Belle Epoque large cabochon Amethyst pendant brooch (approx. 100+ carats TW) set with old mine cut diamonds and 2 fine old round cut diamonds (approx. 3 carats TW) all in a silver top gold mounting, c. 1895
French Art Deco / Boivin (attr.) / Strekers, 11 rue de Pyramides 75001 Paris (maker’s mark) “Fan Shape” clip / brooch, 18K gold with fancy hard and baguette cut citrines and a large cabochon ruby (6.50 carats), marks c. 1938
Boucheron (attr.) large and impressive “Peacock Feather” cuff/bracelet in 18k gold and set with numerous heart shaped cabochon opals as the eyes of the peacock feathers, marked, c.1895
French Retro “Bird” brooch set with a large oval gem quality “Rubellite”/ Tourmaline (approx. 9 carats TW, G.I.A. certificate, 15.20 x 11.55x 7.90mm, no heat), sapphires, diamonds and an emerald eye all set in 18K yellow gold, marked, c. 1940’s
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
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)
American Art Deco ring set with a large gem quality emerald step-cut aquamarine (approx. 15 carats by calculation with the dimensions of 17mm x 13mm x 10mm depth) and 10 round cut diamonds (approx. half of a carat TW) all set in a platinum “Bow tie” design mount, signed: FFF framed with a triangle facing in on either side (maker’s mark), Plat (platinum mark), c.1935
Sigmund Zuckermandl, Vienna, “Cherry Blossom” brooch, enameled 18K gold set with diamonds and pink tourmalines further set with a large round pink tourmaline as a hanging lantern and a pearl, signed, c. 1890
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
Gaucherand, Paris “Fringe Turban” shaped brooch set with a large emerald cut Siberian amethyst (approx. 70 carats), 6 round cut diamonds (approx. 1.50 carats TW) and 19 cabochon turquoise all set in 18k gold, signed, c.1950
French Art Deco “Heptagon” clip / brooch set with a large fancy cut madeira citrine and 8 baguette madeira citrines all set in 18K gold, signed, c. 1935
French Art Deco “Heptagon” clip / brooch set with a large fancy cut madeira citrine and 8 baguette madeira citrines all set in 18K gold, signed GA in a diamond French touch mark, French Eagle’s head mark for 18k gold, c. 1935
William Ruser, Beverly Hills “Lotus Blossom” ring set with three large natural Baroque pearls and a yellow diamond in the center (approx. .50 carats by calculation) in an 18k gold highly textured structural gold mount, signed: R (for Ruser), 18k, c.1960
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.
French 1950’s “Turban Style” ring, large pearl (G.I.A. certificate, Weight of the pearl: 16 grams, bead cultured pearl, saltwater, drop shape, white color, “Orient” overtone) and fancy diamond ring set with two triangle diamonds (approx. 2 carats TW) and 48 round diamonds (approx. 8 carats TW) all set in platinum, signed
Guebelin Switzerland “Half moon” ring in 18K white brushed gold set with a large cabochon oval moonstone, two crescent moon shaped inset lapis lazuli stones and further set with two tapered baguette diamonds on either side, signed with the Guebelin cipher, 750 and Swiss, c. 1950’s
American Arts & Crafts ring, detailed and scrolling 14K gold mount with stylized leaves and blossoms surrounding a large cabochon amethyst (approx. 22+ carats TW), marked, c. 1915
American Arts & Crafts ring (most likely Boston School) set with a large rectangular shaped pink tourmaline cabochon (approx. 54 carats) set in an elaborate 18k gold handwrought mounting with a garland surround of leaves and scrolling structural ring shank support, c. 1915
Marcus & Co Art Nouveau pendant necklace, Handwrought 18K yellow gold set with a large cabochon natural emerald center stone surrounded by green enamel details with gold looping bezel mounts and platinum topped diamond side details set with 43 diamonds, cabochon emerald pendant drop with a green enamel and gold capped top, signed, c. 1900
Marcus & Co Art Nouveau pendant necklace, Handwrought 18 K yellow gold set with a large cabochon natural emerald center stone (approx. 30+ carats TW, G.I.A. certificate, moderate clarity enhancement, 18.30 x 18.20 x 12.20mm) surrounded by green enamel details with gold looping bezel mounts and platinum topped diamond side details set with 43 diamonds (approx. 6 carats TW), cabochon emerald pendant drop (approx. 15 carats TW) with a green enamel and gold capped top, elaborate looping 18K yellow gold chain, signed, c. 1900
Robert Phillips, London (1810-1881) Archaeological Revival round “Button” brooch in 18k gold set with a large cabochon salmon coral jewel (15mm in depth x 19mm round) and light sky-blue enamel background with a finely detailed twisted gold wire and beaded applied convex round gold border, original leather and green silk velvet and satin presentation box signed: Phillips, 23 Cockspur Street, London, c.1875
Louis Comfort Tiffany for Tiffany & Co. “Oval Moon” brooch set with a large gem quality moonstone (approx. 43 carats) set with 23 Montana sapphires (approx. 8 carats TW), marked: 10% Irid. Plat, c. 1920
Seaman Schepps, New York “Maltese Cross” brooch, one large round cut central citrine (approx. 45 carats) set with 4 large square step-cut citrines (approx. 108 carats TW) and further set with four extra long baguette citrines (approx. 13 carats TW) in a radiating pattern set in 14k yellow gold (total citrine carat weight of 166 carats), signed: Seaman Schepps, 14k, c. 1940’s
An immigrant’s son, who grew up in the tenements of New York’s Lower East Side, Seaman Schepps rose to prominence in the 1930s with jewelry designs that challenged the status quo and defined a new style for the American woman. With his chunky brooches, “barbaric” bracelets and “bubble” earrings, Schepps pioneered a unique style of jewelry whose sense of splendor offered a new perspective to the world of fine jewelry.
