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NOAG

FINE JEWELRY

A N I M P ORTANT SIN G L E - OWN E R CO L L ECT I ON DECEMBER 4, 2021



Fine Jewelry AN IMPORTANT SINGLE-OWNER COLLECTION

New Orleans Auction galleries

333 Saint Joseph Street, New Orleans, Louisiana 70130 www.neworleansauction.com | info@neworleansauction.com | 504-566-1849 LA Auction License AB-363, Steinkamp #1265, Eichenwald #1922 | 25% Buyer’s Premium


Lot 149: Stunning Pair of Art Moderne Diamond Dress Clips

Fine Jewelry An important Single-Owner Collection

December 4, 2021 11:00 a.m. CST

Lot Schedule: bidding:

Please note that times are approximate

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Exhibtion: Monday, November 22 - Wednesday, November 24 9:00 a.m. - 5:00 p.m.

Closed Thanksgiving Day and Friday, November 26 Monday, November 29 - Friday, December 3 9:00 a.m. - 5:00 p.m.

Bidding: Bidding is available in-person, by telephone, absentee and live online with LiveAuctioneers and Invaluable.

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ILLUSTRATED ON PREVIOUS PAGES:

Lot 6: Impressive Fine George IV Diamond Maltese Cross Brooch Lot 23: Victorian Diamond Tremblant Corsage Brooch Lot 80: Elegant French Belle Epoque Diamond Corsage Brooch Lot 112: Fine Pair of Belle Epoque Diamond Drop Earrings

Lot 119: Magnif icent Belle Epoque Seed Pearl and Diamond Sautoir


A LETTER FROM THE

Director of Fine Jewelry Whether playing dress-up with my grandmother’s Art Deco-inspired pieces, sketching ideas for new designs or handcrafting bracelets to sell at trunk shows with my mom, all of my earliest memories involve jewelry. The f irst thing my sister and I would do when visiting my grandmother’s house was go straight to her jewelry box, select some pieces and pretend we were wearing them to fancy events. To little girls, they looked like the crown jewels. When my grandmother passed away, she left me a large Art Deco gold cocktail ring with staggered emeralds on it. That was the ring I always wanted to prance around

The catalogue has been thoughtfully curated to take

in as a child. It holds a lot of memories.

you on a journey through time, f rom Belle Epoque and Art Deco to Modern and beyond. We took a different

And that’s just the thing about antique jewelry: each piece

approach to this catalogue and I hope you f ind the photos

tells its own special story.

reflect the timeless elegance of f ine antique jewelry which, paired with modern elements, continues to inspire,

It thus seems serendipitous that all these years later, I’d

delight and tell new stories.

f ind myself overseeing the Fine Jewelry Department here at New Orleans Auction Galleries. Over the past eight

The curation of this sale wouldn’t have been possible

years, I’ve had the privilege to handle pieces I once only

without my colleague, Charles Cage. Well known as our

dreamed of – including a 31-carat Harry Winston diamond

resident silver expert, Charles’s boundless knowledge

ring f rom The Estate of Bonnie B. Swearingen, which

of antique jewelry was a gem in its own right, for which

remains one of my favorites.

I’m immensely thankful. I also would like to thank Taylor Eichenwald, our Assistant Director, for his help

And it’s not just me for whom jewelry is so personal.

on styling the gorgeous photos you will see throughout

Whether it is an inherited piece, a gift or a “must-have”

the catalogue. The result is a dazzling, one-of-a-kind

f ind, each is unique and distinctly beloved. I think that

presentation of a truly inimitable collection of antique

jewelry, while alluring on its own, is made more beautiful

jewelry that my six-year-old self couldn’t have even

and more signif icant as it moves f rom one owner to the

imagined.

next. Over time, each owner gives their piece a piece of themselves.

As I see it, this collection celebrates the timelessness of stories, well preserved and beautifully worn. May we

I’ve had the opportunity to work closely with many jewelry

continue to make and share them.

owners over the years, but few projects have been more satisfying to be a part of than this current sale. We are

Enjoy!

honored to present an important single-owner collection, a f irst for NOAG, that represents over two centuries of jewelry design. Working intimately with the owner of this collection has been a privilege that’ll surely be pinned

Kim Lemon

among my most special moments.

Director of Fine Jewelry


Lot 106: Renaissance Revival Natural Saltwater Pearl and Enamel "Mermaid" Pendant, ca. 1890


A Note From The Collector I’m sure many of you are wondering why I’ve chosen to remain anonymous. Admittedly, I’ve gone back and forth on this choice but, ultimately, I feel strongly that this sale should be about the stories of the pieces in my lifelong collection, not mine. As is often the case for those who opt to offer their collections at auction, the decision to part with mine was not an easy one to make, but I believe it is time to allow these special pieces to find their new place in the world – and thus, draft a new story. Perhaps it was my unique upbringing, my innate eye for beauty or a combination of both, but from a young age I had a strong interest in fashion, jewelry and history. I grew up between a ranch in Texas and the concrete jungle of New York City, which may seem eclectic to some but felt very normal to me. At the age of 11, I could teach you to trick rope just as well as I could provide you with a tour of The Metropolitan, The Morgan or The Frick. From a young age, my mother and grandmother often consulted with me on fashion and jewelry. I would make my way to their shared dressing rooms with the hanging dresses I had selected for them held high above my head, ready to be tried on. At first, the visiting designers might have chuckled, but after a while, they would help me carry my chosen treasures. Perhaps my mother and grandmother were humoring me, seeing how much joy this brought me, yet I’m pleased to say that more often than not, they did make the “correct” purchases! Aside f rom fashion, I have always been fascinated by jewelry. Thanks to my mother and grandmother, I was able to “go along'' to shop for jewelry f rom designers, dealers, auction houses (long before private clients were the norm) and the large storef ronts on Fifth and Madison Avenues. One of the destinations I found most enchanting was Fred Leighton (aka “Murray”) on Madison, back when the store was just a drawer-f illed corridor. Every time he pulled out a drawer, it was like magic! That unassuming store was a treasure trove of unbelievable f inds. After completing a double major in Art History and English Literature with a minor in History, I was signed by Ford Modeling Agency. It was an opportunity that fit like a perfectly tailored dress, allowing me to dive head-first into my passion for fashion as both beauty and art form. Alas, as my personal earnings began to grow, so did my collection of antique and estate jewelry. Until now, these pieces have been tucked away, having been seen and visited only by me. Today, after quite a few years and nine oversized lockboxes to house it, it is time for this private collection to continue its journey and find a new life. I hope that these special pieces bring you all as much joy as they have brought me over the years. It’s my hope that you’ll wear them proudly, both day and night (after all, who doesn’t need some good luncheon jewels?) and give them the opportunity to take on a new life alongside your personal story.

Wear them as you may, and enjoy them every which way you can.


CREDITS PHOTOGRAPHY Greg MIles Jason Kruppa Christa Ougel MODEL Ashley Abrusely HAIR Burke MAKEUP Midori Tajiri-Byrd Midori Makeup Artistry DESIGN Bettina Bausa

A Special Thank You to Adam Lippes For Generously Providing Many of the Clothes Featured in This Catalogue We Are Pleased to Present Furniture, Fine Art, Silver and More From The Collection of Adam Lippes in Our December 11-12 Estates Auction



Belle Epoque

Georgian

(1871-1914)

(1714-1837)

Victorian (1837-1890)


Retro Modern & Art Moderne

Edwardian (1890-1917)

(1920s -1950s)

Art Deco (1908-1935)


Georgian (1714-1837)

The Georgian period spanned over a century, f rom the ascension of Hanoverian King George I in 1714 to the death of his great-great grandson, William IV in 1837. Very little jewelry f rom the 18th century survives, in part because of its rarity in its time, such luxuries being the exclusive purvey of the wealthy aristocracy and gentry. But it was also in its time f requently dismantled, refurbished and recycled to the latest fashion, so that little of it remains in its original form. Most popular were magnif icent diamond brooches – sometimes pinned and sometimes sewn to the garment – in the form of floral corsages or ribboned bows, the latter known as “seveignes”. The “rose” cut was the most common popular shape, so named because the facets resembled the overlapping petals of a rose. As candlelight was the only available illumination before the invention of argand and gas lamps at the end of the 18th century, these flat-bottomed rosecut diamonds were often backed with foil to enhance their brilliance, which was further enhanced by mounting them in silver, which would quickly oxidize and make the diamonds stand out even more, and by mounting them “en tremblant”: on f ine springs that would make them shimmer in the candlelight. More modest - but more prevalent - were the many sentimental jewels of the Georgian era. These affectionate tokens took many forms, f rom the portraits of a lover’s single eye, gazing in adoration, to the weeping willows and funerary urns encased under crystal in memory of a lost love, all executed with an extraordinary intricacy of detail making them unique miniature works of art.

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LOT 6

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1 IMPORTANT LARGE PAIR OF GEORGIAN ROSE-CUT DIAMOND GIRANDOLE EARRINGS fourth quarter 18th century, silver top, 10k gold back, with a diamond within a crescent suspending a pear-shaped frame with conforming dangling diamond within, accented with laurel leaves and drops, decorated throughout with bead- and reduced colletset diamonds, weighing approximately 5.82 carats in total, with later friction-post pierced backs. l. 2-1/2”, w. 7/8”, total weight 25.0 grams $7,000-$10,000 2 LATE GEORGIAN DIAMOND BIRD BROOCH ca. 1810, in the form of a bird in flight, set with a central large oval rose-cut diamond and pave set with smaller rose-cut diamonds, weighing approximately 2.09 carats in total, the reverse with brooch pin of later date. h. 1-1/8”, l. 1-1/2”, total weight 8.1 grams $1,800-$2,500

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3 PAIR OF ANTIQUE CUT STEEL DROP EARRINGS ca. 1815, each of kite-shaped form with one central and three suspended articulated navette-shaped drops, all faced with cut steel half beads, with gold “fishhook” earwires. l. 2-1/4” (2-1/2” with earwire), w. 1”, total weight 8.1 grams $800-$1,200 Costume jewelry made of steel studs, individually faceted, polised and riveted to a base plate were made from around 1750 in England, particularly in the city of Woodstock. The technique was also used on the continent and in variety of forms, particularly items of a utilitarian nature, like shoe and breeches buckles and chatelaines. It reached its height of popularity in 1759, when citizens were asked to sacrifice their precious jewels to pay for the Seven Years’ War. The present lot dates from a time of similar circumstances during the Napoleonic Wars, when citizens were similarly asked to contribute their jewelry to the war effort; Napoleon himself presented a fifteen-piece cut steel parure to his wife Marie Louise around 1810, now conserved in the Metopolitan Museum of Art.


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4 ROMANTIC REGENCY ENAMEL AND DIAMOND BROOCH

5 FINE REGENCY ERA CARNELIAN MALTESE CROSS PENDANT

ca. 1810, 18k gold, of navette form, set with a central reduced colletset pear-shaped diamond weighing approximately 0.98 carats, on a blue guilloche enamel ground, pierced through with a rose-cut diamond-tipped arrow, within an inner band of opaque white enamel and an outer band of seed pearls. h. 1”, w. 1-7/8”, total weight 9.7 grams

ca. 1825, 18k yellow gold, the arms carved of rich carnelian joined by a central plaque on intricate gold cannetille scrolls with four small spinels and centering an oval green jadeite cabochon, and accented with round-cut rubies weighing approximately 0.16 carats in total, the reverse with square hair locket, the top drilled and fit with a pendant bail. w. 2”, total weight 21.2 grams

$4,500-$7,000

Provenance: Christie’s, New York, November 20, 1999. $3,000-$5,000 A very similar pendant in the collection of the British Museum is illustrated in Shirley Bury, Jewelry: The International Era, v. I, 17891861 (Woodbridge, Suffolk: Antique Collectors Club, 1997), p. 285, plate 146.

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6 IMPRESSIVE FINE GEORGE IV DIAMOND MALTESE CROSS BROOCH ca. 1820/30, silver top, gold back, with openwork arms separated by fleurs-de-lys, with reduced collet-set old mine-cut diamonds, weighing approximately 10.18 carats in total, presented in the original fitted velvet- and satin-lined octagonal leather case. w. 2”, total weight 18.5 grams

7 RARE FINE GEORGIAN DIAMOND MALTESE CROSS BROOCH first quarter 19th century, silver top, closed gold back, set with a central old mine-cut diamond, ringed and radiating openwork arms set with a central old mine-cut diamond weighing approximately 0.88 carats and Peruzzi-cut diamonds weighing approximately 1.28 carats in total. w. 2”, total weight 18.0 grams

Provenance: Sotheby’s, London, July 12, 2002.

Provenance: Christie’s Important Jewels, New York, New York, December 4, 2001.

$12,000-$18,000

$7,000-$10,000

Two very similar diamond Maltese cross brooches were offered in the sale of the family collection of the late Countess Mountbatten of Burma, Sotheby’s London, March 24, 2021; see lots 331 and 360.

For a pendant of similar date and design, see Shirley Bury, Jewelry: The International Era, v. I, 1789-1861 (Woodbridge, Suffolk: Antique Collectors Club, 1997), p. 206, plate 103.

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8

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8 WILLIAM IV WHITE QUARTZ FOB SEAL

9 LARGE WILLIAM IV GOLD AND GARNET BROOCH

ca. 1835, 18k yellow gold, decorated with repousse fruits and set with an opaque white quartz intaglio seal with motto “Guerre a l’Inconstance” with two doves and a butterfly; fashioned to be worn as a fob or a ring. size 11, h. 1”, w. 1-1/2”, total weight 14.9 grams

1830s, made from a lady’s belt or sash buckle, 18k multi-color gold, the long, rectangular reeded frame decorated with leaves and scrolls and set with one large and two small garnet cabochons, weighing approximately 9.62 carats in total, the reverse now fitted with a large double pin. l. 3-1/2”, w. 1-3/8”, total weight 26.2 grams

$1,500-$2,500

$2,000-$4,000

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10 ANTIQUE PAIR OF BIEDERMEIER DANGLE EARRINGS

11 PAIR OF WILLIAM IV AMETHYST DROP EARRINGS

ca. 1840, 18k yellow gold. l. 2-3/8”, total weight 9.0 grams

second quarter 19th century, 15k gold, each with a large, long central pear-shaped amethyst weighing approximately 22.34 carats in total, set between two smaller oval-cut amethysts weighing approximately 1.24 carats in total, all within a leafy cannetille gold surround. l. 3-1/4”, total weight 18.0 grams

$1,200-$1,800

$2,500-$4,000

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12

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12 VICTORIAN ROCK CRYSTAL BROOCH ca. 1855, 15k yellow gold, set with a central “windowpane” cut oval rock crystal in an openwork leafy surround, weighing approximately 10.40 carats, within an oval frame quartered by foliate-engraved scrolls. h. 2”, w. 2-3/8”, total weight 14.2 grams Provenance: Christie’s, London, May 18, 2004.

