book "Das Schöne bleibt" (Beauty Lingers), showcasing the legacy of this iconic brand.

147

POMELLATO: A GREEN HEART PENDANT

Claw-set with a heart-shaped frosted green glass paste, to a polished hoop and bail suspension, mounted in 18K gold, signed Pomellato, Italian registry mark, with maker’s pouch, length 5cm

€ 700 - 900

149

A PAIR OF SAPPHIRE AND DIAMOND EARRINGS

Each oval-shaped sapphire cabochon, within a surround of brilliant, oval and tapered baguette-cut diamonds, mounted in 18K gold, with maker’s mark, sapphires approximately 12.00cts total, diamonds approximately 5.00cts total, length 3.5cm

€ 2,000 - 3,000

151

POMELLATO: A GARNET RING

The oval-shaped cabochon garnet within collet and closed-back -setting, to a curb-link chain, mounted in 18K gold, Italian assay mark, ring size N

€ 2,000 - 2,500

148

POMELLATO: A ROCK CRYSTAL ‘HAREM’ RING

The spherical motif set with circular rose-cut rock crystals, to raised tapered knife-bar shoulders and polished mount, mounted in 18K gold, signed Pomellato, numbered, Italian assay mark, ring size J½

€ 1,800 - 2,200

150

A RUBY AND DIAMOND DRESS RING

The oval-shaped ruby 1.50cts within collet-setting, between graduated baguette-cut shoulders, within single-cut diamond borders, mounted in 18K gold, diamonds approximately 1.60ct total, ring size M½

€ 1,200 - 1,800

152

A PAIR OF DIAMOND HOOP EARRINGS

Each of bombé design, pavé-set to the front with brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 2.40cts total, English hallmarks for 1995, length 1.7cm

€ 800 - 1,200

153 POMELLATO: A BI-COLOURED DIAMOND RING

The curb-link chain, highlighted with brilliant-cut diamonds, mounted in 18K gold, signed Pomellato, Italian registry mark, ring size R

€ 2,000 - 3,000

154 WEMPE: A DIAMOND THREE-STONE RING

The brilliant-cut diamond at the centre weighing approximately 1.00ct, between two similarly-cut diamonds, within collet-setting, mounted in 18K gold, remaining diamonds approximately 0.90ct total, partially signed Wempe, numbered 4715, ring size L

€ 3,000 - 4,000

In 1878, Gerhard Diedrich Wempe (1857-1921), a German watchmaker, opened a modest workshop in the downstairs of his aunt’s home in the town of Elsfelth. A talented entrepreneur and skilled craftsman, he quickly established a successful trade. Four generations later, the family company, now led by Kim-Eva Wempe, represents brands such as Rolex, Cartier, Chopard and Montblanc to name but a few. In addition to retailing the world’s finest watches and jewellery, Wempe is also dedicated to the research, innovation and preservation of the fascinating science and craft that is watchmaking.

155 BULGARI: A PORCELAIN AND GEM-SET ‘CHANDRA’ RING

The central carved white porcelain, between green peridot and pink tourmaline cabochons shoulders, mounted in 18K gold, signed Bvlgari, Italian registry mark, with English import marks for 1995, ring size J

€ 1,200 - 1,800

CARTIER: AN 18K GOLD ‘LOVE BRACELET’, CIRCA 2000

The hinged bangle decorated with screw motifs, in 18K gold, with screwdriver for opening and closing the bracelet, signed Cartier, numbered, Italian registry mark, with certificate of authenticity from Cartier, dated March 10th 2000, with maker’s case, size 17

€ 4,000 - 5,000

157

A YELLOW BERYL AND DIAMOND BROOCH

The stylised bow set with brilliant and baguette-cut diamonds, suspending a rectangular-cut heliodor beryl, weighing approximately 11.50cts, with single-cut diamond surmount, mounted in 18K gold, diamonds approximately 1.50cts total, length 3cm, width 4.3cm

€ 1,800 - 2,200

158

TIFFANY & CO. : A PAIR OF DIAMOND AND SAPPHIRE ‘TIFFANY ENCHANT’ DRAGONFLY PENDANT/BROOCHES, 1996

Designed as dragonflies, each pavé-set with brilliant-cut diamonds throughout and circular-cut sapphires for eyes, mounted in platinum, signed Tiffany & Co. 1996, larger brooch length 4cm, smaller brooch length 2.8cm

€ 5,000 - 6,000

Heliodor Beryl , a striking gem with a warm, yellow tones, is a member of the beryl family alongside the more famous aquamarine and emerald. While aquamarine dazzles with its serene blue tones and emerald captivates with deep, vibrant green, heliodor stands out for its radiant golden hues. Known for its exceptional clarity and vibrant warmth, this golden Beryl variety was thought to carry the energy of the sun, symbolizing strength, vitality, and protection. The ancient Egyptians revered beryl gemstones, with gold and yellow variants being particularly cherished as symbols of the sun god Ra, whose radiant power was reflected in their glow. The Romans also admired beryl minerals for their association with both wealth and divine favour, often incorporating them into amulets and jewellery for their protective qualities.

Despite its longstanding presence in jewellery, heliodor beryl remains less common than its blue and green counterparts, making it revered for its timeless beauty, with a legacy that stretches from ancient civilizations to modern-day luxury.

A YELLOW SAPPHIRE AND DIAMOND DRESS RING

The cut-cornered rectangular yellow sapphire, weighing 4.02cts, between a double four-claw setting, to brilliant-cut diamond shoulders, mounted in platinum, diamonds approximately 0.50ct total, ring size L½

€ 3,000 - 4,000

Accompanied by a report from GCS laboratory in London, stating that the natural yellow sapphire weighing 4.02cts, is of Sri Lankan origin, with no indications of heating. Report number 5785-0129, dated October 22nd 2024.

160 SABBADINI: AN IMPORTANT PAIR OF DIAMOND EARCLIPS

Each designed as a stylised bee, set with brilliant-cut diamonds throughout, diamonds approximately 5.30cts total, signed Sabbadini, with maker’s pouch, length 3cm

€ 15,000 - 20,000

Sabbadini is a long-standing Italian Jewellery House, in fact it is the only jewellery house that still manufactures in central Milan. The flagship store on the celebrated Via Montenapoleone, opened in 1998 and was the first and only commercial space created by the legendary architect-designer Renzo Mongiardino. The Sabbadini Jewellery house is celebrated for its tiny stones clustered in seamless pavés around single statement gems and its exquisite enamelling of natural motifs, ranging from flowers to dogs and its signature bees, which founder Alberto designed for his wife Stefania. The jewellery pieces are contemporary and reflect the Sabbadini’s love of modern art. It is a family run business, Stefania helps run the company with their son and CEO, Pierandrea.

All jewellery pieces are designed with the 3 elements at their core, to be unique, elegant and precious.

161 VAN CLEEF & ARPELS: A FINE DIAMOND BRACELET, CIRCA 1990

Of articulated design, composed of polished links interspersed by similar links highlighted with series of brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 6.00cts total, signed Van Cleef & Arpels, numbered, with maker’s mark ‘Sté M’ for Roger Mathon, French assay mark, length 17.4cm

€ 12,000 - 18,000

Roger Mathon is a jewellery workshop in Paris since 1971 and is known to have worked for Van Cleef & Arpels, Fred Paris, amongst others and also under his own name.

162 A PAIR OF RUBY AND DIAMOND EARRINGS

Each composed of five graduated concentric hoops, pavé-set with brilliant-cut diamonds throughout, highlighted with pear-shaped rubies throughout, mounted in 18K gold, diamonds weighing 3.66cts total, rubies weighing 7.20cts total, length 4.1cm

€ 6,000 - 7,000

163

A PAIR OF DIAMOND HOOP EARRINGS

Each of convex hoop design, pavé-set with brilliant-cut diamonds, mounted in 18K white gold, diamonds approximately 3.50-4.00cts total, Italian registry mark, length 2.2cm

€ 2,000 - 3,000

164

A DIAMOND RING

Of horizontal navette-shaped design, set with a triangular-shaped diamond and brilliant-cut diamonds, to a polished mount, mounted in 18K gold, diamonds approximately 1.80ct total, ring size N

€ 2,000 - 3,000

165

A PAIR OF DIAMOND PENDENT EARRINGS

Each designed as flowers, pavé-set with brilliant-cut diamonds, suspending three flexible rows of brilliant-cut diamonds, mounted in 18K white gold, diamonds approximately 5.50cts total, French import assay marks, length 3.8cm

€ 1,800 - 2,200

166 A DIAMOND FLOWER PENDANT/BROOCH, CIRCA 1970-80

Of stylised flowerhead design, centring a brilliant-cut diamond cluster pistil, to similarly-cut diamond petals, mounted in platinum and palladium, diamonds approxi mately 14.00-15.00cts total, length 5cm

€ 10,000 - 15,000

167 A DIAMOND SINGLE-STONE RING

Set at the centre with a marquise-shaped diamond weighing 1.06cts, within a bril liant-cut diamond surround and shoulders, mounted in 18K gold, remaining diamonds approximately 0.80ct total, ring size M½

€ 4,500 - 5,500

Accompanied by a report from IGN laboratory in Rome, stating that the natural diamond weighing 1.06cts, is E colour, VS1 clarity. Report number 34643, dated December 7th 2023.