Witty, over-the-top and flattering, Schepps’ jewelry embodied style and originality and was featured on the covers of Vogue, Harper’s Bazaar, Look and other magazines. It appealed to a myriad of clients from Katherine Hepburn to Andy Warhol to the Duchess of Windsor and greatly influenced his contemporaries. Today, some 50 years after his death, he continues to inspire modern jewelers.
Through the 1930s, and into the 40s and 50s, new clients flocked to him at his store on Madison Avenue. Often clients wanted a one-of-a-kind bauble and commissioned Schepps to incorporate their old jewelry into a fresh new design. Frequently this led to landmark decisions that helped distinguish Schepps as an extraordinary talent. His client list included Coco Chanel, Elsa Schiaparelli, the Duchess of Windsor, and members of the Du Pont, Mellon and Rockefeller families. By serving these most powerful and influential individuals, Schepps became known as “America’s Court Jeweler”.
Mahrokh Beck, Munich, Stylized flower brooch with a large square cut citrine, a smaller square cut citrine, yellow and orange oval citrines, sapphires and cognac diamonds all set in 18K yellow gold, c. 2005
MAHROKH BECK Munich, Germany
Stylized flower brooch c. 2005
Set in 18 K yellow gold with a large square cut citrine (approx. 40 carats TW) and a smaller square cut citrine (approx. 4 carats TW), 2 oval orange citrines, 2 oval yellow citrines, 2 oval sapphires and cognac diamonds
Edwardian Era elaborate pendant necklace with a large fancy round-cut natural gem Madeira citrine (approx. 30 carats TW dimensions 20mm x 20mm x 16mm, GIA certificate) in a fine milligrain platinum mount with stylized leaves and flower blossoms and a bow all set with 83 old European round-cut diamonds (approx. 4.65 carats TW) suspended from the matching and period platinum chain, c.1900
George Marcus / Marcus & Co., New York “Snake” lapel pin, finely hand chased and chiseled 18k gold snake wrapping around a large polished cabochon natural emerald bead (approx. 7 carats) and further set with a diamond in the head of the snake, signed: M. & Co. and #15413, c. 1900
Flavio Poli for Seguso Large Murano Glass Bottle with Stopper c.1950’s
FLAVIO POLI (1900-1984) Italy
SEGUSO VETRI D’ARTE Italy
Bottle with stopper c. 1950’s
Spectacular large decanter or bottle with stopper with a golden cognac cased glass interior tear drop form suspended in a solid clear glass body by FLAVIO POLI (1900-1984) Italy for SEGUSO VETRI D’ARTE Italy
Münchner Werkstätten / Art Deco Large Glazed Pottery Vase c. 1928
MÜNCHNER WERKSTÄTTEN Germany
Vase c. 1928
Blue and white modeled glazed earthenware with orange red outlines
Marks: “M” over “W” mark, Germany
Provenance: Mr. Ernest L. King (Watkins) “Rockledge” Commission, Winona, MN c.1930’s Phillip Brooks Maher (interior architect), descended in the King Family to Bud (E. L. King Jr.) and Betty King, Winona, MN, Hollander Gallery, Milwaukee, WI, Private Collection, New York, NY
H: 9 ¾” x W: 8 ¼” x D: 8 ¼”
Price: $5,450
ROCKLEDGE, the summer home of Ernest and Grace King (the Watkins Family Company fortune was made from door-to-door sales of health potions and hygiene related products) was built and designed in its entirety from the expansive main home building with all of the furnishings to the custom silver service all the way down to the hand woven carpets and lace curtain designs, is arguably the most famous American Arts and Crafts commissioned home in America and was built and meticulously designed by George Washington Maher. It was finished in 1912, and was used by the Kings for the month of August only for a couple of decades before the interior was completely redone in the fashionable Art Deco design of the 1930’s. George Washington Maher’s son Phillip Brooks Maher, was hired for the project and went shopping for the best of the design of the period in both New York and Paris. He assembled a legendary collection of Art Deco design that comprised many important examples of both American and European Art Deco including the famous Donald Deskey square form telescope table, a Gilbert Rohde “Z” clock, a pair of Mies van der Rohe red lacquer and wicker armchairs, DIM furniture and rugs from Paris and rare Paolo Venini floor lamps and sculptural glass pieces among many other major 20th Century design works. This rare vase was indicative of the avant-garde furnishings throughout the King Home as well as the exquisite quality and attention to the detail of every single object that the Kings surrounded themselves with and became accustomed to enjoying and living with whether they were at their Daytona Beach resort, their lakeside property at Lake Tahoe or their plantation in Hawaii!
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