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
Chanel, Paris “Camellia” 18k yellow gold articulated blossom ring set with 75 round full-cut white diamonds (approx. 1.50 carats TW) and 101 round full-cut yellow diamonds (approx. 1.00 carat TW) and 94 round full-cut demantoid garnets (approx. 1.00 carat TW) all in 24 heart shaped hinged and moveable flower petals with a central cluster of 7 round full-cut diamonds, signed: Chanel in a rectangle, 750 in a cartouche, size: 7 1/4, c. 1980’s
Neil Lane “Egyptian Motif” ring, step-cut emerald shaped Peridot (approx. 18+ carats TW, G.I.A. certificate, 18.55 x 14.85 x7.90mm) 18K gold with pave set diamonds, signed, c. 2008
Neil Lane Couture, large rectangular step-cut natural gem Peridot (18.12 carats, dimensions 18.55mm x 14.85mm x 7.90mm, GIA certificate) in an elaborate 18k gold “Egyptian” motif mounting set with 158 full, round-cut small diamonds (approx. 1.58 carats TW) and signed by Neil Lane, c. 2008
Neil Lane heart shaped natural sapphire solitaire ring, 3.12 carats (GIA certificate, 8.56 x 9.62 x 5.13mm, no heat) with a diamond pave set platinum mounting, signed, c. 2005
Margaret De Patta (1903-1964) Modernist asymmetric sterling ring set with twenty square cut sapphires (approx. 9 carats TW ), signed: DePatta, Chevron mark of MDP, Sterling, c.1947
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
Russian “Crest” ring, double headed eagle on a blue enamel background set with 17 round cut diamonds and multiple single cut diamonds all in a 14K gold mount (56 zolotniks), signed, c. 1905
Van Cleef & Arpels, New York, Art Deco “Heraldic” ring in 18k gold with stylized geometric flanges on either side of the platinum rectangular plaque with an intaglio carved Coat of Arms, signed Van Cleef & Arpels, NY, 9398, c.1930
Franco Cannilla / Mario Masenza, Roma “Scarab” ring in an 18k gold expressionistic openwork mounting set with an ancient glazed pottery scarab, signed, c.1950’s
French Art Deco ring set with two round aquamarines (approx. 6 carats TW), two triangular shape and four baguette diamonds all set in platinum, signed, c. 1930
Cartier Paris “Heart” ring, 18K gold set with 45 round diamonds (approx. 2.5 carats TW), signed: Cartier Paris, 291746, 750, 49 (ring size), French eagle’s head mark for 18K gold, c. 1980’s
Asprey & Co., Important Cardinal Sculpture gem set with natural rubies, 18K gold and amethyst quartz, signed,1980
ASPREY & CO. LTD. (founded 1781) London, UK
Important Natural Ruby Gem Set 18K Gold Cardinal Bird Sculpture 1980
Finely chased and chiseled 18K yellow and white gold realistically rendered sculpture of a Cardinal bird set with
85+ carats (approx.) of natural gem quality oval and round cut Burmese rubies (GIA certificate) further heightened with enamel eyes and blackened gold face plumage details, the 18K gold and natural ruby cardinal sets atop a natural Amethyst crystal “mountain rock” with a tooled and gilt (script mark) on the leather under-pad.
Marks: A & Co. (in a quatrefoil), Crown mark, 750 (gold standard mark) Lion’s head (London assay mark) “F” date mark for 1980, tooled and gilt Asprey (script mark) on the leather under-pad
Provenance: Privately commissioned by the Sultan of Brunei’s younger brother, Prince Jefri Bolkiah who also later became the owner of Asprey & Co in the 1995. This rare sculptural 18K gold and natural ruby Cardinal was handmade by the finest jewelers and work masters in the workshop of the London Asprey & Co. located above the flagship store at 167 New Bond Street.