CARTIER: AN EMERALD, DIAMOND AND ONYX ‘PANTHÈRE’ JABOT PIN, CIRCA 2005

Designed as a panther, pavé-set with brilliant-cut diamonds, speck led by calibré-cut onyx, the eyes highlighted with pear-shaped em eralds, terminating with a circular-cut cabochon emerald, in 18K gold, signed Cartier, numbered, with maker’s mark ‘JC’ and ‘PB’ for Pierre Brun, European convention mark, with certificate of authenticity from Cartier, dated November 24th 2005, with maker’s case, width 5.7cm

€ 8,000 - 12,000

The 20th century saw a profound sociological shift as gender roles were redefined, particularly in the context of two World Wars. Women stepped into roles once reserved for men, asserting their independence and driving progress toward gender equality, including the right to vote. This upheaval laid the foundation for the rise of the 'modern woman’—one defined by her autonomy, versatility, and strength. It was within this context of social change that Cartier distinguished itself as a leader in the world of fine jewellery, creating designs that celebrated the spirit of the modern woman.

Central to Cartier's vision was the iconic Panthère motif, a symbol of both elegance and resilience. The panther's allure first appeared in Cartier’s interior designs, where its distinctive spots adorned soft furnishings. By 1914, the motif had transitioned to fashion, with artist George Barbier capturing the panther in an image for an upcoming exhibition. His illustration of a regal, goddess-like figure with a panther at her feet became a defining image, setting the stage for a new era of bolder designs.

In 1913, Jeanne Toussaint was appointed Director of Bags, Accessories, and Objects at Cartier. A visionary with an innate sense of style, she quickly rose through the ranks, earning the affectionate nickname “La Panthère” for her sharp intellect and rebellious spirit. Her first Cartier panther piece—a cigarette case featuring a leopard nestled among trees—was designed especially for her. Toussaint’s deep connection to the panther motif grew, and over time, she

After mentoring Toussaint for two decades, Cartier entrusted her with the role of Creative Director of Jewellery, a progressive move for the time. This decision underscored Cartier’s commitment to modernity and confidence in "La Panthère." Working with designer Peter Lemarchand, Toussaint brought her emblematic animal to life; in 1935, the first three-dimensional panther piece was created, designed as a ring featuring a central ruby and panther heads on either side.

The legacy of the Cartier panther was secured when the Duke of Windsor commissioned a stunning brooch for his wife,Wallis Simpson. The piece, which featured a panther perched atop a dazzling 116.74-carat emerald, cemented the motif’s place in high fashion. Wallis Simpson, a devoted patron of Cartier, would go on to acquire several more pieces, including a 1952 panther bracelet, considered one of the house's finest creations.

Throughout her tenure, Toussaint continually reinvented the panther, introducing new forms and expressions—earrings, bangles, and brooches—captivating collectors and admirer alike. When she retired in 1970, her legacy as a trailblazer in jewellery design was firmly established. Today, the Panthère collection remains a cornerstone of Cartier's identity, its timeless elegance and powerful symbolism continuing to resonate with customers around the world, a tribute to the enduring spirit of modern femininity.

CARTIER: A DIAMOND AND EMERALD ‘PANTHÈRE’ DRESS RING

The sprung ring designed as a panther, the head pavé-set with brilliant-cut diamonds, the eyes set with pear-shaped emeralds, the nose with onyx detailing, mounted in 18K gold, signed Cartier, numbered, with maker’s mark ‘Sté HV’ for Abysse HamardVitau, French assay mark, with maker’s case, ring size M (EU size stamped 52)

€ 18,000 - 22,000

170

POMELLATO: A GOLD BANGLE

The oval design, the thin polished gold hoop with tonneau clasp, in 18K gold, signed Pomellato, Italian registry mark, size M stamped, inner diameter 5.8cm

€ 500 - 700

171

BVLGARI: A BLUE TOPAZ AND DIAMOND ‘PARENTESI’ RING

Set with a rose-faceted circular-shaped blue topaz, to tapered shoulders with brilliant-cut diamonds, mounted in 18K white gold, signed Bvlgari, Italian registry mark, with maker’s case and outer box, ring size K½

€ 2,500 - 3,000

Accompanied with a certificate of authenticity from Bulgari in Rome, dated July 18th 2016.

172

POMELLATO: A TURQUOISE AND ROCK CRYSTAL ‘CAPRI’ BRACELET

Each fancy-shaped turquoise on the obverse and faceted rock crystal on the reverse, to a fancy-link gold chain, mounted in 18K brushed gold, signed Pomellato, numbered, with maker’s mark for Pomellato, Italian registry mark, length 19.5cm

€ 1,200 - 1,800

174

POMELLATO: A BLUE TOPAZ ‘NUDO’ RING

Set with a closed-back mixed-cut blue topaz, mounted in 18K gold, signed Pomellato, numbered, Italian registry mark, French assay mark, ring size G

€ 500 - 700

173

POMELLATO: A BLUE TOPAZ AND DIAMOND ‘ICEBERG’ DRESS RING

The oval mixed-cut blue topaz within collet-setting, to a surround pavé-set with brilliant-cut diamonds, mounted in 18K gold, signed Pomellato, with maker’s mark for Pomellato, Italian registry mark, French assay mark, ring size J

€ 2,500 - 3,000

175

POMELLATO: A PAIR OF SMOKEY QUARTZ AND DIAMOND PENDENT EARRINGS

Each stylised tried ribbon bow surmount, set throughout with single-cut diamonds of brown tint, suspending a smokey quartz briolette, mounted in 18K gold, signed Pomellato, numbered, Italian registry mark, length 3cm

€ 1,800 - 2,200

MICHELE DELLA VALLE: A PAIR OF RUBY AND DIAMOND PENDENT EARCLIPS

Each designed as a cascade of baguette-cut diamonds ending with graduated circular-cut rubies, three rows to the front of the clip and two suspended from the back, mounted in 18K gold, with maker’s mark for Michele della Valle, numbered, diamonds approximately 4.83cts total, rubies approximately 19.46cts total, with maker’s pouch, length 6.7cm

€ 12,000 - 18,000

MICHELE DELLA VALLE: A GEMSET AND DIAMOND CROSS

Of floral design, the cross decorated with flowerheads set with brilliant-cut diamond pistils, sapphire cabochons for petals and emerald cabochons for leaves, to a brilliant-cut diamond surround, suspending from a similarly-cut diamond bale, mounted in 18K gold, signed Michele dellaValle, numbered, diamonds approximately 4.35cts total, sapphires approximately 22.48cts total, emeralds approximately 6.15cts total, with maker’s pouch, length (including bale): 10.3cm

Michele della Valle was born in Rome and began designing costume jewellery at the age of 16. During a trip to Burma in 1976, della Valle bought his first stone, which he showed to revered stone dealer Roger Varenne, who suggested he take it to Hans Nadelhoffer, jewellery expert at Christie’s. This proved to be a life-changing moment as it marks the beginning of della Valle’s career as a precious stone dealer and jewellery designer.

In 1976 he worked for a year at Fürst Jewellers (a representative of Harry Winston) in Via Veneto, Rome and in 1978 opened his own workshop at Rome’s Piazza di Spagna. At this point, he began frequently travelling to Asia in search of precious stones and started collaborating with Bulgari on special orders, leading to his recognition as an important designer by famous Italian clientele of film stars and opera singers.

Still a rarefied name in the world of jewellery, della Valle presents ideas and designs to clients by appointment only. The finished jewellery piece is then commissioned and meticulously handmade by sixteen highly skilled craftsmen in his atelier in Rome.

Della Valle has become one of the most sought-after contemporary jewellers in the world. He developed a distinctive style, conjuring up lyrical compositions from a treasure trove of envious gemstones. This approach stems from his personal passion for opera and his own early training as a dramatic tenor. Nature remains his greatest inspiration, as he reinterprets classic jewellery iconography - soft, silky, light feathers and ethereal flowers. He dreams in colour, the vibrant grass greens, flaming orange and lilting blues of sea and sky are the colours of jewels for which he has become celebrated.

Della Valle’s travels have an enormous influence on his creativity, stating: “I don’t understand how a jewel can be created without the magic of a trip to India or to the Far East in search of stones. The stones give birth to the design, and not the other way around.”

BULGARI: AN IMPORTANT RUBY AND DIAMOND DRESS RING

Composed of a cushion-shaped cabochon ruby, within a four-claw setting, to baguette-cut diamond shoulders within brilliant-cut diamond setting, mounted in 18K gold signed Bvlgari, signed 45.53cts (for ruby), diamonds approximately 8.00cts total, ring size M

€ 15,000 - 20,000

Accompanied by a report from Gubelin laboratory in Switzerland, stating that the natural ruby, approx. 20.45 x 19.05 x 10.60mm, is of Burmese origin, with no indications of heating. Indications of minor clarity enhancement. Report number 23030258, dated April 19th 2023.

A RUBY AND DIAMOND DRESS RING

Centring a claw-set cushion-shaped ruby weighing approximately 2.60cts, flanked by fancy-shaped diamonds, within a raised openwork mount of

181 A PAIR OF DIAMOND EARRINGS

Each polished hoop suspending a fancy-shaped tapered diamond, set in an oxidised claw-set cut-down collet-mount, mounted in 18K gold and silver, Italian registry marks, length 2.1cm

€ 1,000 - 1,500

182 A SAPPHIRE DRESS RING

Of Georgian style, the elongated cushion-shaped sapphire weighing 6.42cts, within a multiple-claw setting, to a plain hoop, mounted in 18K gold and silver, ring size J½

€ 6,000 - 7,000

Accompanied by a report from C. Dunaigre in Switzerland, stating that the natural sapphire weighing 6.42cts, is of Sri Lankan origin, with no indications of heating. Report number CDC 2206591, dated June 24th 2022.

