French Art Deco/Modernist diamond ring set with 26 round cut diamonds (approx. 6 carats TW) mounted in platinum and further set in an 18k gold four-tier contoured ring mounting, marked, c.1930’s
Mauboussin, Paris extremely flexible bracelet set with demantoid garnets (285 count, approximately 20 carats total weight) and diamonds (114 count approximately 8 carats total weight) all set in 18K gold hexagon shaped individual bezels and clasp, signed: Mauboussin maker’s mark (2x), 750 (18K gold mark), French Eagle’s head mark for 18K gold, c. 1950
Rene Boivin (attr.) French Art Deco brooch set with a large rectangular aquamarine and diamonds set in a geometric platinum and matte finish 18K yellow gold, signed c. 1930’s
Cartier clip / brooch, 6 large oval orange citrines with buff cut citrines encircling the oval cluster, buff cut baguette citrines and diamonds set in platinum, signed Cartier, 0510, c. 1930
Cartier, Paris “Elephant” Maillon Panthere bracelet in 18k gold and set with 200 round cut diamonds (approx. 10 carats TW) and three round cut emeralds for the eyes, signed: Cartier (script signature), no. 641403, 750, French Eagle’s head assay mark for 18k gold (3x), maker’s mark in a diamond cartouche, c.1980’s
Pierre Sterlé Paris, “Hummingbird” brooch, carved natural ruby in zoisite mounted in 18K gold set with diamonds set in platinum, original suede box, signed, c. 1950’s
Paul Flato (attr.) “Dolores del Rio” cuff bracelet, 3 large rectangular citrines (approx. 200+ carats) and pave diamonds (approx. 9 carats TW) set in 18K yellow gold and platinum,(G.I.A. certificate) c. 1940
Provenance: Dolores del Rio
Illustrated: “The Impossible Collection of Jewelry” by Vivienne Becker(Assouline, 2015)
Shreve & Co., San Francisco Art Deco ring set with a trio of round cut diamonds (approx. 2 1/4 carats TW) set in platinum with caliber cut onyx surrounding the three diamonds and further set with four round cut diamonds flanking either side of the ring shank, signed: Shreve & Co., 950, Platinum, c.1930
Art Deco cushion shape natural Burmese sapphire ring (approx. 7 carats TW, G.I.A. certificate, no heat) set in an intricate platinum mount with 4 baguette diamonds and 16 round diamonds (approx. 4 carats), c. 1930
Art Deco cushion shape natural Burmese sapphire ring (approx. 7 carats TW, G.I.A. certificate, 10.00 x 9.70 x 8.00mm, no heat) set in an intricate platinum mount with 4 baguette diamonds and 16 round diamonds (approx. 4 carats), c. 1930
Marsh & Co. San Francisco, “Paisley” brooch with a blackened steel dramatic outline on an elaborate 18k gold frame and back in the shape of a paisley pave set with full cut round diamonds of (approx. 3.5-4 carats TW), c. 1950’s
G.T. Marsh was established in 1876 in San Francisco, CA as one of the first purveyors of Japanese art and antiques. In the early 30’s Marsh, with the help of his Italian bench jeweler settled on a unique style that will always be indicative of the firm. Instead of using gold or platinum, the jeweler, who was interested in gun-smithing, created a line of jewels using sandblasted steel finished with gun bluing. This resulted in a rich dark mat black finish. Chased or milegrained white gold or platinum offset pearls, jade or diamonds set against the black ground of the steel. Movement also played a part in the design. Hinged pearls or gemstones added yet another distinct element to the work or exceptionally strong contrasting graphics. The use of diamonds on a grander scale with the dramatic outline of a classic paisley form, places this brooch mid-century and at a time when Marsh’s Jewelry boutique was particularly flourishing in the Bay area.