13 EXQUISITE VICTORIAN DIAMOND AND RUBY PHOENIX AND CRESCENT BROOCH ca. 1880, 15k yellow gold, in the form of a phoenix in flight within a crescent moon, the crescent and body of the bird set with old mine-cut diamonds, weighing approximately 5.11 carats in total, and the tail feathers set with round-cut rubies weighing approximately 1.44 carats in total. h. 2-1/4”, l. 2-3/4”, total weight 22.7 grams

$1,400-$1,800 $12,000-$18,000

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14 15

14 VICTORIAN GOLD MESH BUCKLE BRACELET

15 LARGE VICTORIAN DIAMOND SWORD PIN

ca. 1885, 18k gold, the mesh band with beaded edges and terminating in a functioning beaded scroll buckle, the buckle, tip and hinged stay all with single collet-set old European-cut diamonds weighing approximately 1.24 carats in total. adjustable sizes 7” to 7-3/4” or 8”, total weight 55.3 grams

ca. 1880, silver top, 15k yellow gold back, the hilt, handle, guard and scabbard tip decorated with reduced collet-set old mine-cut diamonds weighing approximately 1.56 carats in total. l. 4-1/2”, total weight 11.9 grams $2,500-$4,000

$3,000-$5,000

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16 VICTORIAN GOLD AND DIAMOND CROWN BROOCH

17 CITRINE AND AMETHYST CROWN FOB PENDANT

ca. 1885, 18k/14k yellow gold, in the form of a marquesal crown, the leaves set with old mine-cut diamonds weighing approximately 0.71 carats in total, separated by pearl trefoils, the bandeau with alternating small emeralds and rubies weighing approximately 0.45 carats in total and separated by rose-cut diamonds weighing approximately 0.04 carats in total, the reverse with watch hook and original pin and catch. h. 1-1/8”, w. 2”, total weight 15.7 grams

18k yellow gold, in the form of a regnal crown, set with four large oval citrines and four circular amethysts, the base with oval amethyst and the band set with small pale amethysts, with an approximate total gemstone weight of 38.15 carats, the arches decorated with cannetille flowers. h. 1-3/4”, w. 1-1/4”, total weight 22.1 grams $1,000-$1,500

$3,000-$5,000

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14L O T S 1 8 , 2 0 , 7 2 , 1 4 1 & 2 0 6


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18 STUNNING EMERALD RING

20 LARGE DIAMOND AND EMERALD “BUTTERFLY” BROOCH

14k yellow gold, set with a large emerald-cut emerald weighing approximately 41.65 carats, set in a “fob seal”-style mounting with chased openwork acanthus scrolls. size 6-3/4, total weight 32.3 grams

second half 20th century, silver top, 18k yellow gold back, in the Victorian taste, the thorax with a cabochon emerald, the abdomen with channel-set emeralds surrounded by brilliant-cut diamonds, the four wings each set with a single cabochon emerald and collet- and bead-set rose- and brilliant-cut diamonds, with cabochon ruby eyes and brilliant-cut diamond-tipped antennae, with an approximate total emerald weight of 3.20 carats and an approximate total diamond weight of 8.95 carats. h. 3”, w. 2-1/4”, total weight 70.4 grams

$8,000-$12,000 19 ANTIQUE GOLD AND ENAMEL LADY’S LAPEL WATCH dated 1895, comprising an 18k yellow gold case watch with openface reverse, the other with green guilloche enamel centering a red enamel and diamond-set crown, with an approximate total weight of 0.39 carats, opening to reveal an inscription “Anne King / From Her Father / Aug. 12 ‘96”, suspended by a watch-swivel from an associated 14k yellow gold watch pin, with a central Swissenameled plaque of a goddess within an openwork scroll frame set with diamonds, presented in the original case as retailed by Bailey, Banks & Biddle Co., Philadelphia, Pennsylvania. l. 3”, watch dia. 1”, pin w. 1-1/2”, total weight 30.7 grams

$4,500-$7,000 21 CABOCHON EMERALD RING silver top, 18k yellow gold back, with a central cabochon emerald weighing approximately 9.50 carats, held by four crown-shaped prongs pave-set with round brilliant-cut diamonds weighing approximately 1.65 carats in total, and continuing onto the shoulders, to a plain shank. size 7-1/4, total weight 10.5 grams

$1,400-$1,800 $3,000-$5,000

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Victorian (1837 – 1890)

The Victorian Era began as the Industrial Revolution and mechanical production were in full force. A new, wealthy middle class was emerging, and the means to produce jewelry on a greater scale than ever before was available to meet their demand for luxury goods. Stamping machines and grinding wheels enabled streamlined jewelry production and early Victorian pieces are often made of stamped gold parts, hand assembled and engraved and set with a large, colorful gem. As the British Empire grew and its subjects traveled its breadth, new discoveries brought a myriad of designs of historical and archaeological inspiration: the carved gems and mosaics of ancient Rome, the intricate tracery and colorful enamels of the Middle Ages, the beaded gold of the Etruscans, Schliemann’s Trojan Gold, Mariette’s Egyptian sarcophagi. Rubies and sapphires f rom India – the crown jewel in the British Empire – were plentiful, and the discovery of diamonds in South Af rica made them accessible to the middle classes. A more somber style emerged in the third quarter of the 19th century, as the American Civil War and the death of Queen Victoria’s beloved consort Prince Albert in 1861, and the Franco-Prussian War in 1870, plunged much of the world into mourning. Diamonds and pearls – symbolic of tears – were permissible, but brightly colored gems were replaced with onyx, jet and black enamels; deep purple amethyst was acceptable for secondary mourning. As these sorrows waned (though Victoria herself would remain in mourning for the rest of her life), a new, more naturalistic style emerged in the latter part of the century, very much inspired by Japanese designs which had grown in popularity in the 1880s. Birds, insects, flowers, stars, moons: all things natural, and naturally executed, were the reigning style as the century – and the Victorian Era closed.

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LOT 61

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23 VICTORIAN DIAMOND TREMBLANT CORSAGE BROOCH

22 RARE VICTORIAN NATURAL SALTWATER PEARL AND DIAMOND CHOKER ca. 1850, silver top, gold back, fashioned from a bracelet (clasp lacking) now attached to a silk velvet ribbon, with floriform central plaque flanked by tapering foliate links, each set with a natural saltwater button pearl accented by old European- and rose-cut diamonds weighing approximately 1.90 carats in total, GIA certificate available upon request. bracelet w. 1-1/2”, l. 7”, ribbon w. 5/8”, l. 35-1/2”, total weight 30.3 grams GIA certificate available upon request. Provenance: Sotheby’s, Los Angeles, California, May 4, 1999. $6,000-$9,000

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ca. 1850, silver top, 18k yellow gold back, in the form of a floral spray set with old mine- and rose-cut diamonds, weighing approximately 3.02 carats in total, the central flower mounted en tremblant and detaching to permit the two ends to be joined and worn as a simple sprig. l. 3”, w. 1-1/4”, total weight 25.4 grams Provenance: Sotheby’s, New York, New York, November 20,1999. $4,500-$7,000 24 RARE ANTIQUE DIAMOND AND NATURAL PEARL BOW BROOCH ca. 1800, silver with gold accents, in the form of a ribboned bow with flower sprigs, centering a single 9.00 mm natural saltwater pearl and suspending a cascading floral drop, the whole set with pearshaped, rose-cut diamonds weighing approximately 1.92 carats in total, the reverse with pin and catch of later date. l. 2-1/4”, w. 1-1/2”, total weight 16.6 grams $2,500-$4,000


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L O20 T S 1 3 , 2 5 , 2 6 , 2 7, 2 8 , 8 4 & 1 8 9


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26 FINE VICTORIAN “SNAKE” BROOCH

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third quarter 19th century, 15k gold, in the form of a coiled serpent, the head set with a pear-shaped rose-cut diamond weighing approximately 2.00 carats, and ruby eyes, the body engraved with “scales” and set with nine small rose cut diamonds. dia. 1-1/4”, total weight 12.6 grams $3,500-$5,000

25 FINE VICTORIAN ENAMEL, DIAMOND AND PEARL “SNAKE” NECKLACE ca. 1865, 15k gold, with tapering flexible snake chain links centering a serpent’s head and tail, its mouth suspending a pear-shaped open-back locket, the locket star-set with a cushion-cut diamond, the head and locket all on a cobalt enamel ground accented with diamonds and split pearls, with an approximate total diamond weight of 0.91 carats. necklace l. 14-3/4”, center drop 2-3/4”, total weight 38.7 grams

27 ANTIQUE AMERICAN GOLD AND DIAMOND “SNAKE” BANGLE ca. 1880, 18k yellow gold, the “crossover” hinged bangle in the form of a serpent, the head set with one central old pear-cut diamond weighing approximately 0.50 carats, surrounded by old mine-cut diamonds weighing approximately 2.02 carats in total, the termini with engraved arabesques. inside w. 2-1/4”, total weight 30.0 grams $4,000-$7,000 28 VICTORIAN DIAMOND “SNAKE” RING

$7,000-$10,000 The prevalence of snakes as a motif in Victorian jewelry is peculiar to modern eyes. However, the ancient symbol of the ouroboros - a serpent biting its own tail - signified both eternity and rebirth. It was reinterpreted by Victorians as symbolic of eternal love and family abundance, and as such was a particularly popular design for wedding rings and gifts.

ca. 1890, 15k yellow gold, in the form of a coiled serpent, the head flush set with an old European-cut diamond weighing approximately 0.51 carats, with detailed scales and tiny ruby eyes weighing approximately 0.02 carats in total. size 7-1/2, total weight 14.4 grams $3,000-$5,000

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29 PAIR OF VICTORIAN GOTHIC REVIVAL ONYX EARRINGS

30 VICTORIAN ONYX AND DIAMOND CROSS PENDANT

ca. 1870, 15k yellow gold, each with a single shield-shaped piece of onyx drilled and set with a potted flower set with split pearls, set within a gold crest decorated with black enamel ovolo, suspended from a ropework palmette; with locking “fish-hook” earwires of later date. h. 1-1/2” (1-3/4” with earwire), w. 5/8”, total weight 10.4 grams

ca. 1870, 15k yellow gold, carved from a single piece of onyx, drilled and set with a stylized gold navette cross set with buttercup-set rose-cut diamonds weighing approximately 1.27 carats in total, and accented by several smaller ones, with diamond-set bail en suite. l. 2-1/4” (2-5/8” with bail), w. 1-3/8”, total weight 18.3 grams $1,400-$1,800

$1,000-$1,500

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31 VICTORIAN ENAMEL AND PEARL BROOCH

32 RARE VICTORIAN LAPIS LAZULI CROSS PENDANT

ca. 1890, 14k yellow gold, with a central Limoges-style enamel plaque of a fairy in a crabapple tree playing with a dragonfly, set within a ring of pearls. dia. 1-3/8”, total weight 7.7 grams

fourth quarter 19th century, with 15k yellow gold fittings, the cross set with four stylized rays set with rose-cut diamonds and joined by a pear-shaped rose-cut diamond to a large lapis bead and suspended from a bail set with three rose-cut diamonds, with an approximate total diamond weight of 0.75 carats, presented on a 14k yellow gold rope chain of later date. pendant l. 3-3/4”, w. 1-3/4”, chain l. 20-1/2”, total weight 47.8 grams

$1,200-$1,800

$4,000-$7,000

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33 detail

33 VICTORIAN STAR SAPPHIRE “HOLBEINESQUE” PENDANT third quarter 19th century, 18k yellow gold, centering a “sugarloaf” cabochon white star sapphire weighing approximately 17.69 carats, within a conforming gold frame with translucent tricolor champleve enamel and bead-set old mine-cut diamonds, weighing approximately 0.43 carats in total, with lilyengrailed edge, with fleur-de-lys bail and pendant, the latter suspending a single pearl drop, presented in the original case from Waylett & Sachs, London, with an associated 14K yellow gold chain with seed pearls. l. 2-1/4”, w. 1”, chain l. 15-1/4”, total weight 15.6 grams $6,000-$9,000

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34 GEORGIAN/VICTORIAN “ALLIANCE” CUFF BRACELET

35 VICTORIAN ETRUSCAN REVIVAL GARNET BROOCH

composed of antique elements, including a ca. 1865 Victorian 15k two-color gold Archaeological Revival cuff bracelet, with “leaf-anddart” edges and, set down the center, a ca. 1800 Georgian silver top, gold back bracelet segment set with rose-cut diamond “flowers”, weighing approximately 2.65 carats in total, presented in a fitted case. h. 1-1/4”, inside w. 2-1/4”, total weight 44.7 grams

ca. 1865, 15k yellow gold, the circular brooch with a central conforming cabochon-cut garnet weighing approximately 17.29 carats, star-set with one central old mine-cut and six radiant rosecut diamonds, weighing approximately 0.44 carats in total, the frame decorated with Etruscan-style bead- and ropework, the reverse with a small open-face locket compartment. dia. 1-3/4”, total weight 20.9 grams

Provenance: M.S. Rau, New Orleans, Louisiana. $3,000-$5,000 $2,500-$4,000

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36 RARE VICTORIAN EGYPTIAN REVIVAL MICROMOSAIC BROOCH AND EARRING SUITE ca. 1875, 15k gold, the brooch with a large circular micromosaic pharonic masque and pendant smaller one, suspended from a scrolling flower centered bar and decorated with “knife-edge” scrolls and beaded swags, the reverse with pin and catch of later date; the earrings en suite with the original “fishhook” earwires. brooch h. 2-7/8”, w. 1-3/8”, earrings w. 3/4”, l. 2”, total weight 34.3 grams $7,000-$10,000

26

The 1860s saw the beginnings of what became known as the Second Egyptian Revival, the First being the “Egyptomania” of the early 1800s highlighted by Napoleon’s campaigns and Champollion’s translation of hieroglyphics, and the Third following the discovery of Tutankhamun’s tomb in 1922. The Suez Canal was constructed between 1859 and 1869, and during this period Auguste Mariette, Egypt’s first Director of Antiquities, uncovered many extraordinary finds, not the least of which was the funerary jewelry of Ahhotep II. He oversaw the Egyptian stand at the 1869 Exposition Universelle, which brought the Revival to its height, continuing well into the 1870s with Verdi’s magnificent Aida. The new wealthy middle class in England added Egyptian landmarks to the itinerary of Grand Tour, and added Egyptian motifs to the archaeological styles of fashionable jewelry. The present lot is a handsome example of this historical eclecticism, combining Egyptian motifs with Roman-style mosaics with Etruscan-inspired gold decoration.


27


28

L O T S 1 3 , 1 2 5 , 2 6 , 2 7, 2 8 , 8 4 & 1 8 9


38 37

37 VICTORIAN CAMEO BROOCH OF NYX ca. 1865, the shell cameo carved with the profile of Nyx, Goddess of Night, with her attributes (crescent moon, star, owl and crown of poppies), within a gold frame. h. 2”, w. 1-3/4”, total weight 13.5 grams $800-$1,200

38 VICTORIAN CAMEO BROOCH OF “NIGHT AND DAY” ca. 1870, 9k yellow gold, the oval shell cameo carved with double profile portraits of the personifications of Night and Day with their attributes, within a conforming gold frame engraved with scrolls and with shaped edge. h. 1-3/4”, w. 2-1/8”, total weight 11.1 grams $600-$900

39 FINE VICTORIAN SARDONYX CAMEO BROOCH ca. 1880, 15k yellow gold, centering a finely carved sardonyx cameo of Aphrodite, within an inner band of rose-cut diamonds weighing approximately 1.58 carats in total, and an outer band of split pearls. h. 2-1/2”, w. 2-1/8”, total weight 37.6 grams

39

$6,000-$9,000

29


40

41

42

40 GENTLEMAN’S INTAGLIO SWIVEL RING third quarter 19th century, the heavy 14k yellow gold shank set with a swiveling bezel mounted with a black basalt intaglio of Hercules on one side and Atlas on the other. size 7-1/4, l. 1”, w. 7/8”, total weight 24.3 grams $2,500-$4,000 41 PAIR OF VICTORIAN ENAMEL CHERUB DROP EARRINGS ca. 1870, 15k yellow gold, each centering a circular Swiss enamel portrait of a cherub, within concentric textured gold rings, quartered by seed pearls and suspending a chevron fringe gold wire tassel, the reverse with locking fishhook earwires of later date. l. 1-1/2”, total weight 5.9 grams $2,500-$4,000

30

42 UNUSUAL VICTORIAN EGYPTIAN REVIVAL MICROMOSAIC BROOCH AND EARRING SUITE ca. 1870, vermeil, each with an oval micromosaic of a scarab in relief, highlighted with iridescent tesserae, within a conforming Etruscan-style frame decorated with scrolls and wirework. brooch h. 1-7/8”, w. 1-1/2”, earrings l. 1”, w. 3/4”, total weight 24.5 grams $4,500-$7,000


43

44

43 FINE PAIR OF VICTORIAN ETRUSCAN REVIVAL CUFF BRACELETS ca. 1865, 12k yellow gold, each hinged cuff with plain, straight band with fine ropework edge, centering a scroll-mantled circle and square, accented with rope and granulation work and applied rose and green gold flower and leaves. h. 3-1/4”, inside circumference 5-3/4”, total weight 52.3 grams