A SAPPHIRE AND DIAMOND DRESS RING

The cushion-shaped sapphire weighing approximately 3.40cts, within a four-claw setting, to a fancy-cut diamond shoulders, mounted in platinum, diamonds approximately 0.40ct total, ring size M½

Accompanied with a report from LFG laboratory in Paris, stating that the sapphire is natural, of Sri Lankan origin, with no indications of thermal enhancement. Report number 413268, dated October

The fancy-link chain, suspending a heart-shaped pendant near clasp, in 18K gold, signed Chopard, numbered, with maker’s case

A PAIR OF DIAMOND EARRINGS, RETAILED BY WEIRS & SONS, DUBLIN

Each set with marquise-cut diamonds within brilliant-cut diamond frames, mounted in 18K gold, diamonds approximately 2.90cts total, with retailer’s case, with photocopy of the invoice, retail price €10,980.- dated June 15th 2023, length 1.7cm

€ 2,500 - 3,500

Composed of rectangular cut-cornered sapphires, set between baguette-cut diamonds, mounted in 14K gold, diamonds approximately 2.50cts total, sapphires approximately 20.00cts total, length 17.6cm

€ 5,000 - 6,000

Elizabeth Gage is heralded as a contemporary pioneer of the British jewellery scene, renowned for her exuberant designs that merge colour, texture, and history. Her creations are celebrated for their exceptional versatility, transitioning seamlessly from day to night, reflecting the spirit of adventure in every piece. With a bold use of gemstones and intricate enamelwork, every jewel radiates personality and charm. Gage’s signature style emerges from the narrative imbued within each piece, its story constructed and inspired by the natural world. Many pieces are named after animals; her love of flora and history becomes infused within the nature of her designs, making them not just adornments, but expressions of individuality.

Trained as a goldsmith, her mastery of techniques such as twisting and hammering gold allow her to create striking forms that

A PAIR OF RUBY HOOP EARRINGS

Each of hoop design, set to the front and interior with circular-cut rubies, mounted in 18K gold, length 2.3cm

€ 600 - 800

187 ELIZABETH GAGE: A WATERMELON TOURMALINE, CULTURED PEARL AND DIAMOND BROOCH, LONDON, CIRCA 1995

The fancy-shaped brooch set with polished trapezoid and triangular-shaped watermelon tourmalines and an intaglio watermelon tourmaline cabochon, intaglio depicting the mythological Hippocampus and a Greek god, possibly Triton, accented with brilliant-cut diamonds, to a button-shaped cultured Biwa pearl terminal with similarly-cut diamond cap, mounted in 18K gold, signed Gage, partial maker’s mark, English hallmarks, with maker’s case, length 6.7cm

€ 2,000 - 3,000

blend strength with elegance. Elizabeth’s signature works include the iconic Agincourt ring and the Templar ring, each a testament to her innovative approach to design, blending ancient influences with contemporary aesthetics.

Elizabeth has achieved a number of accolades in recognition of her contribution to the trade of jewellery design and manufacturing, including the De Beers Diamond Award and an M.B.E. Now aged 85, she continues to work closely with her team of skilled goldsmiths to bring each piece to life.

Her pieces have earned a place in prestigious collections, including the Victoria & Albert Museum, underscoring her lasting impact on the industry. Elizabeth Gage's jewellery is a celebration of creativity, heritage, and personal expression, cherished by collectors and admirers alike.

188

A GOLD BRACELET

The curb-link chain with reeded terminals, finishing with a large spring ring clasp, i

€ 2,500 - 3,500

190 AN 18K GOLD NECKLACE

Of tank design, composed of polished graduated convex motifs, gold, with maker’s mark ‘Sté S’, French assay mark, inner circumference 35.5cm, length approx. 40cm

€ 7,000 - 8,000

191 A PAIR OF DIAMOND PENDENT EARRINGS

Each heart-shaped diamond weighing approximately 2.00cts, suspending from two brilliant-cut diamonds, within collet-setting, mounted in 18K gold, length 2cm

192

A MULTI-COLOURED SAPPHIRE AND DIAMOND ETERNITY RING

The continuous row of oval-shaped sapphires of various tints, including pink, blue, green, yellow, orange and pink, between borders pavé-set with brilliant-cut diamonds, mounted in 18K gold, sapphires weighing 5.18cts total, diamonds 1.05ct total, ring size N

€ 1,400 - 1,800

193

AN OPAL AND GEM-SET COCKTAIL RING

The oval-shaped opal cabochon at the centre weighing approximately 9.80cts, within a surround of pear-shaped tsavorite garnets and orange sapphires, accented with brilliant-cut diamonds, to similarly-cut diamond shoulders, mounted in 18K gold, ring size L¾

Composed of a continuous row of square-cut blue, pink, orange, yellow and green sapphires weighing approximately 8.50cts total, mounted in 18K rose gold, numbered, length 18.3cm

€ 2,800 - 3,200

A TOURMALINE AND DIAMOND NECKLACE

Composed of polished fancy-shaped links, set to the front with three ovalshaped pink tourmalines, the central tourmaline within brilliant-cut diamond borders, to a broad fancy-link neck chain, mounted in 18K gold, Italian registry mark, inner circumference 36.5cm

€ 7,000 - 8,000

A PAIR OF MULTI-COLOURED SAPPHIRE EARRINGS

Each composed of vari-cut sapphires of various tints, including blue, yellow, orange, pink, green, mounted in 18K rose gold, sapphires approximately 12.00cts total, length 2cm

€ 1,400 - 1,800 195

197 A SAPPHIRE AND DIAMOND RING

Composed of a continuous series of oval-shaped sapphires, interspersed and between brilliant-cut diamond borders, mounted in 18K gold, numbered, sapphires approximately 5.00cts total, diamonds approximately 1.00ct total, ring size N

€1,800 - 2,200

198

A DIAMOND DRESS RING

Centring a collet-set heart-shaped diamond weighing approximately 3.00cts, between single-cut diamond shoulders, to a bi-coloured curb-link chain, mounted in 18K yellow and white gold, ring size approximately N

€ 10,000 - 15,000

A DIAMOND LINE BRACELET

The continuous line of brilliant-cut diamonds within claw setting, 18K rose gold, diamonds approximately 5.70cts total, length 18cm

€ 5,000 - 6,000

200 A PAIR OF DIAMOND EARRINGS

Of openwork scrolling design, set with brilliant-cut diamonds throughout, mounted in 18K gold, diamonds approximately 13.00cts total, Italian registry mark, length 4cm

€ 8,500 - 9,500

201 A DIAMOND CHAIN NECKLACE

The cable-link chain interspersed with collet-set brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 8.00cts total, Italian registry mark, length 108cm

€ 7,000 - 8,000

202

VAN CLEEF & ARPELS: A CULTURED PEARL AND DIAMOND DRESS RING

The round-shaped Tahitian cultured pearl, measuring approximately 14.77mm, between butterfly shoulder motifs highlighted with brilliant-cut diamonds, with two similarly-cut diamond accents to the gallery, mounted in 18K gold, signed VCA, numbered, with maker’s mark ‘HV’ for HamardVitau, French assay mark, Swiss assay mark, European convention mark, ring size K¼ (EU size stamped 52)

€ 6,000 - 7,000

203

A CULTURED PEARL NECKLACE WITH DIAMOND CLASP

Composed of a single row of round-shaped Tahitian cultured pearls of grey tint, measuring approximately 14.41mm - 11.26mm, finishing with a circular clasp pavé-set with brilliant-cut diamonds, mounted in 18K gold, Italian assay mark, length 51cm

€ 2,500 - 3,500

204

A PAIR OF CULTURED PEARL AND DIAMOND PENDENT EARRINGS

Each set with a drop-shaped cultured pearl of grey tint, measuring from 16.8 x 14.2 x 14.2mm and 16.6 x 14.1 x 14.1mm, with a brilliant-cut diamond cap, suspended from a surmount of pierced fan-shape design, set with brilliant-cut diamonds, between a single brilliant-cut diamond spacer, mounted in 18K white gold, length 5cm

€ 1,800 - 2,200

205

A DIAMOND BANGLE BRACELET

Of hinged design, the polished band set to the front with princess-cut diamonds, mounted in 18K gold, diamonds approximately 6.00cts total, inner circumference 18cm

€ 3,000 - 4,000

207 A DIAMOND AND ENAMEL CUFF BRACELET

The cuff with a meandering design pavé-set with brilliant-cut diamonds within black enamel, mounted in 18K gold, diamonds approximately 4.505.00cts total, width 6.5cm, inner diameter 5.5cm

€ 9,000 - 11,000

208 AN EMERALD AND DIAMOND CLUSTER PENDANT ON CHAIN

The cushion-shaped emerald weighing approximately 3.70cts total, within a brilliant-cut diamond surround, to a similarly-cut and pear-shaped diamond bale, suspending from a fancy-link silver chain, pendant mounted in 18K gold, diamonds approximately 3.00cts total, pendant length (including bale): 3.8cm

€ 4,000 - 5,000

209 ASPREY: A DIAMOND RING

Of polished band design, set with five brilliant-cut diamonds, mounted in 18K white gold, signed Asprey, British hallmarks for London 1996, with maker’s case ‘Asprey & Garrard’, ring size P½

€ 700 - 900

A DIAMOND LINE BRACELET

Composed of a continuous row of brilliant-cut diamonds, each within a four-claw setting, mounted in 18K gold, diamonds approximately 5.40ct total, length 18.2cm

€ 5,500 - 6,500

Accompanied by a report from the HRD laboratory in Antwerp, stating that the dia monds are natural, of E-F colour, VS-SI clarity. Report number J240000064984, dated July 15th 2024.