H: 3 ¾” x L: 5 3/4” x W: 1 ½”(Cardinal only)
H: 6” x W: 6 ¾” x D: 5 ¾” (with Cardinal atop natural Amethyst crystal rock)
As one might guess, a large part of the animal symbolism of the cardinal comes from the brilliant red color of the males. In fact, its name is derived from the royal red vestments worn by Catholic cardinals. This shock of red, especially against the stark backdrop of winter snow, is a magnificent sight. The male cardinal reminds us passion, warmth and vibrancy is available to us – even under the cloak of Winter’s grey clouds. Interestingly, the more bold and bright his color is, the more successful the cardinal will be at prolonging his lineage. Dull colored male cardinals are less likely to mate successfully than bright colored ones. True to the fire of his color, the crimson cardinal has got some major spunk. He will aggressively defend his territory, and fight attackers with ferocity. Indeed, they have been known to fight ghost males (their reflections) in mirrors for hours on end. Both male and female give us glorious songs. Along with peeps and pips and warbles, the tuned ear can also hear “cheer, cheer, cheer!” Very appropriate to the animal symbolism of cardinals, because they are a delight to both eyes and ears. The cardinal makes a fantastic animal totem. It reminds us to hold ourselves with pride, not ego pride but rather the cardinal asks us to stand a little taller, be a bit more regal and step into our natural confidence as if we were born to lead with grace and nobility. Those who attract the cardinal as their totem are naturally energetic, love life, and happily help others where and when they can!
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
Mitzi Otten-Friedmann / Wiener Werkstaette reverse painted glass and silver brooch, signed c. 1915
MITZI OTTEN-FRIEDMANN (1884-1955) Austria
WIENER WERKSTÄTTE (1903-1932)
Brooch c. 1915
Reverse-painted glass depicting a couple set in a silver frame / back
Marks: M. OTTEN-FRIEDMANN on the front (right), the reverse stamped: WW, Vienna assay mark for 900 silver
D: 2 3/8”
Rosalia Marie Friedmann-Otten (“Mitzi”) * November 28, 1884 Vienna, † May 5, 1955 New York, NY
Student at the School of Applied Arts in Vienna (with Oskar Strnad), Friedmann-Otten participated in numerous exhibitions (including art shows in 1908, 1920; Neukunstgruppe 1909; German Women’s Art in 1925; Werkbundausstellung 1930). Member of the Austrian Werkbund, the Wiener Werkstätte and the Neukunstgruppe. One of the most versatile artists (commercial art, metalwork, jewelry, fashion, starting from 1920 mainly enamel works, including large-scale email pictures), Friedmann-Otten had to flee in 1938 to the United States.
European Art Deco whimsical “Dachshund” brooch in 18k gold, green champlevé enamel sweater and eye and set with 18 round-cut diamonds, signed: maker’s touchmark, 750 c. 1930’s
Gustav Manz (designer) for Thomas Kirkpatrick & Co., Fifth Avenue, NYC Art Deco Butterfly brooch, 12 baguette diamonds and 83 round diamonds (approx. 11 carats TW), 22 contoured and buff cut sapphires and 10 contoured and buff cut peridot, black enamel details all set in platinum, signed, c. 1920’s
Tiffany & Co Art Deco “Mustache” comb, 14K gold in a contoured form with the original tortoise shell comb and brown alligator slip case, signed: Tiffany & Co. 14K, square bowtie mark (possible maker’s mark), c. 1930’s
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
Jules & Louis Wiese Etruscan Revival brooch set with a gem quality cabochon ruby (approx. 4.32 carats by calculation) and two natural pearls (7mm each) all in an elaborate 18k gold mount with intricate twisted scrolls and a gold wire wrapped border signed: Wiese (in Gothic-style signature mark), French diamond maker’s poincon, French Eagle’s head mark for 18k gold, original burgundy leather presentation box with fancy embossed gilt initials on the cover and a vanilla silk velvet and satin interior, c.1875
Bulgari, Carlo Luca della Quercia Illario (maker) Large flattened “Tubogas” necklace or double bracelet all in 18K gold signed: BULGARI, 750 (for 18K gold), Italian touchmark of a Star, no.2337, A1 (all in a rectangle), SB in a rectangle, 750, circle with a cross through it and a Q (Birmingham Assay and Import marks), original blue leather and suede signed presentation box, c.1970’s
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