44 VICTORIAN MADEIRA CITRINE BROOCH ca. 1890, 12k yellow gold, set with a large emerald-cut Madeira citrine, weighing approximately 41.30 carats, set with fleur-de-lys prongs into a conforming gold frame decorated with applied cannetille and engraved “flowers”, with rope-twist border. h. 1-1/8”, w. 1-5/8”, total weight 17.5 grams $1,500-$2,500

$3,000-$5,000

31


46

45

45 FINE PAIR OF VICTORIAN ARCHAEOLOGICAL REVIVAL SARDONYX INTAGLIO EARRINGS

46 FINE GRAND TOUR ANGELSKIN CORAL NECKLACE AND EARRING SUITE

ca. 1860, 18k yellow gold, each with a circular sardonyx intaglio, one depicting Eros, the other Poseidon, each within a conforming rope- and beadwork Etruscan-style frame, with fishhook-style earwires. dia. 7/8”, l. 1-1/4”, total weight 10.8 grams

ca. 1870, comprising white and pink angelskin coral carved in full relief with masques of goddesses wearing a diadem of her attributes (e.g., Ceres with wheat sheaves, Diana with the new moon, Venus with roses) joined by bead-and-scroll connectors en suite, the earrings with masques of a bacchante with grapevine diadem, with a row of graduated pearls below, fitted with locking fishhook earwires of later date. necklace l. 13-3/4”, earrings l. 1-1/4”, total weight 51.9 grams

$1,400-$1,800

$4,000-$7,000

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47

48

47 ANTIQUE ENGLISH ANGEL SKIN CORAL BROOCH ca. 1880, 10k yellow gold, the long rectangular coral cameo carved with cavorting putti. l. 2-1/4”, total weight 13.7 grams $600-$900

48 FINE PAIR OF ANTIQUE MICROMOSAIC “HOLY SPIRIT” EAR CLIPS Rome, second quarter 19th century, 14k gold, each circular mosaic with the Dove of Peace outlined in gold and with gold nimbus, on a turquoise-colored ground and within a gold rope-twist frame, with clip backs of later date. dia. 7/8”, total weight 18.5 grams $2,500-$4,000

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49

50

50 FINE VICTORIAN DIAMOND STAR BROOCH/PENDANT 51

49 RARE VICTORIAN DIAMOND TRIPLE LOOP BOW BROOCH ca. 1855, silver top, 18k yellow gold back, the treble loop ribbon bow set with old mine-cut diamonds weighing approximately 14.98 carats in total, the brooch fitting detachable permitting the bow to be worn on a chain (chain attachments lacking). h. 1-3/4”, w. 2-1/4”, total weight 28.4 grams Provenance: Christie’s Fine Jewels, New York, New York, April 21, 2003. $20,000-$40,000

ca. 1885, silver top, 15k yellow gold back, set with a central reduced collet-set old mine-cut diamond weighing approximately 1.00 carat, surrounded by six pointed rays bead-set with old mine-cut diamonds, each ray separated by a single reduced collet-set old mine-cut diamond on “knife edge” stem, with an approximate total diamond weight of 9.10 carats, the reverse fitted with watch-hook, detachable brooch pin and retractable pendant bail. dia. 2-1/8”, total weight 23.2 grams Provenance: Sotheby’s, London, December 17, 2002. $7,000-$10,000 51 IMPORTANT VICTORIAN DIAMOND CRESCENT BROOCH ca. 1865, silver top, 15k gold back, set with three tapering rows of graduated old mine-cut diamonds, weighing approximately 3.98 carats in total. dia. 1-3/4”, total weight 11.6 grams Provenance: Sotheby’s, New York, June 9, 1999. $4,500-$7,000

34


35


36


53

52

52 ELEGANT VICTORIAN DIAMOND ENTREMBLANT CORSAGE BROOCH ca. 1865 (and later), silver-top, 15k gold back, in the form of a large daisy with a central old European-cut diamond weighing approximately 2.50 carats, accented with European-cut, rose-cut and mine-cut diamonds weighing approximately 5.20 carats in total. size 2-3/4” x 1-5/8”, total weight 13.7 grams $10,000-$15,000 53 MAGNIFICENT AND RARE VICTORIAN DIAMOND STAG HUNT BROOCH ca. 1890; 15k yellow gold, in the form of a stag at chase, the body pierced through with an arrow, pave set with rose-cut diamonds, weighing approximately 7.74 carats in total, with a cabochon sapphire eye. h. 2”, l. 2-1/2”, total weight 32.9 grams

54

54 EXCELLENT VICTORIAN DIAMOND FLEUR-DE-LYS BROOCH fourth quarter 19th century, silver top, 15k gold back, set with European-cut and old mine-cut diamonds weighing approximately 3.95 carats in total. size 1-3/8” x 1-1/8”, total weight 6.5 grams Provenance: Sotheby’s, December 7, 2017. $5,000-$8,000

Christie's Magnificent Jewels Geneva, November 21, 2002. $9,000-$12,000

37


55

57

56 VICTORIAN DIAMOND BOW BROOCH 56

ca. 1865, silver top, gold back, in the form of two looped ribbons with central line, set with old mine-cut diamonds weighing approximately 4.64 carats in total, the reverse with original watch hook and gold pin and locking clasp of later date. h. 1”, w. 1-7/8”, total weight 10.6 grams Provenance: Christie’s, London, May 18, 2004. $3,000-$5,000

55 OUTSTANDING LARGE VICTORIAN DIAMOND CRESCENT BROOCH

57 PAIR OF VICTORIAN DIAMOND DROP EARRINGS

third quarter 19th century, silver top, 15k gold back, set with old mine-cut diamonds arranged primarily in two rows centered and accented with smaller rose-cut diamonds, with an approximate total diamond weight of 7.95 carats. dia. 2-1/4”, total weight 14.4 grams

ca. 1875, silver top, 15k gold back, with rose-cut diamonds, each with a square drop with a central diamond within two concentric rows of diamonds, suspended by one corner from a narrow line of diamonds, with an approximate total diamond weight of 3.60 carats, with locking lever pierced backs. l. 1-1/2”, w. 7/8”, total weight 9.2 grams

Provenance: Christie’s, London, November 27, 2002. $6,000-$9,000

38

$2,500-$4,000


58 detail

58 FINE VICTORIAN DIAMOND HEART LOCKET ca. 1880, silver top, 15k yellow gold back, the heart-shaped locket pave-set with old mine-cut diamonds, the reverse set with a conforming colorless rock crystal cabochon hinged locket back, suspended from a “strawberry leaf” bail set with old mine- and rose-cut diamonds, with an approximate total diamond weight of 6.30 carats, suspended from a later ca. 1915 platinum fancy “paper clip” link chain set with nine round brilliant-cut diamonds weighing approximately 0.70 carats in total. locket (with bail) l. 1-1/2”, w. 1”, chain l. 22-3/4”, total weight 16.7 grams $9,000-$12,000

58

39


60

59 STUNNING PAIR OF ANTIQUE AMETHYST AND DIAMOND DROP EARRINGS ca. 1900, silver top, 14k gold back, each with one oval above one pear-shaped amethyst, weighing approximately 33.38 carats in total, each with a beaded frame accented by foliate fronds set with European-cut and rose-cut diamonds weighing approximately 1.39 carats in total, and green and yellow enamel leaves, with the original “fishhook” earwire backs. l. 2-3/4”, total weight 20.9 grams $3,000-$5,000

60 VICTORIAN AMETHYST AND SEED PEARL NECKLACE third quarter 19th century, 15k yellow gold, with four strands of seed pearls joined periodically by filigree gold beads, thirteen of the segments each set with a graduating row of single, edge-drilled, oval-cut amethysts weighing approximately 203.45 carats in total. l. 14-1/2”, total weight 45.9 grams $1,800-$2,500

40

59


61

62

61 FINE AMETHYST HEART BROOCH

62 UNUSUAL VICTORIAN CARVED AMETHYST BROOCH

first quarter 20th century, 14k gold, with a central heart-cut amethyst weighing approximately 140.16 carats, surrounded by a conforming band of brilliant-cut diamonds weighing approximately 1.98 carats in total, separated by lapis enamel lozenges. w. 1-1/4”, l. 1-1/4”, total weight 14.0 grams

ca. 1880, 15k yellow gold, with a central amethyst carved with a cherub, the face in high relief and three-quarter profile, the wings intaglio, within a fine double milli-prong setting separated by a band of split pearls within black enamel threading. dia. 1-3/8”, total weight 16.7 grams $1,200-$1,800

$3,000-$5,000

41


63

63 FINE AND UNUSUAL VICTORIAN MOONSTONE CHERUB BROOCH ca. 1880, silver top, 18k yellow gold back, the cherub’s face carved in threequarter profile from a moonstone, the wings set with rose-cut diamonds weighing approximately 0.60 carats in total. h. 7/8”, w. 1-1/8”, total weight 4.9 grams $7,000-$10,000

42


LOTS 15, 22, 49, 63, 70, 106 & 121

43


64 RARE VICTORIAN BLUE ENAMEL AND DIAMOND PRESENTATION BANGLE dated 1858, 15k gold, centering an oval locket with star motif embellished by diamond scrolls, all with cobalt blue enamel, to a tapering double-hinged bangle back decorated en suite, the reverse bearing inscription, “A token of affection to Mrs. Gifford from her ten sons, Jan 1st, 1858”, the locket opening to reveal a glass-covered hairwork “tree” of ten locks, the inside cover with engraved legend identifying the ten sons whose hair make up the tree: John, William, Thomas, Edward, Robert, Alex, James, David, George and Patrick; mounted with rose- and old mine-cut diamonds weighing approximately 4.31 carats in total, presented in the original fitted case from Hunt & Roskell, London. h. 2”, inside w. 2-5/8”, total weight 64.3 grams $10,000-$15,000

64

detail

detail

44

detail


45


65 detail

65 VICTORIAN GOLD AND DIAMOND MALTESE CROSS LOCKET ca. 1865, 15k gold, the shield-shaped locket centering a silver Maltese cross set with rose-cut diamonds weighing approximately 1.40 carats in total, with a scrolling crest, presented on an American 14k gold long, fine rolo-link chain with seed pearls. locket l. 1-7/8”, chain l. 45”, total weight 38.5 grams $4,000-$7,000 65

46


66

67

66 PAIR OF VICTORIAN GARNET EARRINGS

67 VICTORIAN SABRE JABOT PIN

ca. 1865, 15k yellow gold, the earrings mounted with oval cabochon garnets weighing approximately 10.10 carats in total, star-set with one central old mine-cut and six radiant rose-cut diamonds, weighing approximately 0.14 carats in total, surrounded by eighteen split pearls, with later friction-post pierced backs. h. 3/4”, w. 5/8”, total weight 8.6 grams

ca. 1880, 15k yellow gold, in the form of a realistically detailed sabre, with openwork guard, translucent red enamel grip and diamond quillion, with an approximate total weight of 0.04 carats, the scabbard decorated with fleur-de-lys bands, the hooks chained. l. 3”, total weight 3.3 grams $500-$800

Provenance: Sotheby’s, London, September 17, 2003. $2,500-$4,000

47


68

69

68 INDIAN RAJ MUGHAL-STYLE GEMSTONE BANGLE ca. 1880, 9k yellow gold, the hinged bangle of circular form and section, the openwork foliate pattern centering a cabochon ruby between spherical terminals, inset in the round with cabochon rubies and smaller bead-set rubies, emeralds and pearls, with an approximate total ruby weight of 10.50 carats and an approximate total emerald weight of 1.66 carats. inside dia. 2-1/4”, total weight 73.7 grams

69 IMPORTANT FINE JAIPUR ENAMEL AND DIAMOND HINGED BANGLE 19th century, 18k gold, the small bangle of rectangular section, with four bezel-set, rose-cut diamond motifs of one central oval diamond flanked by diamond trefoils, with an approximate total diamond weight of 5.20 carats, the bangle decorated on all faces with translucent red and green and opaque white and blue enamel with flowers and birds, w. 1/4”, inside w. 2-1/2”, total weight 37.9 grams

$2,500-$4,000 Presented in a fitted box as retailed by Spink & Son Ltd., London, together with the original paperwork. $4,500-$7,000

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70

70 RARE NATURAL SALTWATER GREY PEARL “HEART” LOCKET BRACELET sterling silver and yellow gold, in the traditional Scottish form, the locket clasp with a natural saltwater grey pearl “heart” and silver shackle, the bracelet with segments of treble gold rolo chain joined by natural saltwater grey pearls between silver roundels, the silver elements set with small rose-cut diamonds weighing approximately 1.21 carats in total, GIA certificate available upon request. l. 7-1/4”, total weight 17.6 grams GIA certificate available upon request. $7,000-$10,000

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71

72

71 RARE PAIR OF ANTIQUE RUSSIAN DIAMOND AND RUBY DROP EARRINGS mid-19th century, probably Philip Andreevich Rodionov, Moscow, silver top, 14k gold back, each with a single triangular rose-cut diamond weighing approximately 0.80 carats in total, surrounded by a conforming ring of calibre-cut rubies weighing approximately 0.70 carats in total and suspended from a single rose-cut diamond weighing approximately 0.21 carats in total, the diamonds with closed foil backs, with locking “fish hook” earwires, marked on one earwire with Cyrillic initials transliterating to “F.R.”. overall l. 1-1/4”, total weight 7.0 grams $2,000-$4,000

50

72 IMPORTANT ANTIQUE RUSSIAN EMERALD BROOCH ca. 1895, by Tatiana Vasilievna Shokareva, Moscow, 14k yellow gold, with a central cushion-cut emerald weighing approximately 6.36 carats, surrounded by old mine-cut diamonds, with larger diamonds on the ends, weighing approximately 1.44 carats in total, with pre-Revolutionary Russian hallmarks on the lower edge and pin, maker’s mark in Cyrillic transliterating to “T.Sh.”. h. 5/8”, w. 7/8”, total weight 6.4 grams $12,000-$18,000


73

74

73 IMPRESSIVE RUSSIAN ENAMEL AND DIAMOND CROSS

74 PAIR OF VICTORIAN-STYLE EMERALD AND DIAMOND DROP EARRINGS

ca. 1880, silver and 14k yellow gold, translucent gold guilloche arms within openwork scrolling frames, all accented with old Europeanand rose-cut diamonds, weighing approximately 3.98 carats in total, the hinged bail in the form of an Orthodox crown. l. 3-3/4”, w. 2-1/4”, total weight 36.5 grams

silver top, 14k yellow gold back, each in the form of a scroll-topped fan set with round-cut emeralds weighing approximately 1.20 carats in total and rose-cut diamonds weighing approximately 0.98 carats in total. l. 15/16”, total weight 11.2 grams

$6,000-$9,000

$1,800-$2,500

51


Belle Epoque (1871 – 1917)

La Belle Epoque – the Beautiful Era – arose spectacularly f rom the ignominy that was France’s defeat in the Franco-Prussian War in 1870. France f inally rid itself of the Kings and Emperors it has sought to abolish since the 18th century, and their Third Republic would usher in an era of political stability that is, to date, its longest-lived since the Revolution. It was a time of technological, scientif ic, artistic and social innovation: the age of Monet and Van Gogh, of Pasteur and Curie, of Hugo and de Maupassant. It was also an age which saw rise to prominence names which still reign supreme among bijoutiers: Boucheron, Cartier, Boivin, Van Cleef & Arpels. Designs were delicate and airy and, while allusions to classical or natural motifs were not abandoned, they were adapted to f it a new aesthetic that was at once elegant and whimsical. The birds and stags of the English were replaced with ferocious and fantastic griff ins and chimera; the stoic gods of the Historicists were replaced with sensuous goddesses of the Aesthetes. It was, however, an American invention in the 1870s by Boston jewelers Henry Morse and Charles Field that would revolutionize the diamond trade. Their steam-powered lathe enabled the f irst perfectly round diamonds, which led to the “European” cut (named after the Belgian diamond cutters who eagerly embraced the innovation) which quickly became the industry standard. These new cuts were shown to their great advantage by a French innovation of the period: the “buttercup” setting, which raised the diamond high on thin prongs, permitting light to reflect off and ref ract through all the facets of the stone, including the underside.