A DIAMOND SINGLE-STONE RING

The brilliant-cut diamond weighing approximately 5.50cts, within a tenclaw setting, to a plain hoop, mounted in 18K gold, ring size N

€ 20,000 - 30,000

A SAPPHIRE AND DIAMOND BROOCH, CIRCA 1960

Designed as a stylised bow, centring a cushion-shaped sapphire weighing approximately 3.00cts, within a surround of brilliant, single and baguette-cut diamonds, diamonds approximately 3.50cts total, width 7.4cm

€ 3,500 - 4,500

A PAIR OF DIAMOND PENDENT EARRINGS

Each set with a European-cut diamond, within a polished collet-set mount, suspended from three millegrain-set European-cut diamond suspension, mounted in 18K white gold, diamonds approximately 1.40ct total, length 2.3cm

€ 800 - 1,200

A PAIR OF SAPPHIRE AND DIAMOND EARRINGS

Each of convex tapered design, mystery-set with faceted square-shaped sapphires, within a scalloped border set with brilliant-cut diamonds, mounted in 14K gold, length 2.3cm

€ 2,400 - 2,800

215

AN ENAMEL BRACELET

Of snake-link chain design, links composed of square motifs, applied with blue and green enamel, in 18K gold, length 19.3cm

€ 4,500 - 5,500

216

A CULTURED PEARL AND DIAMOND NECKLACE

Composed of two strands of graduated round-shaped cultured pearls of cream tint measuring from 6.1-8.8mm, to a clasp of cluster design set with a cultured pearl and brilliant-cut diamonds, in 18K gold, with maker’s mark, French assay mark, length 45cm

€ 1,200 - 1,800

218

A PAIR OF MORGANITE AND DIAMOND PENDENT EARRINGS

Each pear-shaped morganite suspended from a brilliant-cut diamond surmount, mounted in 18K rose gold, morganites approximately 3.87cts total, diamonds approximately 0.60ct total, length 2cm

€ 1,200 - 1,800

220

A DIAMOND THREE-STONE RING

Composed of a brilliant-cut diamond at the centre, weighing approximately 1.05ct, between two similarly-cut diamonds, to baguette-cut diamond shoulders, mounted in 18K gold, with maker’s mark ‘RJE’, remaining diamonds approximately 1.40ct total, ring size O¾

€ 3,000 - 5,000

217 A DIAMOND ETERNITY RING

The continuous row of brilliant-cut diamonds within claw and millegrain setting, with foliate scrolling engraved detailing, mounted in platinum, diamonds approximately 1.30cts total, ring size L¾

€ 550 - 650

219

A PAIR OF DIAMOND HOOP EARRINGS

Each pavé-set with brilliant-cut diamonds to the front and interior, mounted in 18K gold, numbered, length 4.1cm

€ 1,500 - 2,000

221

A PAIR OF DIAMOND EARRINGS

Each set with baguette-cut diamonds, highlighted with a line of brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 2.60cts total, length 4cm

€ 3,000 - 4,000

LANGI: A SAPPHIRE AND DIAMOND ETERNITY RING

Composed of a continuous row of circular-cut sapphires, accented with brilliant-cut diamonds, with similarly-cut sapphire and diamond borders and interior, mounted in 18K gold, sapphires approximately 8.50cts total, diamonds approximately 1.20ct total, signed Langi, Italian registry mark, ring size K½

€ 3,000 - 5,000

223 A DIAMOND RING

Of broad undulating design, channel-set to the front with baguette-cut di amonds, mounted in 18K gold, diamonds approximately 1.50cts total, ring size P

€ 1,000 - 1,500

A DIAMOND LINE BRACELET

The continuous row of brilliant-cut diamonds within claw-setting, mounted in 18K gold, diamonds 2.35cts total, Italian registry mark, length 163cm

€ 2,400 - 2,800

225 A PAIR OF DIAMOND EARCLIPS

Each composed of a pear-shaped diamond cluster, within claw-setting, diamonds approximately 10.00cts total, partially numbered (indistinct), length 2.3cm

€ 15,000 - 20,000

226 A RUBY AND DIAMOND BROOCH, CIRCA 1960

Of crossover and scrolled design, set with brilliant and single-cut diamonds, to an outer border of graduated pear-shaped rubies, mounted in 18K gold, diamonds approximately 2.80cts total, Italian registry mark between ‘1944-68’ length 5.4cm

€ 2,500 - 3,000

228 FAVERO: AN AQUAMARINE AND DIAMOND PENDANT NECKLACE

The pear-shaped aquamarine weighing approximately 11.00cts, within a brilliant-cut diamond frame, suspending from a fancy-link chain highlighted with circular-cut aquamarines within similarly-cut diamond frames, interspersed by further similarly-cut diamonds within collet-setting, mounted in 18K gold, diamonds approximately 1.20cts total, with maker’s mark ‘FF’ for Favero, Italian registry mark, accompanied by a certificate of authenticity from Favero stating , necklace length 41cm, pendant length 5.1cm

€ 4,000 - 5,000

227 A DIAMOND ETERNITY RING

Composed of a continuous row of brilliant-cut diamonds, with similarly-cut diamond borders and interior, mounted in 18K gold, diamonds approximately 3.50cts total, ring size M

€ 2,000 - 3,000

Founded in 1973 by Mariano Favero, the House of Favero is celebrated for its exceptional craftsmanship and imaginative design.Rooted in Italy's historic Bassano del Grappa, a region renowned for its goldsmithing and artistic heritage, Favero’s creations blend centuries-old traditions with bold, contemporary aesthetics.Favero is renowned for his mastery of light, form, and colour, crafting pieces that captivate with vivid hues and intricate detail. His creations are a celebration of vibrancy, bringing gemstones to life in a way that feels both fresh and dynamic. From the radiant glow of precious stones in every colour to the seamless fusion of traditional and modern goldsmithing techniques, each piece becomes a work of art—perfectly balanced in the finest metals. The Favero collection transforms gemstones into striking statements of elegance and innovation.Awarded the "Best Couture Designer" prize in 2003, Mariano Favero’s designs continue to embody the perfect fusion of Italian artistry and modern luxury.

229 A DIAMOND SINGLE-STONE RING

Composed with a brilliant-cut diamond at the centre weighing approximately 2.03cts, within a double four-claw setting, to a brilliant-cut diamond surround, gallery and shoulders, mounted in platinum, remaining diamonds approximately 0.65ct total, ring size H½

€ 6,000 - 7,000

Accompanied by a report from IGR laboratory in London, stating that the nat ural diamond is I colour, SI2 clarity. Report number 30308877, dated January 27th 2020.

230 MARGHERITA BURGENER: AN AQUAMARINE, DIAMOND AND TITANIUM PENDANT

The heart-shaped aquamarine cabochon, weighing approximately 44.53cts, within a brilliant-cut diamonds frame, to a similarly-cut diamond bale, in blue titanium, diamonds 0.97ct total, signed Margherita Burgener, with a blue and a pink satin cord, with maker’s case, length (including bale): 3.8cm

€ 1,400 - 1,800

* This lot is sold without a reserve

232

A SAPPHIRE AND DIAMOND CLUSTER RING

The oval-shaped sapphire weighing approximately 3.10cts, within a four-claw setting, to a brilliant-cut diamond surround, mounted in 18K gold, Italian registry mark, diamonds approximately 0.90ct total, ring size O

€ 2,000 - 3,000

234

A DIAMOND FIVE-STONE RING

The frontispiece set with five brilliant-cut diamonds, to a plain hoop, mounted in 18K gold, diamonds approximately 1.25cts total, ring size K½

€ 1,200 - 1,800

236

PIERO M: A DIAMOND ROSE BROOCH

The stylised rose pavé-set with brilliant-cut diamonds throughout, mounted in 18K gold, signed Piero M, length 7.5cm

€ 3,000 - 4,000

237

MARGHERITA BURGENER: A DIAMOND NOVELTY BROOCH

Designed as a dachshund, the collar highlighted with brilliant-cut diamonds, to similarly-cut diamond paws and tail, with circular-cut black spinel eye and nose, mounted in brown titanium, signed Margherita Burgener, with maker’s case, width 4.2cm

€ 600 - 800

* Please note that this lot is sold without a reserve

233

A PAIR OF DIAMOND PENDENT EARRINGS

Each collet-set brilliant-cut diamond line, suspending a radiated cluster of brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 2.50cts total, length 4.1cm

€ 1,500 - 2,000

235

A DIAMOND DRESS RING

Composed of four collet-set brilliant-cut diamonds, within a similarly-cut scrolling frame, mounted in 18K gold, diamonds approximately 1.00ct total, ring size L

€ 1,500 - 2,000

Founded in 1953 by Piero Milano and Luigi Benzi, Piero Milano Gioielli has established itself as a distinguished name in the world of jewellery design, garnering recognition both in Italy and on the global stage. Headquartered in Valenza, the brand artfully incorporates traditional goldsmithing with cutting-edge techniques, resulting in creations that are as innovative as they are elegant. Renowned for their mastery of gold, diamonds, and precious stones, Piero Milano’s collections are a testament to versatility, ranging from sleek, minimalist pieces to more romantic, ornate designs. Among its most celebrated offerings is the Flowers Collection, a breathtaking homage to nature’s delicate beauty. Adorned with diamonds and precious stones in an array of mesmerizing hues, the collection reinterprets floral motifs with a rare elegance and craftsmanship. Perfectly suited for those in search of luxury, refinement, and romance, each piece tells a unique story, transforming precious stones into timeless treasures.