American Retro “Leaf” brooches, Burma sapphires (approx. 12+ carats), cabochon rubies (approx. 12+ carats) and baguette and round diamonds all set in 18K gold and platinum, marked, c. 1950
Auger & Gueret (Alphonse Auger et Antoine Gueret) , Paris, “Grasshopper” brooch in finely detailed 18K gold, enamel and rose cut diamonds, original leather box, signed, c. 1895
European Modernist ring set with three round diamonds (approx. 2 carats TW) and further set with 34 diamonds (approx. 4 carats TW) in three platinum sections on a 14K gold ring, signed, c.1930
French Art Deco Emerald ring set with a very fine cabochon emerald (approx. 3 carats TW) and two old European cushion cut diamonds (3 carats TW) and further set with 12 round cut diamonds all set in 18K gold, signed, c.1920’s
Seaman Schepps “Grape” cluster clip/brooch set with 9 large cabochon sapphires (approx. 85+ carats TW), 5 large cabochon emeralds (approx. 35+ carats TW) and 13 round diamonds (approx. 2 carats TW) set in a 14K yellow mounting with leaves and vines, signed Seaman Schepps and 14k, Dimensions: 2 3/4 inches long x 2 1/4 inches wide, c. 1940
***This is a closely related “Grape” cluster clip/brooch model that Seaman Schepps made on commission for the eminent socialite Doris Duke (Collection Seaman Schepps, but there is a predominance of dark blue and purple cabochon sapphires in the DD brooch as opposed to the predominance of larger and more translucent cabochon sapphires as well as cabochon emeralds in this example
Hunt and Roskell in alliance with J. W. Benson 18k gold pomander / vinaigrette in the form of an apple, marked, original red leather box, c. 1897
Hunt and Roskell in alliance with J. W. Benson 18k gold pomander / vinaigrette in the form of an apple, Marked: 307049 (British Registration mark), J.W.B. makers mark and British gold hallmarks original red leather box, c. 1897
The Tale of the Golden Apple
It was the wedding of Peleus and Thetis (the parents of Achilles) that the Goddess Elis threw a golden apple into the assembled crowd. Upon the surface of the fruit was etched “To The Faires”. Three goddesses laid claim upon the apple; Aphrodite, Hera and Athena. It was decided by Zeus, king of the Gods, that Paris of Troy should mediate the dispute. After bathing in the spring of Mount Ida, the three presented themselves to Paris. It was decided that Aphrodite, the Goddess of love and beauty, had the superior claim and that the golden apple belonged to her.
Cartier, Paris “Snake” necklace in finely detailed 18k gold and with a slightly expandable link feature, signed: Cartier Paris (script signature), no. 02694, French Eagle’s head touchmark for 18K gold (2x), Cartier touchmark in a diamond, original Cartier red leather, velvet and silk presentation box, c.1940
French 19th Century “Gothic Revival” ring set with a very fine square step cut emerald (approx. 2 carats TW) and two European rose cut diamonds (approx. 2 carats TW) all in an openwork 18K yellow gold mount further set with 12 old mine cut diamonds, signed, c.1885
Jean Claude Champagnat, Paris (1923-1980) for the famous Couturier, Christian Dior (1905-1957) “Exotic Flower Blossom” ring in 18K gold with flower blossoms gemset with 3 round rose-cut rubies (approx. 2 carats TW) and 15 marquise shaped Kunzite flower petals, signed, c. 1950’s
Moshe Oved (1883-1958) “Marabou Stork” ring, hand tooled lost wax 18K gold casting in full dimension as a complete biomorphic form of the bird and set with sapphire eyes, c.1940
Imperial topaz (26 carats) solitaire ring set in platinum with two elongated baguette diamonds, signed: L and M French maker’s mark in a diamond poincon, French Dog’s head assay mark for platinum, c.1950
French Art Deco Interlocking ring, Invisibly set rectangular sapphires (10 count, approx. 2.50 carats TW), pave diamonds (approx. 2.50 carats TW) all set in a platinum mount, c. 1935
French 19th Century light yellow natural color diamond (approx. 2.20 carats TW, G.I.A certificate, 8.05 x 6.90 x 5.05mm, natural diamond) ring set in a fancy 18K yellow gold mounting, signed, numbered 3056, c. 1890
American Art Deco ring (likely by Louis C. Tiffany for Tiffany & Co.) set with a large blue zircon (approx. 64 carats by calculation, 20mm x 20mm x 19mm) set in a fancy platinum mount further set with 14 round cut diamonds, four bullet shaped gold/orange citrines and two kite shaped gold/orange citrines, marked: very deeply stamped letters as a maker’s mark on the inside of the shank, c. 1930
***Top quality gem blue zircons over 10 carats trade at a minimum price of $200 per carat and go up from there depending on the size of the stone and the quality of the color. Blue zircon, the most popular color, is produced by heat treatment of brown zircon. But not all brown zircon will turn blue when heated; only some zircon has the right physical structure for this to occur. This is why most blue zircon comes from certain sources in Cambodia or Burma. Blue zircon is a reasonably hard gem with a Mohs hardness of about 7 to 7.5. Blue zircon has some unique properties that make it very popular with gemstone aficionados. Not only does zircon have outstanding brilliance, but it also has very strong dispersion or fire, the tendency to split white light into the spectral colors. Zircon also has very pronounced birefringence or double refraction, with a wide variance between the two refractive indices. This can be often be observed with the naked eye when you look down through the table of a cut zircon; you will observe facet doubling that makes the facet edges appear blurred.
Art Deco Emerald step cut diamond solitaire ring, center cut emerald diamond (3 carats 10.30 x 7.20 x 4.3mm, Clarity VS-1, Color I/J, UGL certificate), with surrounding round brilliant cut diamonds, French cut natural sapphires (approx. 0.60 carats), all set in platinum mounting, c. 1930’s
Edwardian Sugarloaf Fire Opal (approx. 4 carats TW) ring with 32 diamonds set in a milligrain platinum topped 18K yellow gold mounting, marked, c. 1910
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