52


LOT 83

53


77

76

76 FINE PAIR OF FRENCH BELLE EPOQUE TASSEL EARRINGS

75

ca. 1875, by Alphonse Trelat (1838-1886), Paris, 18k yellow gold, each with a split-pearl-set bar suspending a chevron-shaped tassel of alternating bars and chains, the bars decorated with black champleve enamel and pearls, suspended from a short bar en suite fitted with “fishhook” earwires. l. 1-3/4”, (2” with earwire), w. 5/8”, total weight 11.2 grams $2,500-$4,000

75 FRENCH BELLE EPOQUE MESH BRACELET

77 FRENCH SECOND EMPIRE TURQUOISE LOCKET

ca. 1880, Paris, 18k yellow gold, centering a silver-top bar set with six old European-cut diamonds and joined by diamond-trefoil-tipped rose gold hinges to rose-cut diamond ends, with an approximate total diamond weight of 0.45 carats. w. 3/4”, l. 7”, total weight 44.1 grams

third quarter 19th century, Paris, 18k yellow gold, the oval locket set with eleven turquoise cabochons within conforming rope-twist frames separated by rose-cut diamond quatrefoils, hinged and opening to a glazed locket frame, with diamond-set bail, presented on an English lorgnette chain with fancy openwork quatrefoils within navette links. locket h. 1-7/8” (2-1/4” with bail), w. 1-3/8”, chain l. 45-1/4”, total weight 90.4 grams

$3,000-$5,000

$4,500-$7,000

54


78

79

78 IMPORTANT FRENCH SECOND EMPIRE CAMEO BROOCH

79 INTRICATE FRENCH BELLE EPOQUE DIAMOND BRACELET

ca. 1860, silver top, 18k gold back, with a central oval shell cameo of Hestia, surrounded by twelve “buttercup”-set rose-cut diamonds, each separated by a single bead-set diamond, with an approximate total diamond weight of 1.44 carats. h. 1-3/4”, w. 1-3/8”, total weight 18.2 grams

ca. 1875, silver top, 18k gold back, with seven rectangular openwork foliate scroll plaques joined by fleur-de-lys links, all set with rosecut diamonds weighing approximately 6.02 carats in total. w. 1-1/8”, l. 6-1/2”, total weight 48.9 grams $8,000-$12,000

$8,000-$12,000

55


81

80

80 ELEGANT FRENCH BELLE EPOQUE DIAMOND CORSAGE BROOCH

81 FINE PAIR OF FRENCH BELLE EPOQUE DIAMOND DROP EARRINGS

fourth quarter 19th century, silver top, 18k gold back, in the form of a floral and foliate sprig set with rose-cut diamonds, the five flowers with a central old European-cut diamond, set en tremblant and detaching to form three dress clips and a pair of ear clips (all with replacement backings of a later date), with an approximate total diamond weight of 23.05 carats, approximate color G-K and clarity VS2-SI2. l. 6-1/8”, w. 3-1/4”, total weight 120.0 grams

ca. 1880, silver top, 18k gold back, each with a large central, foilbacked rose-cut diamond, weighing approximately 1.47 carats in total, within a beaded frame and surrounded by smaller rosecut diamonds, and a single surmounting small diamond to the French-style lever pierced backs, weighing approximately 0.80 carats in total. l. 7/8”, total weight 8.9 grams $7,000-$10,000

Provenance: Christie’s Important Jewels, New York, New York, December 13, 2005. $25,000-$40,000

56


LOTS 119, 120, 126, 135 & 136

57


58

LOTS 1, 79 & 82


82 FRENCH BELLE EPOQUE SILVER AND ENAMEL CHATELAINE third quarter 19th century, by Leon Henri Souloy (1844-1889), Paris, first standard (.950) silver with 18k yellow gold accents, in the form of three graduated oval plaques, each with grisaille enamel scenes of cavorting putti, within rose-cut diamond-set ribboned wreaths, suspending a watch swivel and flanked by chains en suite, one with seal, one with watch key, together with the original matching goldplated watch cover and an associated 18k yellow gold lady’s openface watch, with an approximate total diamond weight of 2.60 carats, all presented in the original burgundy velvet- and cream satin-lined case. l. (excluding watch) 4-3/4”, w. 2”, watch cover dia. 1-3/8”, total weight 92.1 grams (including watch) $6,000-$9,000

Louis Henri Souloy was born on November 7, 1844 in the Parisian suburb of Gentilly. He opened his jewelry store on rue Reamur in Paris at the beginning of what became known as la Belle Epoque in 1872. It was continued after his untimely death in 1889 by his widow, Victorien Leontine Bazire, and later his son, Leon Charles Souloy. The firm’s popularity among the Parisian elite is evidenced by the younger Souloy’s involvement in the infamous l’Affaire Steinheil in 1908, in which socialite Marguerite “Meg” Japy Stienheil, already infamous as the mistress of French President Felix Faure who had died during one of their trysts, was implicated in the murder of her mother and husband. Not initially a suspect, she drew attention to herself by accusing manservant Remy Couillard of the crime, and in whose possession a pearl from an Art Nouveau ring allegedly stolen during the murder was found. When Mme. Stienheil was invited to the surete for her testimony, she was confronted by jewelers Lucien Gaillard, who had originally created the ring, and Leon Souloy, who had, at her request, removed the pearl and kept the ring to refashion it. He gave the pearl to Mme. Steinheil, and the ring was still his possession. Confronted with this damning evidence of her contrivance to frame Couillard, she was arrested and tried for the murder. After an internationally sesational trial, she was acquitted; in her memoirs she dismissed her story of the ring having been stolen as a simple error of memory. She moved to London, where married Baron Abinger in 1917; she died there on July 17, 1954.

82

59


83

83 EXCEPTIONAL FRENCH SECOND EMPIRE DIAMOND SCHOONER BROOCH mid-19th century, silver top, 18k gold back, the hull from a single fancy-shape rose-cut diamond weighing approximately 0.95 carats, the three sails and rudder set with a total of eighteen old mine-cut diamonds weighing approximately 0.42 carats in total and with ruby flag and deadeye and gold rope ladder. l. 1”, total weight 2.9 grams $12,000-$18,000

60


61


62


84

85

84 MAGNIFICENT ANTIQUE FRENCH GRIFFIN CRESCENT BROOCH

85 BELLE EPOQUE LADY’S WATCH/LORGNETTE CHAIN

ca. 1870, silver and 18k gold, the beautifully detailed beast in gold with ruby eye and silver wings set with rose-cut diamonds, perched in a crescent moon with a central row of old mine-cut diamonds flanked by rows of rose-cut diamonds, with an approximate total diamond weight of 4.90 carats. l. 2”, total weight 27.9 grams

ca. 1890, Lyon, France, 18k yellow gold, with fancy openwork quatrefoil within navette links, centering a spring ring for attaching a watch or lorgnette. l. 59-1/2”, total weight 39.7 grams $1,500-$2,500

$15,000-$25,000

63


For the Gentleman: Edwardian & Victorian Jewelry

64


87

86

88

86 VICTORIAN HALF-ALBERT WATCH CHAIN ca. 1865, 12k yellow gold, the flat pretzel-link chain with leaf terminals, with a large open waistcoat button-hook at one end and watch swivel at the other. l. 14-3/4”, total weight 23.7 grams $1,200-$1,800 87 CUSTOM-MADE TIFFANY & CO. FAVRILE GLASS AND GOLD SCARAB CUFFLINKS

88 GENTLEMAN’S “MERMAID AND LEVIATHAN” CUFFLINKS first quarter 20th century, 14k yellow gold, each with opposing oval plaques with a mermaid basking in the sun on one side and a swimming leviathan on the other, joined by a solid “8”-shaped link. w. 3/4”, l. 1-1/4”, total weight 18.5 grams $1,200-$1,800

14k yellow gold, the custom-made scarab cufflinks composed of Tiffany & Co. Favrile glass scarabs on one side, ca. 1900, and gold scarabs on the other side. l. 3/4”, total weight 22.1 grams $2,500-$4,000

65


89

89 detail

90

89 GENTLEMAN’S SATYR MASQUE RING

90 ANTIQUE GENTLEMAN’S CUFFLINKS

second quarter 20th century, 14k gold, the handsomely chased visage flanked by flower and grape clusters, the eyes set with a pair of marquise-cut diamonds and accented by single-cut diamonds, with an approximate total diamond weight of 0.42 carats. h. 3/4”, w. 1”, size 9-1/4, total weight 32.0 grams

ca. 1915, 14k yellow gold, double-faced, each with embossed scroll design on a matte ground, with bar-chain link, presented in the original box as retailed by Gibbs-Meyer (Joseph Gibbs & Henry Meyer) of Peoria, Illinois. l. 3/4”, overall l. 1”, total weight 12.8 grams $1,200-$1,800

$3,000-$5,000

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92

91

91 VICTORIAN ART NOUVEAU CUFFLINKS ca. 1910, 15k gold, each with an oval plaque embossed with the face of Psyche, with “dumbbell” backs, presented in a kid-lined case as retailed by W. Batty & Sons of Manchester and Southport. w. 3/4”, l. 7/8”, total weight 12.1 grams

92 NATURAL MISSISSIPPI RIVER PEARL CUFFLINKS ca. 1900, 10k yellow gold, the double-sided cufflinks each faced with natural baroque “strawberry” Mississippi River pearls, joined by a plain gold link. dia. 3/8”, l. 1”, total weight 5.5 grams $1,400-$1,800

$1,000-$1,500

67


94

93

93 ANTIQUE AMERICAN BAROQUE PEARL STICKPIN

94 EDWARDIAN MOTHER-OF-PEARL AND RUBY CUFFLINKS

ca. 1890, 14k yellow gold, set with a single natural baroque pearl measuring approximately 12.20 mm x 12.50 mm. l. 2-5/8”, total weight 2.5 grams

ca. 1900, 18k rose gold, the double-sided faces each in the form of a carved mother-of-pearl button sewn with ruby-set “threads” weighing approximately 0.20 carats joined by chain links, presented in the original indigo velvet and satin fitted case. dia. 1/2”, l. 1”, total weight 6.1 grams

$900-$1,200

$900-$1,200

68


95

96

95 GENTLEMAN’S ANTIQUE ENAMEL AND DIAMOND CUFFLINKS

96 ART DECO ONYX AND DIAMOND CUFFLINKS

ca. 1910, 18k gold, with canted rectangular front and navette back, each centering a single old-European cut diamond with a cobalt guilloche enamel surround and opaque white enamel champleve edge, with an approximate total diamond weight of 0.54 carats, the fronts with engraved gold corners, with chain link. face h. 5/8”, l. 3/4”, total weight 10.0 grams

ca. 1920, probably Louis Decarro, Paris, 18k yellow gold, each cufflink double-faced with a hemispherical onyx cabochon, drilled and collet set with single old European-cut diamonds, weighing approximately 0.93 carats om total, with articulated clip link. dia. 7/16”, l. 1-1/2”, total weight 7.7 grams $2,000-$4,000

$1,500-$2,500

69


Edwardian (1890 – 1917)

Edward VII succeeded his mother Victoria in 1901, but the Edwardian Era had already begun at the end of the previous century. The naturalist style of the 1880s had developed into the lush Art Nouveau style (the name taken f rom Maison de l'Art Nouveau, a French gallery operated by Siegf ried Bing in Paris), characterized by sinuous organic forms and natural colors and materials. This

“aesthetic”

taste

was

countered

simultaneously

by

a

new

style

which emerged f rom a second industrial revolution. Gem cutting was revolutionized by the invention of the diamond saw in 1900, which ennabled the perfection of the brilliant cut diamond. In 1903, Edmond Fouche’s invented the oxy-acetylene torch: the f irst hot enough to allow jewelers to work in platinum. These innovations, combined with the expansion of electric lighting at the turn of the century, were the foundation of the the f iligree styles of the Edwadian era, with the new diamond cuts glittering in incandescent light set among a network of lacy, muted grey platinum. Although Edward VII died in 1911, the style which bears his name continued through the decade. The aesthetic extravagances of Art Nouveau and the coruscating opulence of f iligree style, however, would be muted by the horrors of World War I.

70


LOT 103

71


98

97

97 SIGNED DIAMOND AND PEARL CRESCENT BROOCH

98 RARE YUKON GOLD RUSH NUGGET CHAIN

ca. 1910, by Daniel DeWitt Brokow & Son, New York, New York, 14k yellow gold, in the form of a slipper moon, with alternating graduated peg-set pearls and prong-set old European-cut diamonds weighing approximately 1.52 carats in total. l. 3-1/8”, total weight 7.1 grams

ca. 1896-1899, 22k and 14k gold, comprising thirty-one natural gold nuggets joined by short curb link chain segments. l. 32-1/2”, total weight 32.8 grams

$1,500-$2,500

72

$1,500-$2,500


100

99

100 detail

99 RARE YUKON GOLD RUSH NUGGET NECKLACE

100 FINE VICTORIAN STAR SAPPHIRE RING

ca. 1896-1899, around 18k raw gold, composed of natural gold nuggets joined by simple rings, with 14k gold spring-ring closure. l. 14”, total weight 56.5 grams

ca. 1890, 15k yellow gold, set with a central grey star sapphire weighing approximately 2.15 carats, mounted with foliate prongs extending to an openwork dome accented with rubies and black enamel, to a plain shank, with an approximate total ruby weight of 1.08 carats. size 6, total weight 6.4 grams

$3,500-$5,000

$5,000-$8,000

73


101 AMERICAN ART NOUVEAU LORGNETTE AND CHAIN first quarter 20th century, 14k yellow gold, the lorgnette by Krementz & Co., Newark, New Jersey, the narrow stem decorated with twining “whiplash” lines, with push-ring spring-opening mechanism, presented on a long, fine rolo-link chain decorated with four “whiplash” plaques and four round brilliant peridots, each in an “eyeglass” frame and flanked by seed pearls. lorgnette l. 5-3/4”, w. 4-3/4”, chain l. 43”, total weight 40.8 grams $2,000-$4,000 102 ART NOUVEAU-STYLE DIAMOND, OPAL AND SAPPHIRE “DRAGONFLY” BROOCH 18k yellow gold, the wings set with patchwork-cut opals accented by single-cut diamond channels, with an approximate total weight of 0.75 carats in total, the abdomen with seven collet-set graduated sapphire cabochons weighing approximately 4.87 carats in total, with diamond thorax and ruby eyes. l. 2-1/2”, w. 3-1/4”, total weight 20.0 grams $4,500-$7,000

102

101

74


103

105

104 ANTIQUE AMERICAN “GRIFFIN” STICKPIN 104

103 EXQUISITE DIAMOND AND PLIQUE-A-JOUR ENAMEL BROOCH ca. 1900, platinum top, 18k gold back, of oval form with a central collet-set old European-cut diamond weighing approximately 0.50 carats, flanked by a pair of counterpole wheat sheaves set with rose-cut diamonds, weighing approximately 0.69 carats in total, all on a pale green plique-a-jour enamel ground with an openwork diamond-centered ovolo border. h. 1-3/8”, w. 2-1/8”, total weight 20.5 grams $6,000-$9,000

ca. 1890, 14k yellow gold, of rounded rectangular form, with a central coiled griffin holding an old mine-cut diamond in its mouth, on a yellow guilloche enamel ground, within a frame of rose-cut diamonds, with an approximate total diamond weight of 0.32 carats. w. 3/4”, l. 2-3/8”, total weight 4.6 grams $1,400-$1,800 105 EDWARDIAN TOURMALINE, PERIDOT AND TOPAZ PENDANT dated 1905, 10k yellow gold, with a central oval cabochon “eyeglass frame”-set pale green tourmaline flanked by gold scrolls above a bar suspending chevron-graduated chains terminating in rose tourmaline cabochons or colorless round topaz, mounted en suite, with an approximate total gemstone weight of 16.12 carats, engraved on the back of the bar “July 29, 1905”, presented on a 10K yellow gold rope chain of similar date. pendant h. 3-1/4”, w. 2-1/4”, chain l. 23-1/4”, total weight 15.9 grams $1,500-$2,500

75


This magnif icent mermaid pendant is notable for its f ine craftsmanship and design, and much like a mythical siren of the sea, it is mysterious and delightfully alluring. Based on a Renaissance design, pendants such as this were popular during the 19th century as a renewed interest in historicism heralded in a revival of Renaissance, Gothic, Greek and Egyptian motifs in architecture, jewelry and objets d’art. Despite being highly collectible as 19th-century pieces, many examples of revivalist jewelry were crafted so convincingly with techniques f rom the past that they have been mistaken for genuine Renaissance works. For most of the 20th century, countless examples contained in the world’s greatest private collections and institutions were thought to be much earlier works dating to the 16th and 17th centuries. Mere months after Yvonne Hackenbroch, an historian and leading authority on antique jewelry, published her major work on Renaissance jewelry in 1979, a diligent archivist at the Victoria & Albert Museum in London stumbled upon a curious collection of over 1,000 drawings of designs for objets d'art and jewelry, including numerous pendants of similar form to the present lot, that disputed the authenticity of many pieces catalogued in Hackenbroch’s book and held by major institutions and top collectors. The drawings were executed by Reinhold Vasters (18271909), a German goldsmith, and can be matched to known pieces in prominent collections such as The Metropolitan Museum of Art and the Rothschild and Morgan families. Vasters worked as a restorer for the Aachen Cathedral and his work was so exceptional that he became more widely known for his remarkable talent. Vasters worked closely with Frederic Spitzer, a collector and dealer with a f irm in the same town as Vasters. Spitzer convinced the Aachen Cathedral to give him damaged objects f rom their collection and had them replaced with convincing new pieces that he suggested would be much more useful to the church. Spitzer hired Vasters, and later Alf red Andre (1839-1919) in Paris, to produce copies and heavily restored pieces, which he represented as authentic.