238

A PAIR OF DIAMOND EARRINGS

Of openwork bombé design, each set with square and baguette-cut diamonds at the centre, between brilliant-cut diamonds, mounted in 14K and 18K gold, diamonds approximately 4.50cts total, length 2.8cm

€ 6,000 - 7,000

240

A PAIR OF DIAMOND EARRINGS

Of convex shape, each pavé-se with brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 0.85ct total, length 1.3cm

€ 700 - 900

242

AN EARLY 20TH CENTURY EMERALD AND DIAMOND CLUSTER RING

Set with a cut-cornered rectangular-shaped emerald, within a scalloped frame set with old-cut diamonds, with millegrain detailing, mounted in platinum, ring size M (with sizing band)

€ 1,200 - 1,800

239

A RUBY AND DIAMOND CLUSTER RING

Centring a cushion-shaped ruby weighing approximately 2.10cts, within a brilliant-cut diamond surround, mounted in 18K gold, diamonds approximately 1.40ct total, ring size N½

€ 1,500 - 2,000

241

A DIAMOND RING

Pavé-set throughout with brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 2.30cts, with maker’s mark ‘DA’, French assay mark, ring size O

€ 1,800 - 2,200

243

A CORAL, EMERALD AND ENAMEL COCKTAIL RING

The horizontal oval-shaped mount set with an oval-shaped coral corallium rubrum cabochon between edges applied with black enamel, shoulders slightly raised and accented with oval-shaped emerald cabochons, to a polished hoop, mounted in 18K gold, with maker’s mark, French assay mark, ring size M½

€ 1,800 - 2,200

244 OTTO POULSEN: A PAIR OF MABÉ PEARL AND DIAMOND PENDENT EARRINGS

Of interchangeable design, each detachable pendent collet-set with an oval-shaped mabé pearl of white tint, accented by brilliant-cut diamonds and polished panels, suspended from a circular-shaped mabé pearl suspension, within a half-circle frame set with brilliant-cut diamonds, mounted in 18K gold, signed Otto Poulsen, length 4cm

€ 1,000 - 1,500

Otto Poulsen is a distinguished Danish jeweller celebrated for his exquisite modernist creations. With a background steeped in craftsmanship, his work reflects a harmonious blend of artistic innovation and timeless elegance. Influenced by the renowned designs of Willy Krogmar during his apprenticeship, Poulsen developed a keen eye for form and detail, earning accolades including a gold medal from the Danish Guild for Art and Craft.

His time at the iconic Georg Jensen workshop further shaped his design philosophy, where he embraced the principles of simplicity and sophistication. Inspired by the works of Sigvard Bernadotte and collaborating with the illustrious Henning Koppel, Poulsen’s jewellery captures a unique aesthetic that resonates with contemporary sensibilities while honouring traditional techniques. Renowned for his artistry, Poulsen's pieces are not just accessories; they are wearable sculptures that embody elegance and innovation, reflecting a legacy of craftsmanship that continues to inspire.

245 AN ORANGE SAPPHIRE RING

Of bombé design, the frontispiece set with circular-cut orange sapphires, mounted in 18K gold, ring size M

€ 800 - 1,000

A CULTURED PEARL NECKLACE WITH DIAMOND CLASP

Composed of two slightly graduated cultured pearl rows, measuring approx imately 7.02mm to 9.27cm, the stylised hook-like clasp pavé-set with bril liant-cut diamonds, lengths approximately 77.5cm & 81cm

€ 2,500 - 3,500

248

A MOONSTONE AND DIAMOND COCKTAIL RING

The cushion-shaped moonstone cabochon weighing approximately 14.00cts, within a multiple-claw setting accented with brilliant-cut diamonds and diamonds of rose tint, completed by an openwork mount of foliate motif, mounted in 18K gold and platinum, ring size K

€ 2,500 - 3,500

249

A ROCK CRYSTAL AND DIAMOND FLOWER BROOCH

Designed as a snowdrop, the polished leaves suspending two drop-shaped frosted rock crystals, each with a brilliant-cut diamond cap, mounted in 18K white gold, Italian registry marks, length 6.3cm

€ 500 - 700

A DIAMOND FIVE-STONE RING

The frontispiece set with five brilliant-cut diamonds, within claw-setting, to a plain hoop, mounted in 18K gold, diamonds approximately 2.10cts total, ring size N

€ 2,800 - 3,200

252

MARGHERITA BURGENER: A PAIR OF DIAMOND AND TITANIUM EARRINGS

Each designed as an undulating petal highlighted with single-cut diamonds, mounted in 18K gold, diamonds 0.34ct total, signed Margherita Burgener, with maker’s mark ‘MB’, Italian registry mark, with maker’s case, length 2.6cm

A DIAMOND BRACELET

The cable-link chain interspersed with collet-set brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 2.70cts total, Italian registry mark, length 17cm

€ 2,500 - 3,000

253

A SAPPHIRE AND DIAMOND DRESS RING

The oval-shaped sapphire weighing 4.60cts, within a four-claw setting, to a double surround of brilliant-cut diamonds, to similarly-cut diamond shoulders, mounted in 18K, diamonds approximately 0.90ct total, ring size M

€ 4,000 - 5,000

Accompanied by a report from IGN laboratory in Rome, stating that the sapphire weighing 4.60cts, is natural, with no indication of thermal treatment. Report no. 33825, dated June 16th 2023

254

A PAIR OF CULTURED PEARL AND DIAMOND CLIP EARRINGS

Each set with a cultured pearl of cream tint, to a cluster of navetteshaped motifs and claw-fittings set with brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 1.50cts total, length 2.4cm

€ 700 - 900

255 A DIAMOND BROOCH

Designed as a safety pin, pavé-set with brilliant-cut diamonds, mounted in 18K gold, length 4.5cm

€ 1,000 - 1,500

256 A DIAMOND RING

Pavé-set throughout with brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 4.50cts total, ring size N

€ 1,500 - 2,000

A PAIR OF CORAL AND DIAMOND PENDENT EARRINGS

Each set with circular-shaped coral cabochon, suspended from a brilliant-cut diamond surmount of scrolled and double-line design, mounted in 18K white gold, Italian registry marks, length 3.5cm

€ 2,000 - 3,000

A PAIR OF DIAMOND HOOP EARRINGS

Each frontispiece pavé-set with brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 4.60cts total, length 2.6cm

€ 4,000 - 5,000

AN 18K GOLD AND DIAMOND FRINGE NECKLACE

Of bi-coloured design, the front composed of a graduated fringe, claw-set with brilliant-cut diamonds, to a textured fancy-link chain, mounted in 18K gold, diamonds approximately 3.20cts total, Dublin hallmarks, length 44.5cm

A DIAMOND LINE BRACELET

Composed of a continuous line of brilliant-cut diamonds with claw-setting, mounted in 18K gold, diamonds approximately 10.00cts total, length 18cm

€ 10,000 - 15,000

A PAIR OF DIAMOND HOOP EARRINGS

Each of hoop design, set to the front and interior with single-cut diamonds, mounted in 18K gold, French import marks, length 7cm

€ 2,400 - 2,800 262

AN EMERALD AND DIAMOND CLUSTER RING

The square-cut emerald set within a eight-claw setting, to a brilliant-cut diamond surround, mounted in 18K gold, diamonds approximately 1.00ct total, ring size O½

€ 1,200 - 1,800 263

AN 18K GOLD AND DIAMOND BRACELET

Of alternating bi-coloured design, set with convex oval-shaped motifs with rope-twist detailing, between cross-over motifs pavé-set with brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 2.10cts total, Italian registry mark, length 18cm

€ 2,500 - 3,500

Ireland’s Premier Jewellery Auctioneers

“An Irish Connection to An International Market”

A GUIDE TO BUYING JEWELLERY AT AUCTION

Adam’s Auctioneers act as agents to sell jewellery on behalf of predominantly, private clients. As such, the jewellery offered for sale at Adam’s is generally vintage or antique. When purchasing such jewellery it must be borne in mind that, as would be the case when purchasing a vintage car, it will require servicing from time to time. The purchasing of jewellery at auction allows you the opportunity to buy and own unique and rare pieces at a fraction of what it might cost to buy such pieces at retail. However, it is your responsibility as a buyer, to be aware of the specific attention such period pieces require and to bear in mind that this may include a regular, annual service by a reputable jeweller

CLEANING YOUR JEWELLERY

In order for your jewellery to remain in the best condition, it should be kept in a clean, dry place. Damage can be easily avoided by storing pieces separately and by dividing them using tissue paper. Diamonds are extremely hard-wearing but attract grease, and so when cleaning they require hot water, a non-bleaching washing-up liquid such as fairy liquid and a soft toothbrush. The same process may be applied to rubies and sapphires. More fragile gemstones such as emeralds, aquamarines, morganite and heliodor should be washed with a lukewarm, not hot water, a similar washing-up liquid and a soft toothbrush and only for very short periods of time. Organic gemstones, such as coral, amber or pearls, should only be cleaned using a soft cloth and not washed at all. Additionally, Adam’s always recommends re-stringing pearls. If you have any queries regarding specific items we recommend reaching out to local jewellers who will be happy to help.

CATALOGUE INFORMATION AND CONDITION REPORTS

All jewellery sold at Adam’s is examined by an experienced gemmologist and is accompanied by a thorough catalogue’s description. If you require any specific, additional information, not provided in the catalogue description, do not hesitate to request a condition report, in advance of the auction, which we will be happy to provide.

BUYING JEWELLERY CONTAINING GEMSTONES

Some gemstones offered for sale at Adam’s may be accompanied by their own laboratory report which will be clearly noted in the jewellery catalogue’s description. Additionally, some diamonds offered for sale which have been certified by the Gemological Institute of America (GIA) laboratory, may have a code laser inscribed to the girdle which is possible to look up on the GIA website, this will give you specific information with regards to the weight and grading of the diamond. If a diamond is laser inscribed, it will be mentioned in its catalogue description.

If a gemstone isn’t accompanied by a laboratory report and doesn’t have a laser inscription, it will have been graded by our own gemmologists and this information is available in the condition report, not the catalogue description. Please note that carat weights given in the condition reports are those of mounted gemstones, and as such, allow for a discrepancy of between 5-10% with those that are unmounted. Adam’s recommends that buyers request a condition report before purchasing and examine both the report and the item carefully.

SYNTHETIC GEMSTONES

Natural and synthetic gems have the exact same chemical structure and because of this, can look extremely similar, if not identical. On occasion, Adam’s will sell synthetic gemstones giving buyers a chance to bid on beautiful pieces at more accessible prices. However, it will be clearly stated that they are synthetic. Retro pieces will commonly have small calibré-cut synthetic gemstones which is considered acceptable as gemstones were scarce during and post WWII.

PHOTOGRAPHY

All items of jewellery sold in our Fine Jewellery auctions are photographed in house by our experienced photography team and are displayed on Adam's website prior to the auction. Some images may include models. If you require additional images, please don’t hesitate to contact us at the Jewellery Department and we will be happy to supply you with additional images prior to the auction. Additional images may be helpful to give a sense of scale, especially if you are unable to make it to the viewing.

JEWELLERY POUCHES AND BOXES

If an item of jewellery is accompanied by a case, pouch or certificate, this will be clearly stated in the catalogue’s description. All items purchased in Adam’s Fine Jewellery auctions are accompanied with a complimentary suede pouch. Ring boxes are available to purchase for an additional cost of 30 euros +VAT, to provide a unique and beautiful gift for a special occasion.

COLLECTING YOUR JEWELLERY

Finally, on collection of an item of jewellery from Adam’s, you, as a buyer should thoroughly examine the item and satisfy yourself as to its condition, double-checking that the condition agrees with the condition report. Unfortunately, once you have signed for and collected the item in question, Adam’s can no longer be held liable for the condition.

As we do not have an in-house shipping department, the following options are available to you: If you have your own Fedex or UPS account, you are welcome to provide it to us and we can pack and send your items to you. You can ship with a specialised jewellery shipper but the invoice made would be via Adam’s, so we can provide you with a quote and pack your items for you. You can also contact the shipping company directly and they will pack, pick up, send and invoice you directly.

Their contact details can be found on our website. If you require shipping outside of the EU, you would be entitled to reclaim the VAT on our premium against a proof of export document. This is something Ferrari and Mailboxes would be able to provide to us directly but if you choose your own courier, you will need to claim that proof of export directly with them.

For all jewellery and watch shipments, the jewellery department would be delighted to assist you.

Index BY LOTS

ASPREY LONDON 209

BULGARI 85, 87, 92, 93, 100, 139, 155, 171, 178

CARLO WEINGRILL 94

CARTIER 2, 7, 8, 9, 10, 44, 58, 103, 156, 168,169

CHOPARD 184

DAVID MORRIS 132

ELIZABETH GAGE 187

FAVERO 228

FRED PARIS 79

FRIEDRICH 146

GEORGES LENFANT 69, 83, 90

GILBERT ALBERT 89

HERMÈS 1, 90, 122, 123, 124, 125

KUTCHINSKY 81, 82, 126

LALAOUNIS 114, 115, 116,118

LANGI 220

MARGHERITA BURGENER 12, 230, 237, 252

MAUBOUSSIN 61, 140

MICHELE DELLA VALLE 176, 177

O.J PERRIN 83

OTTO POULSEN 244

PAUL LACKRITZ 59 PIERO M 236

POMELLATO 97, 147, 148, 151, 153, 170, 172, 173, 174, 175

ROBERTO COIN 3

SABBADINI 160

SEAMAN SCHEPPS 142

TABBAH 110

TIFFANY & CO 4, 6, 56, 77, 98, 158

VAN CLEEF & ARPELS 80, 84, 101, 102, 161, 202

WEMPE 154

General Terms and Conditions of Business

The Auctioneer carries on business on the following terms and conditions and on such other terms or conditions as may be expressly agreed with the Auctioneer or set out in any relevant Catalogue. Conditions 12-21 relate mainly to buyers and conditions 22-32 relate mainly to sellers. Words and phrases with special meanings are defined in condition 1. Buyers and sellers are requested to read carefully the Cataloguing Practice and Catalogue Explanation contained in condition 2.

DEFINITIONS AND GENERAL CONDITIONS

DEFINITIONS

1. In these conditions the following words and expressions shall have the following meaings:

‘Auctioneer’ – James Adam & Sons.

‘Auctioneer’s Commission’ – The commission payable to the Auctioneer by the buyer and seller as specified in conditions 13 and 25.

‘Catalogue’ – Any advertisement, brochure, estimate, price list or other publication.

‘Forgery’ – A Lot which was made with the intention of deceiving with regard to authorship, culture, source, origin, date, age or period and which is not shown to be such in the description therefore in the Catalogue and the market value for which at the date of the auction was substantially less than it would have been had the Lot been in accordance with the Catalogue description.

‘Hammer Price’ – The price at which a Lot is knocked down by the Auctioneer to the buyer.

‘Lot’ – Any item which is deposited with the Auctioneer with a view to its sale at auction and, in particular, the item or items described against any Lot number in any Catalogue.

‘Proceeds of Sale’ – The net amount due to the seller being the Hammer Price of the Lot after deducting the Auctioneer’s Commission thereon under condition 25 the seller’s contribution towards insurance under condition 26, such VAT as is chargeable and any other amounts due by the seller to the Auctioneer in whatever capacity howsoever arising.

‘Registration Form or Register’ – The registration form (or, in the case of persons who have previously attended at auctions held by the Auctioneer and completed registration forms, the register maintained by the Auctioneer which is compiled from such registration forms) to be completed and signed by each prospective buyer or, where the Auctioneer has acknowledged pursuant to condition 12 that a bidder is acting as agent on behalf of a named principal, each such bidder prior to the commencement of an auction.

‘Sale Order Form’ – The sale order form to be completed and signed by each seller prior to the commencement of an auction.

‘Total Amount Due’ – The Hammer Price of the Lot sold, the Auctioneer’s Commission due thereon under condition 13, such VAT as is chargeable and any additional interest, expenses or charges due hereunder.

‘V.A.T.’ – Value Added Tax.

Cataloguing Practice and Catalogue Explanations

2. Terms used in Catalogues have the following meanings and the Cataloguing Practice is as follows:

The first name or names and surname of the artist; In the opinion of the Auctioneer a work by the artist.

The initials of the first name(s) and the surname of the artist; In the opinion of the Auctioneer a work of the period of the artist and which may be in whole or in part the work of the artist.

The surname only of the artist; In the opinion of the Auctioneer a work of the school or by one of the followers of the artist or in his style.

The surname of the artist preceded by ‘after’; In the opinion of the Auctioneer a copy of the work of the artist. ‘Signed’/’Dated’/’lnscribed’; In the opinion of the Auctioneer the work has been signed/dated/inscribed by the artist.

‘With Signature’/’with date’/’with inscription’; In the opinion of the Auctioneer the work has been signed/dated/inscribed by a person other than the artist.

‘Attributed to’; In the opinion of the Auctioneer probably a work of the artist.

‘Studio of/Workshop of’ In the opinion of the Auctioneer a work executed in the studio of the artist and possibly under his supervision.

‘Circle of’; In the opinion of the Auctioneer a work of the period of the artist and showing his influence.

‘Follower of’; In the opinion of the Auctioneer a work executed in the artist’s style yet not necessarily by a pupil.

‘Manner of’; In the opinion of the Auctioneer a work executed in artist’s style but of a later date. ‘*’;

None of the terms above are appropriate but in the Auctioneer’s opinion the work is a work by the artist named.

GENERAL CONDITIONS

Auctioneer Acting as Agent

3. The Auctioneer is selling as agent for the seller unless it is specifically stated to the contrary. The Auctioneer as agent for the seller is not responsible for any default by the seller or the buyer.

Auctioneer Bidding on behalf of Buyer

4. It is suggested that the interests of prospective buyers are best protected and served by the buyers attending at an auction. However, the Auctioneer will, if instructed, execute bids on behalf of a prospective buyer. Neither the Auctioneer nor its employees, servants or agents shall be responsible for any neglect or default in executing bids or failing to execute bids.

Admission to Auctions

5. The Auctioneer shall have the right exercisable in its absolute discretion to refuse admission to its premises or attendance at its auctions by any person.

Acceptance of Bids

6. The Auctioneer shall have the right exercisable in its absolute discretion to refuse any bids, advance the bidding in any manner it may decide, withdraw or divide any Lot, combine any two or more Lots and, in the case of a dispute, to put any Lot up for auction again.