PENDANT IN THE FORM OF A SIREN, CA. 1860 The Metropolitan Museum of Art, New York The Jack and Belle Linsky Collection, 1982

In 1986, Hackenbroch tackled the subject of Vasters and published a comprehensive analysis of his entire body of work in the Metropolitan Museum Journal. Her comparisons to genuine period pieces with the work of Vasters demonstrate the exceptional skills of this previously unrecognized 19th-century master and his unrivaled ability to recreate centuries-old techniques, such as enameling, that fooled and perplexed many experts. Reinhold’s work, now properly attributed, is so masterful that it remains in the collections of some of the greatest institutions in the world. While the 19th-century maker of the present piece is unknown, it is a charming example from a period flourishing with collaborative creativity and fine craftsmanship. The enduring popularity of pieces such as this speaks to their aesthetic beauty, but also the entrepreneurial vision, albeit with deceitful intent, of Vasters and Spitzer.

76


Every man needs his Siren To check his courage and strength When he hears her song In his travels through the unknown. — Dejan Stojanovic, Siren

106 SPLENDID RENAISSANCE REVIVAL NATURAL SALTWATER PEARL AND ENAMEL “MERMAID” PENDANT ca. 1890, 18k yellow gold, the siren’s bust formed of a natural saltwater pearl, with flowing gold tresses and with delicately enameled skin, accented with rubies and adorned with a diamond “necklace”, suspended from Renaissancestyle chains set with sapphires to a split bail enameled en suite, the figure and chain with pearl drops, GIA certificate available upon request. l. 4”, w. 1-1/2”, total weight 33.2 grams GIA certificate available upon request. $20,000-$40,000 106

77


107 detail

107

107 VICTORIAN ENAMEL EROTICA RING ca. 1895, 10k yellow gold, set with a square enamel plaque with a three-quarter portrait of a female nude. size 2-3/4, h. 11/18”, total weight 10.0 grams $1,400-$1,800

78


108

110

108 IMPRESSIVE LARGE EDWARDIAN DIAMOND HORSESHOE BROOCH 109

first quarter 20th century, platinum top, 18k gold back, set with European-cut diamonds weighing approximately 3.25 carats in total, approximate color E-G and clarity VS1-SI1. h. 2-1/4”, w. 2”, total weight 20.0 grams Provenance: Sotheby’s Important Jewels, New York, New York, June 9. 1999.

110 FINE EDWARDIAN DIAMOND HORSESHOE BROOCH

$5,000-$8,000

first quarter 20th century, platinum top, 18k gold back, set with European-cut diamonds weighing approximately 2.42 carats in total, approximate color E-F and clarity VS1-VS2. w. 1-1/4”, total weight 11.5 grams

109 IMPORTANT LARGE EDWARDIAN DIAMOND SLIPPER MOON BROOCH

Provenance: Christie’s, Melbourne, Australia, July 9, 2002. ca. 1915, platinum top, 18k gold back, set with a graduated row of old mine- and European-cut diamonds weighing approximately 4.32 carats in total, approximate color I-J-K and clarity VS1-SI1. l. 3-1/4”, total weight 16.0 grams

$3,000-$5,000

$6,000-$9,000

79


111

113

112 FINE PAIR OF BELLE EPOQUE DIAMOND DROP EARRINGS

112

ca. 1900, platinum top, 18k yellow gold back, the earrings set with a single old European-cut diamonds, with an approximate total weight of 3.33 carats, approximate color K-N and clarity VS1, suspending from a small pair of rose-cut diamond leaves below two smaller old European-cut diamonds, weighing approximately 0.40 carats in total, the old European-cut diamonds each bezel-set in a “floating” circular surround, with French-style lever pierced backs. l. 1-1/4” (1-5/8” with wire), total weight 6.9 grams $6,000-$9,000

111 PAIR OF BELLE EPOQUE DIAMOND DROP EARRINGS ca. 1905, platinum, the earrings set with single buttercup-set old European-cut diamonds weighing approximately 2.00 carats in total, approximate color E-F and clarity SI1, below a pair of rose-cut diamond-set addorsed scrolls, suspended from two smaller colletand buttercup-set diamonds, weighing approximately 0.50 carats in total, with French-style pierced lever backs. l. 1-1/4” (1-3/8” with wire), total weight 5.9 grams $4,000-$7,000

113 BELLE EPOQUE GARLAND BROOCH ca. 1890, silver top, 18k yellow gold back, in the form of lacy garlands on a honeycomb ground, festooned with collet-set old European-cut diamonds with articulated pendant drops, with an approximate total weight of 5.95 carats, the reverse with detachable brooch fittings and a pair of chain hooks permitting it to be worn as a pendant. h. 2-3/4”, w. 2-1/2”, total weight 20.0 grams Provenance: Christie’s Important Jewelry, London, November 27, 2002. $5,000-$8,000

80


81


114

115

114 WALTHAM DIAMOND POCKET WATCH

115 RARE EDWARDIAN CONCH PEARL AND DIAMOND LAVALIERE

platinum, the watch with a single-cut diamond bezel and bail, the back of the case marked with the diamond-set initials “MP”, with an approximate total diamond weight of 1.60 carats, the workings marked “Waltham Watch Co., Adjusted, Patented”, “AWWCo Waltham Mass.” and “Sapphire 20029030”. l. 2”, total weight 42.6 grams

ca. 1900, platinum top, 18k gold back, in the form of a delicate laurel wreath-crested scrolling bow set with European- and rose-cut diamonds weighing approximately 2.74 carats in total, the central diamond dangling, the whole suspending a large conch pearl measuring approximately 12.00 mm x 10.00 mm, and attached to a fine platinum chain, GIA certificate available upon request. central motif h. 2-1/4”, w. 1-1/2”, chain l. 20-1/2”, total weight 16.3 grams

$1,200-$1,800 GIA certificate available upon request. $12,000-$18,000

82


117

116

116 FINE FRENCH BELLE EPOQUE PLATINUM AND DIAMOND LORGNETTE

117 PAIR OF EDWARDIAN YELLOW AND WHITE DIAMOND AND PEARL DROP EARRINGS

ca. 1910, the case decorated on both sides with openwork web and laurel branch motif and circular terminal, each side with three milligrained collet-set old European-cut diamonds and accented with bead-set rose-cut diamonds, with an approximate total diamond weight of 2.40 carats, with a solid, hinged bridge and circular frames. l. 4-3/8”, frame dia. 1-5/8”, total weight 26.2 grams

ca. 1910, platinum top, 18k yellow gold back, each teardropshaped earring with an openwork laurel leaf pattern set with old European-cut white diamonds weighing approximately 1.54 carats in total, and a central articulated pearl drop on “knife-edge” chain, crested by a single round brilliant-cut yellow diamond weighing approximately 0.20 carats in total, all suspended from two smaller diamonds, with French-style lever pierced backs. l. 2-1/4” (2-3/8” with earwire), w. 3/4”, total weight 11.9 grams

$1,800-$2,500

$2,500-$4,000

83


118

118 MAGNIFICENT MAUBOUSSIN ART DECO DIAMOND BROOCH ca. 1925, 18k white gold, Paris, of shaped rectangular form comprising interlocking openwork rectangles and palmette motifs, bead-set with round-, baguette- and pear-shaped diamonds weighing approximately 8.60 carats in total, presented in the original fitted box. h. 1-1/2”, w. 2-3/8”, total weight 20.5 grams Provenance: Sotheby’s London, July 12, 2002. $8,000-$12,000

84


85


86

LOTS 119, 120, 126, 135 & 136


119

120 119 MAGNIFICENT BELLE EPOQUE SEED PEARL AND DIAMOND SAUTOIR ca. 1910, platinum, with a flat, elongated “honeycomb”-woven ribbon of seed pearls joined to a seed pearl tassel by openwork geometric and laurel branch-decorated platinum plaques set with rose-cut diamonds weighing approximately 3.34 carats in total, with French import marks; the tassel detachable. necklace l. 25”, center tassel drop l. 4-1/4”, maximum w. 1-1/2”, total weight 70.7 grams

120 EDWARDIAN SEED PEARL LARIAT

Provenance: Christie's Important Jewels Geneva, February 3, 2003.

ca. 1910, the multi-strand seed pearl lariat joined at each end to a seed pearl tassel by platinum and 18k rose gold links mounted with round-cut rubies weighing approximately 0.44 carats in total. l. 26”, total weight 50.9 grams

$12,000-$18,000

$3,000-$5,000

87


121

122

121 SIGNED PAIR OF BLACK, STARR & FROST NATURAL BAROQUE PEARL EAR STUDS first quarter 20th century, New York, 14k gold, each with a large natural baroque pearl set in a non-pierced screw back stamped “BS&F”, one measuring approximately 3.50 mm x 5.00 mm and the other 4.40 mm x 5.80 mm. total weight 10.5 grams

122 PAIR OF ANTIQUE SEED PEARL TASSEL EARRINGS ca. 1900, each with a split-pearl head and seed pearl neck and skirt, suspended by a short strand of seed pearls to the 10k yellow gold “fishhook” earwire. l. 3” (3-1/4” with earwire), dia. 3/8”, total weight 14.0 grams $600-$900

$2,000-$4,000

88


123 FINE ART DECO SEED PEARL, LAPIS AND ENAMEL TASSELED LARIAT NECKLACE ca. 1920, comprising two twisted “ropes”, each of numerous twisted strands of seed pearls, the ends joined to seed pearl tassels with lapis enamel caps separated by a pair of “sugarloaf” lapis beads centering a rock crystal roundel. l. 46-1/2”, total weight 112.7 grams $6,000-$9,000 123

89


Art Deco (1917 – 1940)

The 1925 Exposition Universelle des Arts Decoratifs et Industriels Modernes in Paris would lend its name to the style which it showcased: Art Deco. Geometric and glamorous, the style was very much a rejection of the naturalism of the Aesthetic movement, and a whole-hearted embrace of the industrial. World War I saw a great leap in technology, with many innovations directly f rom the war. The wristwatch, for instance, supplanted pocket watches almost entirely as signalmen, pilots and drivers could not wast precious time fumbling clumsily for a watch chain. (Indeed, the name and design of Cartier’s iconic 1917 Tank watch is derived f rom the battlef ield behemoth.) The booming stock market of the Roaring 20s saw a return to extravagant diamond brooches not seen since the Georgian Era, and the discovery of the tomb of Tutankhamun in 1922 saw Egyptian styles once again in vogue. The luxurous lacquerwork of Jean Dunand, showcased on the S.S. Normandie launched in 1935 and regarded as the summit of Art Deco design, was echoed in the enamelwork and opaque gemstone inlay of onyx and coral of jewelers such as Cartier, Jean Despres, Gerard Sandoz and Raymond Templier. The optimism of the Modern Age highlighted in the Art Deco Style was dampened, but not done in, by the Great Depression. Once again, the economic, social and civic demands of a World War would bring an almost immediate end to the grandeur of Art Deco.

90


LOT 124

91


124

125

126

124 SPECTACULAR LARGE FRENCH ART DECO PLATINUM AND DIAMOND BROOCH

125 FINE ART DECO DIAMOND DRESS CLIPS second quarter 20th century, 18k white gold, each in the form of an openwork geometric fan, set with round brilliant-cut and baguette-cut diamonds weighing approximately 5.75 carats in total, together with the original mount permitting the pair to be worn addorsed as a brooch. each l. 1-1/4”, w. 1-1/8”, overall w. 2-1/2”, total weight 27.7 grams Provenance: Sotheby’s, London, July 12, 2002.

ca. 1925, set with a central collet-set old European-cut diamond weighing approximately 2.00 carats, approximate color G and clarity SI3, surrounded by baguette-cut diamonds, within a scrolling, openwork geometric frame bead-set with old Europeancut diamonds, with an approximate total weight of 9.22 carats. h. 1-3/4”, w. 3”, total weight 33.8 grams Provenance: Sotheby’s New York, June 9, 1999. $12,000-$18,000

$4,000-$7,000 126 ART DECO DIAMOND BRACELET ca. 1930, platinum, with three openwork, articulated rectangular plaques set with one central square-cut diamond flanked by four pairs of baguette-cut diamonds and milgrained rectangles set with round brilliant-cut diamonds, joined by canted rectangular diamond-set links, with an approximate total diamond weight of 9.16 carats, numbered P4046, presented in the original box as retailed by Juergens & Andersen Co., Chicago. l. 7-1/8”, total weight 38.7 grams $9,000-$12,000

92


L O T S 1 2 4 , 1 2 7, 1 3 8 & 1 5 4

93


127

127 MAGNIFICENT IMPORTANT ART DECO PLATINUM AND HEART-CUT DIAMOND BROOCH ca. 1930, set with a central heart-cut diamond weighing approximately 2.05 carats, approximate color H and clarity VVS2, flanked by stylized openwork feathers within a cantedcorner rectangular frame, the whole accented with marquise- and old European-cut diamonds, with an approximate total weight of 6.90 carats in total, the scrolls on the ends with calibre-cut ruby details. h. 1-3/8”, w. 2-5/8”, total weight 31.8 grams Provenance: Christie’s Magnificent Jewels, Geneva, Switzerland, November 21, 2002. $25,000-$40,000

94


128

129

130

128 UNUSUAL ART DECO DIAMOND “SAFE WATERS” RING ca. 1930, platinum, the rectangular ring set with a “buoy” comprising a half-moon-, trapezoid- and elongated hexagonalcut diamond, weighing approximately 1.98 carats in total, on a geometric openwork sky with diamond-set beacon, within a diamond-set rectangular frame. size 5-1/4, total weight 4.3 grams $3,000-$5,000 129 PAIR OF ART DECO ONYX AND DIAMOND STUD EARRINGS

130 ART DECO DIAMOND BOW BROOCH ca. 1925, platinum (with 14k gold pin), set with a central Europeancut diamond weighing approximately 0.45 carats, surrounded by smaller European-cut diamonds weighing approximately 2.47 carats in total and accented by faux calibre-cut sapphires. w. 2-1/2”, total weight 14.0 grams $2,000-$4,000

first quarter 20th century, 18k white gold, each with a circular onyx cabochon with a central bezel-set European-cut diamond, weighing approximately 1.19 carats in total, approximate color G and clarity SI1, with 14k friction-post backs (of later date, fashioned from a pair of gentleman’s cufflinks). dia. 1/2”, total weight 9.0 grams $1,800-$2,500

95


131

96


131 SPECTACULAR ART DECO DIAMOND AND ONYX BRACELET second quarter 20th century, platinum, the slightly tapering “straightline” bracelet set with an openwork line of collet-set round brilliant diamonds weighing approximately 15.98 carats in total, between parallel calibre onyx-set edges and separated by plaques vertically set with three rows of diamonds. l. 7”, w. 7/16”, total weight 31.9 grams $20,000-$40,000

97


133

132

132 GENTLEMAN’S WHITE TIE DRESS SET

133 ART DECO DIAMOND CROWN BROOCH

ca. 1930, Carrington & Co., Newark, New Jersey, platinum top, 14k gold back, including a pair of double-sided cufflinks, three shirt studs and three vest buttons, each with an engraved mother-ofpearl plaque in a laurel-engraved frame and centering a single collet-set round brilliant diamond, with a total diamond weight of 0.40 carats, presented in the original cream satin- and black velvetlined case. cufflinks and vest buttons dia. 1/2”, studs dia. 5/16”, total weight 20.0 grams

ca. 1925, platinum, in the form of a marquesal crown, the openwork frame set with old European-cut diamonds weighing approximately 4.23 carats in total. h. 1-1/4”, w. 2”, total weight 13.8 grams

$2,500-$4,000

98

$6,000-$9,000


134

136

135

134 FINE ART DECO PLATINUM AND DIAMOND BROOCH ca. 1930, by Samuel Kind & Sons, Philadelphia, Pennsylvania, the Art Deco brooch in the form of an inverted butterfly, mounted with single-, round brilliant- and baguette-cut diamonds weighing approximately 1.31 carats in total, marked on the pin. size 5/8” x 1-7/8”, total weight 6.3 grams $2,000-$4,000 135 ART DECO PLATINUM AND DIAMOND BRACELET ca. 1925, the “straightline” bracelet decorated with series of geometric lozenge and half-moon decorated plaques set with European-cut and single-cut diamonds weighing approximately 8.58 carats in total. l. 7-1/4”, total weight 20.1 grams

136 FINE PAIR OF ART DECO DIAMOND CHANDELIER EARRINGS ca. 1930, platinum, each with a central plaque suspended from one, and suspending three other lines of diamonds, all with a larger diamond terminal, each set with old European-cut and single-cut diamonds weighing approximately 4.80 carats in total, approximate color E-G and clarity VS1-VS2, with a later omega post pierced back. l. 2-1/8”, w. 5/8”, total weight 17.1 grams $6,000-$9,000

$6,000-$9,000

99


137

137 EXQUISITE ART DECO PLATINUM AND DIAMOND DRESS CLIPS ca. 1935, each in the form of a stepped triangular openwork scroll, bead- and collet-set with old European-cut, brilliant-cut and baguette-cut diamonds, weighing approximately 13.38 carats in total, together with a 14k white gold frame permitting the pair to be worn together as a brooch. each l. 2”, w. 1-1/4”; together l. 3-1/2”, total weight 48.3 grams $14,000-$18,000

100


101


138

139

138 PAIR OF ART DECO-STYLE DIAMOND AND SAPPHIRE DROP EARRINGS platinum, each with a central old European-cut diamond within a ring of calibre-cut sapphires, in navette-shaped plaques set with round brilliant-cut diamonds, tapering upwards to form the articulated drop, with single diamond terminal, with an approximate total diamond weight of 2.56 carats and an approximate total sapphire weight of 0.48 carats, with friction-post pierced backs. l. 1-3/4”, w. 1/2”, total weight 9.2 grams $3,500-$5,000

102

139 PAIR OF AQUAMARINE AND DIAMOND DROP EARRINGS 18k gold, the earrings mounted with single emerald-cut aquamarines weighing approximately 13.60 carats in total, suspended from brick links mounted with round brilliant-cut and single-cut diamonds weighing approximately 1.24 carats in total, presented in the original box as retailed by Maurice jewelers, Plaza Hotel, New York. l. 2”, total weight 17.3 grams $3,500-$5,000


140

142

141

140 PAIR OF EMERALD AND DIAMOND DROP EARRINGS silver top, 10k gold back, each with a circular drop centering a cluster of seven round brilliant-cut diamonds within a ring of channel-set emeralds and an outer ring of rose-cut diamonds, suspended from a pair of diamond-set laurel leaves below two small diamonds, with an approximate total diamond weight of 1.08 carats, with locking “fishhook” earwires. l. 1-1/8” (1-1/2” with earwire), w. 5/8”, total weight 8.9 grams $1,200-$1,800 141 ART DECO-STYLE EMERALD AND DIAMOND BROOCH 1930s and later, 10k white gold, made of vintage bracelet elements, with a central panel of round-cut treated emeralds flanked by diamond- and emerald-set oval “buckle”-style links, with an approximate total emerald weight of 5.48 carats and approximate total diamond weight of 2.38 carats. h. 3/4”, w. 2-1/2”, total weight 23.7 grams

142 PAIR OF ART DECO-STYLE EMERALD AND DIAMOND DROP EARRINGS silver top, 18k yellow gold back, in the Third Egyptian Revival taste, each with an oval emerald within a diamond surround suspending a diamond crescent joined by square emeralds to three articulated emerald and diamond drops, with an approximate total diamond weight of 1.08 carats and an approximate total emerald weight of 1.24 carats, with friction-post pierced backs. l. 2-1/4”, w. 5/8”, total weight 12.2 grams $1,800-$2,500

$3,000-$5,000

103


Retro Modern & Art Moderne (1917 – 1940)

The universal dedication of resources to World War II made extravagances taboo, but as always, even in times of war, personal adornment continued. Copper, one of the primary alloys in gold, was restricted, as was platinum, needed for explosives, engine and rifle parts. Jewelers turned to new gold alloys rich in chromium and cobalt, producing new orange and green golds which were fashioned into chunky brick-link bracelets, once again mimicking tank treads. Large citrines and amethysts f rom neutral South America were used in oversized “cocktail” rings. Post-war posterity saw an explosive return of diamonds, now adapted to the robust, industrial-style design popularized during the war. Dress clips – which could be worn together as a brooch or separately to enhance the sweetheart and Queen Anne necklines popularized by Christian Dior in the late 1940s – were made of bold, stylized scrolls pave-set with brilliant and baguette cut diamonds. Also returning was a sense of whimsy, with the amusing bird brooches of Van Cleef and Arpels and the anthropomorphic animal servants and vendors of Raymond Yard.

104


LOT 149

105


106


143

144

143 ITALIAN TRI-COLORED GOLD RETRO MODERN BRACELET

144 PAIR OF RETRO MODERN TWO-COLOR GOLD EARRINGS

1934-1944, Vicenza, 18k yellow gold, comprising alternating circular and clustered brick links joined by wedge-shaped rectangular plaques with brushed white and rose gold stripes. l. 7-3/4”, total weight 45.1 grams

ca. 1945, Modern Classics by Mossalone, New York, New York, 14k yellow/rose gold, each in the form of three staggered cavetto bricks, the center one yellow gold, the outer ones rose gold, with clip-post backs. l. 1”, total weight 10.8 grams

$1,800-$2,500

$600-$900

107


145

146

145 LARGE ART DECO ROCK CRYSTAL BRACELET

146 ART DECO ROCK CRYSTAL BRACELET

sterling silver, the bracelet composed of large square-cut rock crystals weighing approximately 255.36 carats in total. w. 3/4”, l. 7-1/2”, total weight 104.0 grams

sterling silver, the bracelet mounted with square-cut rock crystals weighing approximately 195.0 carats in total. w. 3/4”, l. 7-1/2”, total weight 72.9 grams

$2,000-$4,000

$1,800-$2,500

108


LOTS 145, 146, 194 & 195

109


147

147 GOLD AND DIAMOND SPINDLE MESH BRACELET ca. 1950, 18k gold, with mesh edges and central line of narrow spindles accented by gold beads and round brilliant diamonds set in platinum plaques, weighing approximately 0.75 carats in total. w. 1”, l. 7-1/4”, total weight 66.0 grams $3,000-$5,000

110


148

149

148 IMPRESSIVE ART DECO PLATINUM AND DIAMOND DRESS CLIPS

149 STUNNING PAIR OF ART MODERNE DIAMOND DRESS CLIPS

ca. 1930, S. J. Rood, London, each in the form of a stylized palmette, set with round brilliant-cut and baguette-cut diamonds weighing approximately 9.20 carats in total, in milligrained collets, signed “Rood”, together with a mounting frame permitting the pair to be worn addorsed as a brooch. each l. 1-1/4”, w. 1”, overall l. 2-1/2”, total weight 30.0 grams

ca. 1940, platinum, each in the form of a fringed scroll, pave and channel set with round brilliant- and baguette-cut diamonds, weighing approximately 12.49 carats in total, approximate color E-F and clarity VVS2-VS1, the reverse with double 18k white gold pin. each h. 1-1/2”, w. 1-3/4”, total weight 51.0 grams $12,000-$18,000

Provenance: Christie’s Important Jewels, London, November 27, 2002. $12,000-$18,000

111


150

151

150 PAIR OF ART MODERNE DIAMOND EAR CLIPS

151 PAIR OF ART MODERNE DIAMOND EAR CLIPS

mid-20th century, 18k white gold, each in the form of a stylized flammiform scroll, pave set with round brilliant-cut diamonds, with two inward scrolls channel-set with baguette diamonds, with an approximate total diamond weight of 8.90 carats, with pierced clip backs. h. 1-3/4”, w. 1”, total weight 21.2 grams

mid-20th century, platinum, each with a cluster of prong-set round brilliant diamonds above a spray of channel-set baguette diamond rays, with an approximate total diamond weight of 4.56 carats, with pierced omega-clip backs. h. 1-1/4”, w. 5/8”, total weight 14.9 grams

$4,000-$7,000

Provenance: Christie’s Fine Jewels, New York, New York, April 21, 2003. $6,000-$9,000

112


152

152 ELEGANT PAIR OF DIAMOND PARTNER DRESS CLIPS mid-20th century, platinum, of complimentary but not identical form, each with concentric scrolling circles from which emerge a stylized leaf, the circles with bead-set and pave round brilliant-cut diamonds weighing approximately 5.97 carats in total, the stem with channel-set baguette diamonds. one l. 2”, w. 7/8”, the other l. 2-1/4”, w. 1”, total weight 26.2 grams $8,000-$12,000

113


153

153 detail

153 PAIR OF ART MODERNE “DAY AND NIGHT” DIAMOND EAR CLIPS mid-20th century, platinum, each with a central round brilliant-cut diamond within a round- and baguette-cut diamond-set spray, with an approximate total weight of 3.51 carats in total, with detachable articulated drops en suite, with non-pierced clip backs. l. 2” (1” with drops detached), w. 3/4”, total weight 21.8 grams $3,500-$5,000

114


154

154 EXOTIC PAIR OF ART MODERNE DIAMOND “BIRD” EAR/DRESS CLIPS ca. 1950, attributed to Lola Denmer, Vienna, platinum, each in the form of a bird in flight, pave-set with single-cut diamonds weighing approximately 2.90 carats in total, with ruby “eyes”, the reverse fitted with clip converting to permit the pair to be worn as ear clips, dress clips or hair ornaments, presented in the original fitted case stamped “Denmer / New York - Vienna - Zurich”. each l. 1-1/4”, total weight 15.8 grams $12,000-$18,000

115


116


155

156

157

155 FLOWER CART GEMSTONE BROOCH ca. 1950, 14k yellow gold, in the manner of Raymond Yard, the brooch mounted with European- and single-cut diamonds weighing approximately 1.15 carats in total, accented by carved and baguette-cut rubies and sapphires weighing approximately 1.58 carats in total. size 1-7/8” x 2”, total weight 18.8 grams $3,000-$5,000 156 ITALIAN ART MODERNE TRI-COLOR GOLD FLEXIBLE CUFF BRACELET ca. 1960, 14k gold, with fine brick links arranged in diagonal rows of white, yellow and rose gold with a brushed finish. w. 1-3/4”, l. 7-1/8”, total weight 103.7 grams

157 UNUSUAL BRIOLETTE-CUT CITRINE BRACELET gold vermeil, the flexible bracelet comprised of numerous briolette-cut and roundel citrine beads, intricately woven with silk onto a latticed bugle bead ground, with a sterling silver-gilt scabbard clasp. w. 1-3/4”, l. 6”, total weight 84.6 grams Provenance: Fred Leighton, New York, New York, 2002. $3,000-$5,000

$3,000-$5,000

117


158 detail

158

158 SPECTACULAR DIAMOND BALL RING ca. 1980, 18k yellow gold, the ring mounted with a large ball set with round brilliant-cut diamonds in swirling designs, with an approximate total weight of 6.20 carats. size 5-3/4, total weight 30.2 grams $6,000-$9,000

118


159

159 detail

159 IMPORTANT MAUBOUSSIN BERYL, SAPPHIRE AND DIAMOND RING ca. 1980, 18k white gold, the ring mounted with a large emerald-cut beryl weighing approximately 23.50 carats, the sides of the ring with “lightning bolts”, mounted with round brilliant-cut diamonds weighing approximately 1.80 carats in total and round-cut blue sapphires weighing approximately 3.20 carats in total, stamped “Mauboussin Paris 750 E2993”. size 6-3/4, total weight 28.7 grams $8,000-$12,000

119


Oxeda

A PARIS INSTITUTION FOR OVER A CENTURY

Lined with the world’s greatest luxury brands, rue du Faubourg Saint-Honore in Paris is synonymous with quality and ref inement. Oxeda, a hidden gem specializing in signed antique and estate jewelry, was located between rue Saint-Florentin and rue Cambon and known as the preeminent source for the f inest and rarest pieces amongst jewelry enthusiasts, serious collectors, tastemakers and celebrities for decades. While less widely known than nearby shops such as Hermes and Louis Vuitton, Oxeda was a veritable institution in its own right. The f irm’s founders, Edgar and Eva Oxeda, opened a goldsmith shop at 334 rue Saint-Honore in the early 1900s. The couple had an aff inity for beauty and precious materials, and would search endlessly to f ind pieces for their clients. This attention to detail and passion naturally led to more clients and the f irm began to grow. Edgar and Eva’s son Edmond joined the f irm in 1929, but it was requisitioned by the Nazis following the occupation of Paris in 1940. Following the war, Edmond, now married, and his parents returned to France and re-opened the shop dealing mainly in silverware and custom jewelry. By the time Edmond’s wife, Eva, joined the family’s firm in 1950, business was booming with the influx of Americans seeking French jewelry and the popularity of pieces such as eglantines, trembleuses and other detachable brooches at the time. Oxeda’s selection of Boivin, Boucheron, Cartier, Chaumet, Janesich, Lacloche, Van Cleef & Arpels and others was unrivaled. Oxeda’s own reputation made these already desirable pieces even more alluring. The f irm’s beautifully appointed interior mixed with the magnetic personalities of the owners was irresistible, and it developed a cult following of sorts in the second half of the 20th century. Oxeda boasted a long list of famous clientele, including Salvador Dali, Jane Birkin, Maria Felix, Anja Lopez, Mick Jagger, Costa Gavras, Diana Ross, Shirley MacLaine and numerous others. Andre Leon Talley, Vogue’s longtime editor-at-large, fondly recalled his f irst introduction to Oxeda in his memoir, The Chiffon Trenches. Of course, it involved a post-lunch shopping expedition with nonother than Diana Ross. He writes:

After lunch, [Diana] wanted to go shopping for some really good vintage jewelry. E. Oxeda was recommended, and it was just around the corner f rom Maxim’s, on the rue du Faubourg Saint-Honore, so we walked over. Upon entering, Madame Oxeda herself greeted us […] She selected several diamond bracelets set in platinum for herself and had them delivered to the Hotel Plaza Athenee, as she wanted to wear one to Club Sept that evening […] Diana offered Betty and me gifts, instructing us to select anything f rom the glass cases. We both refused, with me fearing I would lose my job if I were to accept an expensive gift f rom this star.

Following Edmond’s death in 1994, his wife Eva kept the shop open for nearly a decade before deciding to close its doors. In a grand f inale of sorts, Christie’s offered many remaining pieces f rom The Oxeda Collection in its May 2002 Magnif icent Jewels sale in Geneva, which is where the bracelet offered here was acquired.