Indemnities

7. Any indemnity given under these conditions shall extend to all actions, proceedings, claims, demands, costs and expenses whatever and howsoever incurred or suffered by the person entitled to the benefit of the indemnity and the Auctioneer declares itself to be a trustee of the benefit of every such indemnity for its employees, servants or agents to the extent that such indemnity is expressed to be for their benefit.

Representations in Catalogues

8. Representations or statements made by the Auctioneer in any Catalogue as to contribution, authorship, genuineness, source, origin, date, age, provenance, condition or estimated selling price or value is a statement of opinion only. Neither the Auctioneer nor its employees, servants or agents shall be responsible for the accuracy of any such opinions. Every person interested in a Lot must exercise and rely on their own judgment and opinion as to such matters.

9. The headings of the conditions herein contained are inserted for convenience of reference only and are not intended to be part of, or to effect, the meaning or interpretation thereof.

Governing Law

10. These conditions shall be governed by and construed in accordance with Irish Law.

Notices

11. Any notice or other communication required to be given by the Auctioneer hereunder to a buyer or a seller shall, where required, be in writing and shall be sufficiently given if delivered by hand or sent by post to, in the case of the buyer, the address of the buyer specified in the Registration Form or Register, and in the case of the seller, the address of the seller specified in the Sale Order Form or to such other address as the buyer or seller (as appropriate) may notify the Auctioneer in writing. Every notice or communication given in accordance with this condition shall be deemed to have been received if delivered by hand on the day and time of delivery and if delivered by post three (3) business days after posting.

The Buyer

12. The buyer shall be the highest bidder acceptable to the Auctioneer who buys at the Hammer Price. Any dispute which may arise with regard to bidding or the acceptance of bids shall be settled by the Auctioneer. Every bidder shall be deemed to act as principal unless the Auctioneer has prior to the auction, acknowledged in writing that a bidder is acting as agent on behalf of a named principal.

Commission

13. The buyer shall pay the Auctioneer a commission at the rate of 20.325%, exclusive of V.A.T..

Payment

14. Unless credit terms have been agreed with the Auctioneer before the auction the buyer of a Lot shall pay to the Auctioneer within one (1) day from the date of the auction the Total Amount Due. Notwithstanding this, the Auctioneer may, in its sole discretion, require a buyer to pay a deposit of 25% of the Total Amount Due at the conclusion of the auction.

The Auctioneer may apply any payments received by a buyer towards any sums owing from that buyer to the Auctioneer on any account whatever regardless of any directions of the buyer or his agent in that regard whether express or implied.

The Auctioneer shall only accept payment from successful bidders in cash or by the bidder’s own cheque. Cheques drawn by third parties, whether in the Auctioneer’s favour or requiring endorsement, shall not be accepted.

Reservation of Title

15. Notwithstanding delivery or passing of risk to the buyer the ownership of a Lot shall not pass to the buyer until he has paid to the Auctioneer the Total Amount Due.

Collection of Purchases

16. The buyer shall at his own expense collect the Lot purchased not later than seven (7) days after the date of the auction but (unless credit terms have been agreed with the Auctioneer pursuant to condition 14) not before payment to the Auctioneer of the Total Amount Due.

The buyer shall be responsible for any removal, storage and insurance charges in respect of any Lot which is not taken away within seven (7) days after the date of the auction.

The purchased Lot shall be at the buyer’s risk in all respects from the earlier of the time of collection or the expiry of one (1) day from the date of the auction. Neither the Auctioneer nor its employees, servants or agents shall thereafter be liable for any loss or damage of any kind howsoever caused while a purchased Lot remains in its custody or control after such time.

Packaging and Handling of Purchased Lots

17. Purchased Lots may be packed and handled by the Auctioneer, its employees, servants or agents. Where this is done it is undertaken solely as a courtesy to buyers and at the discretion of the Auctioneer. Under no circumstances shall the Auctioneer, its employees, servants or agents be liable for damage of any kind and howsoever caused to glass or frames nor shall the Auctioneer be liable for the errors or omissions of, or for any damage caused by, any packers or shippers which the Auctioneer has recommended.

Non-Payment or Failure to Collect Purchased Lots

18. If a buyer fails to pay for and/or collect any purchased Lot by the dates herein specified for payment and collection the Auctioneer shall, in its absolute discretion and without prejudice to any other rights or remedies it may have, be entitled to exercise one or more of the following rights or remedies without further notice to the buyer:

(a) To issue court proceedings for damages for breach of contract;

(b) To rescind the sale of that Lot or any other Lots sold to the buyer whether at that or at any other auction;

(c) To resell the Lot or cause it to be resold whether by public auction or private sale. In the event that there is a deficiency between the Total Amount Due by the buyer and the amount received by the Auctioneer on such resale after deduction of any necessary expenses the difference shall be paid to the Auctioneer by the buyer. Any surplus arising shall belong to the seller.

(d) To store (whether at the Auctioneer’s premises or elsewhere) and insure thepurchased Lot at the expense of the buyer.

(e) To charge interest on the Total Amount Due at the rate of 2% over and above the base rate from time to time of Bank of Ireland or if there be no such rate, the nearest equivalent thereto as determined by the Auctioneer in its absolute discretion from the date on which payment is due hereunder to the date of actual payment.

(f) To retain that Lot or any other Lot purchased by the buyer whether at the same or any other auction and release same to the buyer only after payment to the Auctioneer of the Total Amount Due.

(g) To apply any sums which the Auctioneer received in respect of Lots being sold by the buyer towards settlement of the Total Amount Due.

(h) To exercise a lien on any property of the buyer in the possession of the Auctioneer or whatever reason.

Liability of Auctioneer and Seller

19. Prior to auction ample opportunity is given for the inspection of the Lots on sale and each buyer by making a bid acknowledges that he has, by exercising and relying on his own judgment, satisfied himself as to the physical condition, age and Catalogue description of each Lot (including but not restricted to whether the Lot is damaged or has been repaired or restored). All Lots are sold with all faults and imperfections and errors of description. None of the seller, the Auctioneer nor any of their employees, servants or agents shall be responsible for any error of description or for the condition or authenticity of any Lot. No warranty whatsoever is given by the seller or Auctioneer or by any of their employees, servants or agents in respect of any Lot and any condition or warranty express or implied by statute or otherwise is hereby specifically excluded.

Forgeries

20. Any amount paid by a buyer in respect of a Lot which, if it is proved within three (3) years of the date of the auction at which it was purchased, to have been a Forgery shall be refunded to the seller subject to the provisions hereof, provided that:

(a) The Lot has been returned by the buyer to the Auctioneer within three (3) years of the date of the auction in the same condition in which it was at the time of the auction together with evidence proving that it is a Forgery, the number of the Lot and the date of the auction at which it was purchased;

(b) The Auctioneer is satisfied that the Lot is a Forgery and that the buyer has and is able to transfer good and marketable title to the Lot free from any third party claims;

FURTHER PROVIDED THAT the buyer shall have no rights hereunder if:

(i) The description of the Lot in the Catalogue at the time of the auction was in accordance with the then generally accepted opinion of scholars or experts or fairly indicated that there was a conflict of such opinion;

(ii) The only method of establishing at the time of the auction in question that the Lot was a Forgery would have been by means of scientific processes which were not generally accepted for use until after the date of the auction or which were unreasonably expensive or impractical.

The buyer’s sole entitlement under this condition is to a refund of the actual amount paid by him in respect of the Lot. Under no circumstances shall the Auctioneer be liable for any damage, loss (including consequential, indirect or economic loss) or expense suffered or incurred by the buyer by reason of the Lot being a Forgery.

The benefit of this condition shall be solely and exclusively for the buyer and shall not be assignable. The buyer shall for the purpose of this condition be the person to whom the original invoice in respect of the sale of the Lot is made.

Photographs

21. The buyer authorises the Auctioneer at any time to make use of any photographs or illustrations of the Lot purchased by the buyer for such purposes as the Auctioneer may require.

CONDITIONS WHICH MAINLY CONCERN THE SELLER

Auctioneer’s Discretion

22. With regard to the sale of any Lot the Auctioneer shall have the following powers exercisable solely in the discretion of the Auctioneer:

(i) To decide whether to offer any Lot for sale or not;

(ii) To decide whether a particular Lot is suitable for sale by the Auctioneer and, if so, to determine which auction, the place and date of sale, the conditions of sale and the manner in which such sale should be conducted;

(iii) To determine the description of any Lot in a Catalogue.

(iv) To decide whether the views of any expert shall be obtained and to submit Lots for examination by any such experts.

(v) To determine what illustration of a Lot (if any) is to be included in the Catalogue.

Seller’s Warranty and Indemnity

23. The seller warrants to the Auctioneer and to the buyer that he is the true owner of the Lot or is legally authorised to sell the Lot on behalf of the true owner and can transfer good and marketable title to the Lot free from any third party claims. As regards Lots not held by the Auctioneer on its premises or under its control the seller warrants and undertakes to the Auctioneer and the buyer that the Lot will be available and in a deliverable state on demand by the Auctioneer or buyer. The seller shall indemnify the Auctioneer and the buyer or any of their respective employees, servants or agents against any loss or damage suffered by any of them in consequence of any breach of the above warranties or undertakings by the seller.