160

120


160 AVANTE-GARDE FRENCH HEART-CUT SAPPHIRE BANGLE BRACELET sterling silver-gilt with 18k yellow gold hinge and closure, the heavy hinged bangle set with four double-sided windowpane heart-cut sapphires, weighing approximately 14.00 carats in total, each in a conforming collet setting, with annular hinge and closure. h. 3/8”, inside w. 2-1/8”, total weight 62.9 grams Provenance: Purchased from The Oxeda Collection, Christie’s, Magnificent Jewels, Geneva, 15 May 2002 $7,000-$10,000

121


Anuj Shah Anuj Shah’s jewelry designs are a symphonic mix of East and West, new and old, and have been worn by celebrities such as Julia Roberts, Sharon Stone, Jennifer Lopez, Kim Kardashian, Cindy Crawford and Michelle Obama. Founder and Creative Head of the House of Umrao, Shah is inspired by the past, but designs for the modern woman. Anuj named his design firm after his grandfather, a notable figure in India’s gemstone world, and began creating his own pieces using his knowledge of precious stones and history. His stunning and sophisticated pieces draw on iconic designs and motifs by icons such as Boucheron, Chanel and Suzanne Belperron. He also scours auction catalogues for inspiration. Many of his pieces are influenced by the Art Deco period, a favorite of his, especially those by Cartier. In an interview with Times of India, Anuj shares: My favorite designer is Cartier – they used the best lapidary and their Art Deco pieces are outstanding. Even their synthesis of old and new is unusual – especially when they use ancient Islamic motifs that remind us of the Moghul period but are ultra modern and have European aesthetics. The earrings offered in this sale are wonderful examples of Shah’s design philosophy and vision.

122


161

162

161 STUNNING PAIR OF ANUJ SHAH RUBELLITE, DIAMOND AND PEARL EARRINGS platinum/14k yellow gold, the earrings mounted with carved rubellite plaques, accented on the top and bottom with cabochoncut and pear-cut rubellites weighing approximately 38.86 carats in total, accented by single-cut and round brilliant-cut diamonds weighing approximately 2.52 carats in total and 3.00 mm pearls. l. 3-3/4”, total weight 38.0 grams

162 ELEGANT PAIR OF ANUJ SHAH DIAMOND “COCOON” EARRINGS 14k white gold, the earrings mounted with a diamond briolette suspended from an articulated “cocoon”-form dangle, mounted with single-cut diamonds, with an approximate total diamond weight of 3.80 carats. l. 3”, total weight 19.8 grams $4,000-$7,000

$3,000-$5,000

123


163

164

165

163 SUITE OF FOUR INDIAN DIAMOND BANGLE BRACELETS 18k yellow gold, the bracelets mounted with polki diamonds weighing approximately 1.76 carats in total. inside circumference 7-3/4”, total weight 52.0 grams $2,500-$4,000 164 PAIR OF JAIPUR WHITE SAPPHIRE LARGE BUTTON EAR CLIPS 20k yellow gold, each in the form of a flower set with one central and three concentric rows of brilliant- and table-cut diamonds in various shapes, weighing approximately 4.78 carats in total, suspending nine oval pearls, the reverse with translucent red and green and opaque white enamel flowers and birds, with springlever clip backs. dia. 1-3/8”, total weight 61.7 grams $1,800-$2,500

124

165 PAIR OF INDIAN DIAMOND DANGLE EARRINGS silver-topped gold, the earrings mounted with polki and rose-cut diamonds weighing approximately 3.08 carats in total. l. 2-3/4”, total weight 16.1 grams $1,000-$1,500


167

166

168 166 IMPRESSIVE INDIAN MOGHUL DIAMOND BADGE BROOCH silver-topped gold, the brooch mounted with polki and rose-cut diamonds weighing approximately 14.70 carats in total. size 2-3/4” x 3-1/2”, total weight 71.7 grams $1,400-$1,800 167 PAIR OF IMPRESSIVE INDIAN DIAMOND DANGLE EARRINGS silver-topped gold, the earrings mounted with polki and rose-cut diamonds weighing approximately 6.45 carats in total. l. 2-3/8”, total weight 43.0 grams

168 PAIR OF INDIAN DIAMOND DANGLE EARRINGS silver-topped gold, the earrings mounted with polki and rose-cut diamonds weighing approximately 3.03 carats in total. l. 2-3/8”, total weight 17.8 grams $1,200-$1,800

$1,400-$1,800

125


169

170

169 RUBY NECKLACE

170 FOUR INDIAN DIAMOND BANGLE BRACELETS

the six-strand necklace composed of faceted and treated ruby roundels, finished with an adjustable silk cord. l. adjustable 24” to 43”, total weight 125.3 grams

18k yellow gold, the bangle bracelets mounted with polki diamonds weighing approximately 1.79 carats in total. inside circumference 8”, total weight 46.2 grams

$1,400-$1,800

$3,000-$5,000

126


171

171 INDIAN RUBY AND PEARL MOGHUL NECKLACE ca. 1880, 14k yellow gold, with a central flower set with rose-cut diamonds and mounted en tremblant, within a ring of ruby and diamond floral motifs, joined to a band of ruby links flanked by rose-cut diamonds, studded with pearls along the edges and suspending three ruby and pearl tassels, with an approximate total diamond weight of 1.67 carats and an approximate total ruby weight of 11.97 carats, attached to a braided silk cord to be worn as a choker or necklace. h. 2-1/2”, l. 8” (excluding cord), 25-1/2” (with cord), total weight 58.9 grams $1,800-$2,500

127


172

173

172 LARGE RUBY BEAD NECKLACE

173 FOUR INDIAN DIAMOND BANGLE BRACELETS

contemporary, 18k yellow gold, with fifteen large, graduated and faceted treated ruby roundels weighing approximately 2000 carats in total, finished with gold caps and joined by gold links set with ruby cabochons. l. 19”, total weight 457.5 grams

18k yellow gold, the bangle bracelets mounted with polki diamonds weighing approximately 1.80 carats in total. inside circumference 7-1/2”, total weight 46.7 grams $3,000-$5,000

$2,500-$4,000

128


LOTS 68, 69, 145, 159, 169, 170, 172

129


174 LARGE FRESHWATER PEARL AND SAPPHIRE NECKLACE 18k yellow gold, the necklace composed of large “fireball” pearls with a high luster, measuring approximately 30.00 mm x 22.00 mm, accented by nugget-style beads mounted with round-cut treated blue, pink and yellow sapphires weighing approximately 12.36 carats in total. l. 41”, total weight 366.2 grams $1,800-$2,500

174

130


175

175 RUBY BRACELET 18k yellow gold, the nine-strand bracelet composed of treated ruby beads, accented with gold nugget beads. l. 6-1/2”, total weight 34.2 grams $1,200-$1,800

175 detail 131


177

178 176

177 BAROQUE PEARL AND DIAMOND BRACELET

176 PAIR OF BAROQUE SOUTH SEA PEARL, SAPPHIRE, RUBY AND DIAMOND EARRINGS 18k white gold, the earrings mounted with large baroque South Sea white pearls with a very good luster, measuring approximately 13.00 mm x 17.00 mm, accented by cabochon-cut treated rubies weighing approximately 1.44 carats in total, pear-shaped cabochon-cut treated sapphires weighing approximately 0.76 carats in total and round brilliant-cut diamonds weighing approximately 2.47 carats in total. l. 2-1/4”, total weight 24.0 grams $2,500-$4,000

J.R. Gold Designs, New York, New York, 18k white gold, set with well-fitted baroque pearls mounted in a hand-crafted flexible frame, accented with round brilliant-cut diamonds weighing approximately 2.11 carats in total in melee-set scrolls and double bar clasp. w. 1-1/2”, l. 7”, total weight 124.4 grams Provenance: Christie’s New York Fine Jewels, October 13, 2004. $7,000-$10,000 178 PAIR OF MABE PEARL AND DIAMOND EAR CLIPS ca. 1950, 18k yellow gold, the clip back earrings mounted with mabe pearls measuring approximately 4.90 mm in diameter, accented by round cultured and stick pearls in the form of flowers, the centers mounted with round brilliant-cut diamonds weighing approximately 0.55 carats in total. l. 1-1/4”, total weight 20.2 grams $600-$900

132


L O T S 1 74 , 1 7 6 , 1 7 7, 1 7 9 , 1 8 0 & 2 0 9

133


179

180

180 detail

179 TWO LARGE HIGH LUSTER PEARL NECKLACES

180 FRESHWATER BAROQUE PEARL RING

the two necklaces composed of large “X”-form pearl beads with a high luster, finished with a pearl toggle clasp. l. 17”, total weight 296.7 grams

18k yellow gold, the “X”-form freshwater baroque pearl set in a conforming frame. size 6, total weight 10.3 grams $1,200-$1,800

$1,200-$1,800

134


181

182

181 PAIR OF TIFFANY & CO. BAROQUE PEARL EAR CLIPS

182 TIFFANY & CO. SCHLUMBERGER MALTESE DIAMOND BROOCH

18k yellow gold, each with a wavy trapezoidal baroque pearl set in a handcrafted conforming gold bezel mounting, with omega clip backs, marked on the reverse “Tiffany & Co.”. l. 3/4”, total weight 14.0 grams

18k yellow gold, the brooch mounted with round brilliant-cut diamonds weighing approximately 1.70 carats in total, stamped “TIFFANY & CO. SCHLUMBERGER 750”. l. 2”, total weight 27.3 grams $6,000-$9,000

$1,800-$2,500

135


136

L O T S 1 6 , 8 9 , 1 4 3 , 1 5 7, 1 5 8 , 1 8 2 , 1 8 3 , 2 0 1 , 2 0 2 & 2 0 3


183 LARGE GOLD CONVERTIBLE NECKLACE/BELT 1980s, 14k gold, with flexible “popcorn” links, one with an axial clasp, made to be worn as a necklace or a belt. l. 32”, total weight 195.3 grams $7,000-$10,000

183

137


184

186

185

184 PAIR OF CONTEMPORARY DIAMOND PAISLEY EAR CLIPS 14k yellow/white gold, the earrings mounted with round brilliantcut diamonds in a pave setting, weighing approximately 2.91 carats in total. l. 1-1/8”, w. 5/8”, total weight 11.0 grams $2,500-$4,000 185 DIAMOND CROSSOVER BANGLE BRACELET 18k rose gold, the hinged bracelet mounted with round brilliantcut and marquise-cut diamonds weighing approximately 3.04 carats in total. inside circumference 6-1/4”, total weight 23.5 grams $2,500-$4,000

138

186 UNUSUAL CUSTOM DIAMOND DOG TAG PENDANT WITH CHAIN 14k rose gold, the large pendant mounted with round brilliant-cut diamonds weighing approximately 6.28 carats in total, l. 2-1/4”, suspended from a heavy rose gold ball chain, l. 30”. total weight 66.3 grams $4,000-$7,000


188

187

187 HAMILTON DIAMOND WATCH

188 PAIR OF INVISIBLE-SET YELLOW DIAMOND EARRINGS

14k rose gold, the manual wind watch with numbers mounted with single-cut and baguette-cut diamonds weighing approximately 0.22 carats in total, the workings stamped “Hamilton U.S.A. 17 Jewels 980” and “G266006”, with a gold mesh band. l. 7-1/4”, total weight 46.1 grams

14k yellow gold, each in the form of a square, invisible set with princess-cut yellow diamonds weighing approximately 3.51 carats in total. w. 1/2”, total weight 10.0 grams $2,500-$4,000

$1,400-$1,800

139


189

189 SPECTACULAR NATURAL LAVENDER SAPPHIRE AND DIAMOND RING 18k yellow gold, the contemporary ring mounted with a cushion-cut natural lavender sapphire weighing approximately 12.50 carats, accented by round brilliant-cut diamonds weighing approximately 1.00 carat in total, stamped “Moderne”, GIA certificate available upon request. size 6, total weight 21.4 grams GIA certificate available upon request. $20,000-$40,000

140


141


190

191

190 TWO DIAMOND “STARFISH” BROOCHES

192

18k white/yellow gold, the brooches mounted with round brilliantcut white and yellow diamonds weighing approximately 2.40 carats in total. l. 1-1/4”, total weight 6.0 grams Provenance: Christie’s, Australia, Fine Jewels, July 9, 2002. $3,500-$5,000 191 PAIR OF DIAMOND HEART DROP EARRINGS 18k white gold, each set with a central heart-cut diamond, one 0.53 carats, color G and clarity VS2, GIA certificate #5181203478, and the other 0.50 carats, color H and clarity SI1, GIA certificate #5182203014, within a conforming ring set with round brilliant diamonds, suspending from one larger and seven smaller round brilliant diamonds with an approximate total weight of 0.80 carats, with lever-back pierced earwires. l. 3/4”, total weight 4.8 grams $1,800-$2,500

142

192 PAIR OF DIAMOND HOOP EARRINGS 14k white gold, the earrings mounted with round brilliant-cut diamonds weighing approximately 3.20 carats in total. l. 1-3/8”, total weight 10.6 grams $1,800-$2,500


193 DIAMOND LONG CHAIN 18k white gold, the long chain mounted with bezel-set round brilliant-cut diamonds weighing approximately 8.40 carats in total. l. 39”, total weight 17.1 grams $5,000-$8,000

193

143


194

194 H. STERN ROCK CRYSTAL AND DIAMOND “MOONLIGHT” NECKLACE 18k white gold, the necklace mounted with graduated cushion-cut rock crystals, separated by accents mounted with round brilliantcut diamonds weighing approximately 0.75 carats in total. l. 18-1/2”, total weight 98.9 grams $5,000-$8,000 195 PAIR OF H. STERN “MOONLIGHT” ROCK CRYSTAL AND DIAMOND EARRINGS 18k yellow gold, the earrings mounted with cushion-cut rock crystals, accented by a dangle mounted with round-cut diamonds weighing approximately 0.04 carats in total. l. 1”, total weight 8.0 grams $1,200-$1,800

144

195


145


196

198

197

197 BUCCELLATI GOLD LEAF CUFF BRACELET 196 PAIR OF BUCCELLATI “DAY AND NIGHT” EARRINGS 18k yellow gold, the earrings in the form of a leaf, stamped “M. Buccellati Italy”, with a removable dangling teardrop-shaped lemon citrine. leaf l. 1-1/8”, overall l. 2”, total weight 15.5 grams Provenance: Christie’s Important Jewels, Geneve, Switzerland, February 19-20, 2003. $3,000-$5,000

18k yellow gold, the bracelet in the form of a textured gold leaf, stamped “M. Buccellati”, together with the original box. w. 1-1/2”, inside circumference 6-3/4”, total weight 42.2 grams $4,500-$7,000 198 PAIR OF BUCCELLATI GOLD “LEAF” EARRINGS 18k yellow gold, the earrings in the form of leaves, stamped “Gianmaria Buccellati Italy 18K” and “J2946”, together with the original box. l. 1-1/2”, total weight 9.8 grams $1,200-$1,800

146


200 199

201 199 BUCCELLATI DAISY CUFF BRACELET 18k yellow gold/sterling silver, the hinged bracelet decorated with daisies, stamped “Buccellati Italy”. w. 1-1/2”, inside circumference 6-1/4”, total weight 65.2 grams $1,200-$1,800 200 PAIR OF ASPREY DIAMOND “SUNFLOWER” EARRINGS 18k yellow gold, the large earrings in the form of a sunflower, mounted with round brilliant-cut diamonds weighing approximately 0.62 carats in total, stamped “Asprey”. dia. 1-1/2”, total weight 38.3 grams

201 CARRERA Y CARRERA CHERUB CUFF BRACELET 18k yellow gold, the cuff bracelet decorated with cherubs, together with the original box. w. 1-1/4”, inside circumference 7”, total weight 40.6 grams $3,500-$5,000

$4,000-$7,000

147


203

202

204

202 PAIR OF DAVID WEBB DIAMOND EAR CLIPS 18k yellow gold, the ear clips mounted with round brilliant-cut diamonds weighing approximately 1.80 carats in total, stamped “WEBB”. l. 1-1/8”, total weight 38.4 grams $4,000-$7,000 203 DAVID WEBB DIAMOND HEART DRESS CLIP 18k and platinum, the heart formed of four twining “ribbons”, each with a gold rope-twist border and platinum center pave set with round brilliant-cut diamonds weighing approximately 4.68 carats in total, signed “Webb”. w. 1-1/2”, total weight 26.0 grams Provenance: Sotheby’s December 7, 2017. $5,000-$8,000

148

204 PAIR OF DAVID WEBB DIAMOND EAR CLIPS 18k yellow gold, the hooped earrings mounted with round brilliantcut diamonds weighing approximately 1.50 carats in total, stamped “WEBB 18K”. l. 1”, total weight 26.7 grams Provenance: Sotheby’s Fine Jewels, New York, New York, December 7, 2017. $3,500-$5,000


205

205 IMPORTANT PAIR OF BOUCHERON PINK SAPPHIRE HEART AND DIAMOND EARRINGS 18k yellow gold, the ear clips mounted with heart-cut pink sapphires weighing approximately 3.20 carats in total, accented by calibre-cut blue sapphires weighing approximately 0.35 carats in total and round brilliant-cut diamonds weighing approximately 2.20 carats in total, stamped “Boucheron”. l. 1”, total weight 14.1 grams Provenance: Christie’s, Geneva, November 19, 2002. $6,000-$9,000

149


Seaman Schepps Seaman Schepps was a talented visionary that rose f rom the tenements of New York City to found one of America’s most celebrated jewelry houses. His innovative and creative designs became wildly popular and catapulted him to enormous success. Born in 1881 on Manhattan’s Lower East Side, Seaman Schepps grew up with modest means. At the age of fourteen, he dropped out of school and traversed the United States as a traveling salesman. In 1904, he opened his own store in Los Angeles selling antiques and jewelry. He would open and close several stores during this time, but was determined to keep trying and learn from his past mistakes. In 1921, Schepps returned to New York and opened a shop at 1066 6th Avenue. Like so many others, Schepps lost everything after the stock market crash of 1929 and was forced to close his newly built shop. Even this devastating loss couldn’t stop the talented young man from pursuing his dreams. Seaman Schepps travelled the world and surrounded himself with endless inspiration. While in Europe, he was inundated with fashion and art, and bef riended renowned jewelers such as Verdura and Suzanne Belperron. This seminal moment made him realize that it was time to trust his abilities and only sell jewelry of his own design and creation….and sell they did! Seaman Schepps was a master of mixing materials and incorporating bold colors in his avant-garde designs. From bejeweled mammoth tusk cuffs to earrings made from pearls wrapped in gold wire, or precious and semi-precious stones gathered in a riot of color. Schepps also loved the simplicity of an exceptional solitary stone with minimal decoration, much like the emerald earrings offered in this sale. His granddaughter "His designs are not about diamonds, rubies, and emeralds, although he certainly used them, but rather about transforming the unexpected into something of extraordinary visual power and beauty," remarked the late jeweler’s granddaughter Amanda Vaill in a 2012 interview with Elle Décor. Seaman Schepps created exceptional jewelry for exceptional clients that was unlike anything seen before. He became the jeweler of choice for New York’s café society and his loyal following grew to include Coco Chanel, Katharine Hepburn, Marlene Dietrich, Franklin Delano Roosevelt, Andy Warhol, the Duchess of Windsor and members of the Du Pont, Mellon and Rockefeller families, earning him the title of “America’s Court Jeweler.” His jewelry was so unique that many collected his pieces as works of art. The success of Seaman Schepps was an amalgam of his travels, love of art, nature and his entrepreneurial spirit. His jewelry frequently appeared on the covers of the most fashionable magazines, including Vogue, Harper’s Bazaar and Town & Country. Seaman Schepps was always original, always noteworthy, and continues to be highly collectable to this day.

150


206

207

208

207 detail

206 IMPORTANT PAIR OF LARGE SEAMAN SCHEPPS EMERALD EARRINGS 18k yellow gold, the earrings mounted with emerald-cut emeralds weighing approximately 39.50 carats in total, stamped “Seaman Schepps 750”. l. 3/4”, total weight 16.3 grams $9,000-$12,000 207 LAPIS RING, ATTRIBUTED TO SEAMAN SCHEPPS 14k yellow gold, the large ring mounted with an oval cabochon-cut lapis lazuli weighing approximately 14.03 carats, set into a red resin base with gold accents. size 5-1/2, total weight 30.0 grams

208 RARE PAIR OF SEAMAN SCHEPPS PEARL EAR CLIPS 18k yellow gold, each set with cultured pearls fashioned as a stylized grape cluster, with intricate scrolling gold wire frame, the nonpierced clip backs signed “Seaman Schepps”. h. 1-1/2”, w. 3/4”, total weight 17.0 grams $1,800-$2,500

Provenance: Sotheby’s, December 7, 2017. $3,000-$5,000

151


Trianon After Seaman Schepps’ death in 1972, his daughter Patricia Schepps Vaill continued her father’s legacy at the helm of the venerable f irm producing successful, forward-looking designs. Vaill also developed her own unique style aimed at a younger audience to expand the f irm’s client base. After twenty years as the steward to one of the great American jewelry houses, Vaill retired and sold the company to fellow jewelers Anthony Hopenhajm, and his partner, Jay Baume. Hopenhajm and Baume were a natural f it as their brand Trianon was already partnering with Seaman Schepps on cufflinks made f rom organic materials. The two f irms also shared similar aesthetics. As Hopenhajm said, “We started to do jewelry that was different f rom the way people do jewelry. There was synergy between us and Seaman Schepps.” Trianon became the flagship name and continued to use rich and exotic materials as Seaman Schepps had done for decades. Rare woods, mammoth tusk, semi-precious stones set in gold, baroque pearls and other treasures would f ind their way into the jewelry designs. Hopenhajm and Baume took great pride in the one-of-a-kind nature of their pieces as all of the materials were taken f rom nature and possessed unique qualities that gave personality to each piece. Much like Seaman Schepps, Trianon rose to prominence amongst jewelry collectors, the social elite and lovers of avant-garde design. Trianon jewelry has been worn by countless prominent politicians, celebrities and socialites over the past 30 years.

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209

210

209 SPLENDID TRIANON BAROQUE PEARL AND CITRINE MAMMOTH TUSK CUFF BRACELET 18k yellow gold, the bracelet mounted with baroque pearls and round-cut citrines weighing approximately 2.50 carats in total, stamped with the Trianon mark. w. 1-1/2”, inside circumference 5-3/4”, total weight 79.9 grams

210 TRIANON GEM-SET MAMMOTH TUSK CUFF BRACELET 18k yellow gold, the bracelet mounted with round brilliant-cut peridots, citrines, tourmalines and aquamarines weighing approximately 9.50 carats in total, stamped with the Trianon mark. w. 1-1/2”, inside circumference 5-3/4”, total weight 93.7 grams $6,000-$9,000

$6,000-$9,000

153


211 MIGNON FAGET CUSTOM-MADE PEARL NECKLACE ca. 1980s, gold vermeil, the one-of-a-kind multistrand necklace composed of graduated strands of rose-colored rice pearls, accented with vermeil “corn kernels”, terminating in a corded necklace, with vermeil “corn husk” accents and clasp, stamped “Mignon Faget”. l. 16-1/2”, longest strand l. 28”, total weight 148.6 grams $1,800-$2,500 211

154


212 MIGNON FAGET CUSTOM-MADE PEARL AND EMERALD NECKLACE ca. 1980s, gold vermeil, the one-of-a-kind fifteen-strand necklace composed of creamcolored rice pearls accented with round emerald beads, finished with “corn husk” clasps, marked “Mignon Faget”. l. 27-1/2”, total weight 196.6 grams $1,800-$2,500

212

Mignon Faget (Lots 211-213)

Renowned New Orleans jeweler Mignon Faget has created f ine jewelry since 1969. Known nationally for her innovative designs, she is endlessly inspired by her natural surroundings, especially the architecture, wildlife and everyday objects of Louisiana. In her Sea and Earth catalogue Faget explains: As children, we all saw wonderful shapes and patterns in nature. But once we learned the names of things, the shapes became obscured. In that sense, the process of unlearning is as important to me as learning. When I reduce nature’s forms to the least common denominator, I discover endless design possibilities. A garden snail reveals itself as the way a domed ring might look. A spiny crab claw suggests a pendant, intriguing to the eye and to the touch. Mignon Faget became a household name and the business expanded over the years to include furnishings, clothing and more in the brand’s recognizable aesthetic. Her creations continue to be highly collectible. These three one-of-a-kind custom pieces by Mignon Faget were commissioned in the 1980s. The motifs and materials used in these pieces are popular to this day, including pearls and naturalistic gold elements. Inspired by a trip to Yucatan through Tulane’s biology department in the mid-1980s, her popular Zea line celebrated the physical characteristics of corn. She was fascinated by the husks and individual kernels, and classic elements f rom this important line can be seen in two of the present pieces.

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213 MIGNON FAGET CUSTOM-MADE NECKLACE ca. 1980s, sterling silver, the one-of-a-kind six-strand necklace composed of grey rice pearls accented with silver ridged bars, stamped “Mignon Faget”. l. 31”, total weight 125.9 grams $1,800-$2,500

213

156


214 RARE MARGOT DE TAXCO STERLING SILVER ENAMEL “SNAKE” NECKLACE/BELT third quarter 20th century, Taxco, Mexico, in the form of a serpent biting its tail, decorated with translucent lavender champleve and opaque pink cloisonne enamel scales, with three detachable segments permitting it to be worn at various lengths, including as a belt. length 21” to 32” (three detachable links, l. 7-1/4”, 2-1/2” and 1-1/4”), total weight 238.9 grams $1,400-$1,800

214

When recently-divorced beauty shop owner Margot Van Voorhies Carr moved to Mexico in 1937, it was the deliberate beginning of a new chapter of her already event-filled life. She was born in San Francisco in 1896 as Margot Durand, the daughter of adjuster Albert A. Durand and Canadinan immigrant Albina Chabot Durand. Her father died in 1903, leaving her mother to raise her only child (Margot’s brother George having died in infancy in 1899). They survived the great earthquake in 1906, but even this catastrophe may have been less shocking than the discovery that Albert A. Durand had been living under an assumed identity, and that he was actually a member of the prominent Van Voorhies family of New Orleans. Albina and Margo assumed that surname after this discovery. Margot married Albert J. Buneman in 1921 and Evans F. Carr in 1927; both ended in divorce. In 1931, Margot was dealt yet another devasting blow when her mother Albina was brutally murdered in the grocery store she ran.

It was thus that Margot moved to Mexico, eventually settling Taxco, where she met and married Antonio Castillo, a silver smith at the famed workshop of William Spratling. Margot, a talented artist, created designs for him and the two opened their own shop, Los Castillos, in 1939. Margot’s designs were very popular in the United States, which clamored for the relatively inexpensive luxury goods available from Mexico during World War II. Her marriage to Castillo ended in divorce, too, in 1946. Margot established her own shop under the name Margot de Taxco and hired excellent silversmiths, including Miguel Arias, Geronimo Fuentes, Hilario Lopez, Jaime Quiroz, Miguel Melendez and Melecio Rodgiguez to execute her innovative designs. Despite the efforts of her jealous ex-husband to have her deported, she persevered, and by the 1950s her jewelry was a favorite in United States, particularly in California among the Hollywood elite. She was noted for her use of beautifully shaded enamels and bold, naturalistic designs. After two decades of fantastic success (and a brief fourth marriage to Alberto Cuevas), a series of unfortunate setbacks forced her to close her shop in 1974. She died in Taxco on July 26, 1985.

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215

216

215 UNUSUAL SANDRA ENTERLINE GEOMETRIC BRACELET

216 MEN’S GOLD AND STERLING SILVER ELEPHANT HAIR BRACELET

contemporary, San Francisco, sterling silver-gilt, the chunky bracelet with alternating hemispheres and cubes joined by articulated vertical plate links, with lightly brushed finish, signed “Sandra Enterline”. l. 8”, w. 1”, total weight 154.7 grams

14k yellow gold/sterling silver, the bracelet composed of “strands” of silver and movable gold “knots”, the “knots” sliding to make the bracelet bigger or smaller. smallest inside circumference 8”, total weight 59.7 grams

$1,000-$1,500

$500-$800

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218

217

219

217 BLUE ENAMEL AND DIAMOND CUFFLINKS mid-20th century, 18k yellow gold, each large circular face decorated with radiant dark blue guilloche enamel, with a small white gold segment pave-set with single-cut diamonds weighing approximately 0.36 carats in total. dia. 15/16”, l. 1”, total weight 19.1 grams $2,000-$4,000

219 1927 INDIAN HEAD $2.50 GOLD COIN CUFFLINKS the coins with a 14k gold chain-and-bar back. dia. 11/16”, total weight 12.6 grams $1,000-$1,500

218 BULGARI GOLD VERMEIL FOUNTAIN PEN with an 18k gold nib, the pen marked “BVLGARI 18k 750 M”, together with the original box. $600-$900

159


Estates Auction: December 11-12, 2021 FE ATU R IN G

THE COLLECTION OF

ADAM LIPPES

FUR N ITU R E , DECOR ATIVE OBJECTS , FI NE ART & M ORE


Conditions of Sale: ALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER. PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED.

1. Introduction (a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below). These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction. (b). Under these Conditions of Sale, the following capitalized terms are defined as follows:

• An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG; • The “Auctioneer” is the auctioneer calling the Auction conducted by NOAG; A “Bid” is a bid made by a party at the Auction to purchase a Lot; • A “Bidder” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); • A “Buyer” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction; • “Buyer’s Premium” is defined in Section 4 below; • “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction; • The “Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction; • The “Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges; • A “Lot” is specific item of property offered for sale at Auction; The “Reserve” is defined in Section 3 below; • The “Purchase Price” is defined in Section 4 below; A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot; • The “Seller” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot; • The “Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer. (d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.

2. Before the Auction (a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER. (i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion. Rev. 01/04/17


(c). Catalogue and other descriptions. (i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/ or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. 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. (ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot. (iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price. (iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material. (d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that: (i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot; (ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot; (iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and (v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.

3. At the Auction (a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements: (i) A Bidder must complete and sign the attached registration form and provide identification to NOAG; (ii) NOAG may require the production of bank or other financial references or any other additional information; (iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment (iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below). (b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. (c). Absentee bids / Telephone bids. (i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.) All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

Rev. 01/04/17


(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid. (iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith. (d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above. (e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. (f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. (g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

4. After the Auction (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 25% of the Hammer Price (discounted to 22% if the method of payment is by check, cash, or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires] by the end of the day on the fifteenth calendar day following the conclusion of the Auction) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or antiterrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation. Rev. 01/04/17


(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction. (g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs; (x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller

If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount. (h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved. (i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5.Copyright The copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it.

6. Severability If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

7. Data Collection In connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure.

8. Law and Jurisdiction The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of Louisiana. By bidding at the Auction and/or through execution of the attached registration form, the Bidder consents to the exclusive jurisdiction of the courts of the State of Louisiana and the Federal courts of the United States of America located in the Eastern District of Louisiana.

Rev. 01/04/17


Susan D. Sarofim CEO

Jelena Restovic James Director of Fine Art

Tessa Steinkamp Director of Auctions

Ireys Bowman General Consignments

Michele Carolla Fine Art Specialist

Burke Designer

AUCTIONEERS Tessa Steinkamp, #1265 Taylor Eichenwald, #1922 Michael DeGeorge, #1774

CONSULTANTS

Taylor Eichenwald Assistant Director of Auctions

Greg S. Kowles General Consignments

Charles C. Cage Silver Specialist & Office Manager

Sarah Agnew Client Services & Administrative Assistant

ADMINISTRATION

Ellen McKenzie English & Continental Furniture

Denise Haik Office Administration

Ira Savoie Independent Certified Gemologist Appraiser

Gary Michael Gittelson Photographer

Kim Lemon Director of Fine Jewelry

Thomas Halverson American Furniture Specialist

Grace Connors Manager of Online Auctions

GRAPHICS Bettina Bausa Graphic Designer Photography: Christa Ougel Jason Kruppa

OPERATIONS Cedric Roberts | Sean Ranson Bennie Amos | Emmitt Kendrick, Jr. Gerald Hampton | Juanita Bazile Sol Carter | Theadrow Mark