Reserves

24. Subject to the Auctioneer’s discretion, the seller shall be entitled prior to the auction to place a reserve on any Lot. All reserves must be agreed in advance by the Auctioneer and entered on the Sale Order Form or subsequently be confirmed in writing to the Auctioneer prior to auction. This also applies to changes in reserves. A reserve may not be placed upon any Lots under IR£100 in value. The reserve shall be the minimum Hammer Price at which the Lot may be sold by the Auctioneer. A reserve once in place may only be changed with the consent of the Auctioneer. A commission shall be charged on the ‘knock-down’ bid for Lots which fail to reach the reserve price. Such commission shall be 5% of the ‘knock-down’ bid. This commission and any VAT payable thereon must be paid before removal of the Lot after the auction. The minimum commission hereunder shall be IR £25. The Auctioneer may in its sole discretion sell a Lot at a Hammer Price below the reserve therefore but in such case the Proceeds of Sale to which the seller shall be entitled shall be the same as they would have been had the sale been at the reverse.

Unless a reserve has been placed on a Lot in accordance with the provisions set out above such Lot shall be put up for sale without reserve.

In the event that any reserve price is not reached at auction then for so long as the Lot remains with the Auctioneer and to the extent that the Lot has not been re-entered in another auction pursuant to condition 31 the seller authorises the Auctioneer to sell the Lot by private treaty at not less than the reserve price. The Auctioneer shall ensure that in such a case those conditions herein which concern mainly the buyer shall, with any necessary modification, apply to such sale.

Commission

25. The seller shall pay the Auctioneer commission at the rate of 10% on the Hammer Price of all Lots sold on behalf of the seller at Irish Art Sales and 17.5% on the Hammer Price of all Lots sold on behalf of the seller at Fine Art, Wine and Militaria Sales together with V.A.T. thereon at the applicable rate. The seller authorises the Auctioneer to deduct from the Hammer Price paid by the buyer the Auctioneer’s Commission under this condition; VAT payable at the applicable rates and any other amounts due by the seller to the Auctioneer in whatever capacity howsoever arising. The seller agrees that the Auctioneer may also receive commission from the buyer pursuant to condition 13.

Insurance

26. Unless otherwise instructed by the seller, all Lots (with the exception of motor vehicles) deposited with the Auctioneer or put under its control for sale shall automatically be insured by the Auctioneer under the Auctioneer’s own fine arts policy for such sum as the Auctioneer shall from time to time in its absolute discretion determine. The seller shall pay the Auctioneer a contribution towards such insurance at the rate of 1% of the Hammer Price plus VAT. If the seller instructs the Auctioneer not to insure a Lot then the Lot shall at all times remain at the risk of the seller who undertakes to indemnify the Auctioneer and hold the Auctioneer harmless against any and all claims made or proceedings brought against the Auctioneer of whatever nature and howsoever and wheresoever occurring for loss or damage to the Lot. The sum for which a Lot is covered for insurance under this condition shall not constitute and shall not be relied upon by the seller as a representation, warranty or guarantee as to the value of the Lot or that the Lot will, if sold by the Auctioneer, be sold for such amount. Such insurance shall subsist until such time as the Lot is paid for and collected by the buyer or, in the case of Lots sold which are not paid for or collected by the buyer by the due date hereunder for payment or collection such due date or, in the case of Lots which are not sold, on the expiry of seven (7) days from the date on which the Auctioneer has notified the seller to collect the Lots.

Recision of Sale

27. If before the Auctioneer has paid the Proceeds of Sale to the seller the buyer proves to the satisfaction of the Auctioneer that the Lot sold is a Forgery and the requirements of condition 20 are satisfied the Auctioneer shall rescind the sale and refund to the buyer any amount paid to the Auctioneer by the buyer in respect of the Lot.

Payment of Proceeds of Sale

28. The Auctioneer shall remit the Proceeds of Sale to the seller not later than thirty (30) days after the date of the auction, provided however that, if by that date, the Auctioneer has not received the Total Amount Due from the buyer then the Auctioneer shall remit the Proceeds of Sale within seven (7) working days after the date on which the Total Amount Due is received from the buyer. If credit terms have been agreed between the Auctioneer and the buyer the Auctioneer shall remit to the seller the Proceeds of Sale not later than thirty (30) days after the date of the auction unless otherwise agreed by the seller.

If before the Total Amount Due is paid by the buyer the Auctioneer pays the seller an amount equal to the Proceeds of Sale then title to the Lot shall pass to the Auctioneer.

If the buyer fails to pay the Auctioneer the Total Amount Due within fourteen (14) days after the date of the auction, the Auctioneer shall endeavour to notify the seller and take the seller’s instructions on the course of action to be taken and, to the extent that it is in the sole opinion of the Auctioneer feasible, shall endeavour to assist the seller to recover the Total Amount Due from the buyer provided that nothing herein shall oblige the Auctioneer to issue proceedings against the buyer in the Auctioneer’s own name. If circumstances do not permit the Auctioneer to take instructions from the seller or, if after notifying the seller, it does not receive instructions within seven (7) days, the Auctioneer reserves the right, and is hereby authorised by the seller at the seller’s expense, to agree special terms for payments of the Total Amount Due, to remove, store and insure the Lot sold, to settle claims made by or against the buyer on such terms as the Auctioneer shall in its absolute discretion think fit, to take such steps as are necessary to collect monies due by the buyer to the seller and, if necessary, to rescind the sale and refund money to the buyer.

Payment of Proceeds to Overseas Sellers

29. If the seller resides outside Ireland the Proceeds of Sale shall be paid to such seller in Irish Punts unless it was agreed with the seller prior to the auction that the Proceeds of Sale would be paid in a currency (other than Irish Punts) specified by the seller in which case the Proceeds of Sale shall be paid by the Auctioneer to the seller in such specified currency (provided that that currency is legally available to the Auctioneer in the amount required) calculated at the rate of exchange quoted to the Auctioneer by its bankers on the date of payment.

Charges for Withdrawn Lots

30. Once catalogued, Lots withdrawn from sale before proofing/publication of Catalogue will be subject to commission of 5% of the Auctioneer’s latest estimate of the auction price of the Lot withdrawn together with VAT thereon and any expenses incurred by the Auctioneer in relation to the Lot. If Lots are withdrawn after proofing or publication of Catalogue they will be subject to a commission of 10% of the Auctioneer’s latest estimate of the auction price of the Lot withdrawn together with VAT thereon and any expenses incurred by the Auctioneer in relation to the Lot. All commission hereunder must be paid for before Lots withdrawn may be removed.

Unsold Lots

31. Where any Lot fails to sell at auction the Auctioneer shall notify the seller accordingly and (in the absence of agreement between the seller and the Auctioneer to the contrary) such Lot may, in the absolute discretion of the Auctioneer, be re-entered in the next suitable auction unless instructions are received from the seller to the contrary, otherwise such Lots must be collected at the seller’s expense within the period of thirty (30) days of such notification from the Auctioneer.

Upon the expiry of such period the Auctioneer shall have the right to sell such Lots by public auction or private sale and on such terms as the Auctioneer in its sole discretion may think fit. The Auctioneer shall be entitled to deduct from the price received for such Lots any sums owing to the Auctioneer in respect of such Lots including without limitation removal, storage and insurance expenses, any commission and expenses due in respect of the prior auction and commission and expenses in respect of the subsequent auction together with all reasonable expenses before remitting the balance to the seller. If the seller cannot be traced the balance shall be placed in a bank account in the name of the Auctioneer for the seller. Any deficit arising shall be due from the seller to the Auctioneer. Any Lots returned at the seller’s request shall be returned at the seller’s risk and expense and will not be insured in transit unless the Auctioneer is so instructed by the seller.

Auctioneer’s Right to Photographs and Illustrations

32. The seller authorises the Auctioneer to photograph and illustrate any Lot placed with if for sale and further authorises the Auctioneer to use such photographs and illustrations and any photographs and illustrations provided by the seller at any time in its absolute discretion (whether or not in connection with the auction).

Catalogue illustrations are included at the discretion of the Auctioneer. Illustration charges will be calculated on the particular category of sale. These charges are subject to change. Irish Art Sale Illustrations: €150.00 full page, €100.00 half page, €50.00 other sizes. Fine Art Illustrations: Scaled fee: €100.00 for lots sold for €3,000.00 and over, hammer price, €50.00 for lots sold under €3,000.00 hammer price. All other sales: €25.00 per illustration. All lots illustrated and not sold are charged €25.00 per illustration.

VAT

34. It is presumed, unless stated to the contrary, that the items listed herein are auction scheme goods as defined in the Finance Act 1995.

35. Artist’s Resale Rights (Droit de Suite) Government Regulations (S.1. 312/2006)

Under this legislation a royalty (droit de suite) is payable to artists or the artist’s heirs (if deceased in the last 70 years) of E.U. nationality on all works resold for €3,000 or more, other than those sold by the artist or the artist’s agent.

The resale royalty payable is calculated as follows:

From €3,000 to €50,000 4%

From €50,000.01 to €200,000 3%

From €200,000.01 to €350,000 1%

From €350,000.01 to €500,000 0.5%

Exceeding €500,000 0.25%

The total amount of royalty payable on any individual sale shall not exceed €12,500 The seller is liable for payment (paragraph 7.1 of Government Regulations (S.1. 312/2006) of this royalty on completion of the sale. The artist may request from the Auctioneer any information necessary to secure payment.

The Auctioneer will automatically deduct the amount due from the proceeds of sale and will hold in trust for the artist, their heirs or their representative for a period of 3 years from the date of sale. A vendor may choose to check the ARR Waiver on the Sale Receipt Contract indicating that they accept sole responsibility for the payment and authorises the Auctioneers to disclose their contact details to the artist, their heirs or their representative.