Boucheron “Renaissance Revival” cuff / bracelet, attributed to a design by Paul Legrand and made by Tissot, highly sculptural gold inlay, damascene steel set with an intricately agate carved cameo c. 1878
Cartier, Important jabot brooch, fan shaped with round and baguette shaped diamonds (Indian Royal Briolette diamond, 6.11 carats, G.I.A. certificate) set in platinum, original leather box, signed, c. 1925
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
Fulco di Verdura for Paul Flato “Bow” bracelet, 18K yellow gold set with 57 cabochon rubies (approx. 55 carats TW) and 57 round diamonds (approx. 7.50 carats TW) c. 1938
American 1960’s classic “Door Knocker / Hoop” earrings, carved, contoured and polished onyx with 18k gold side plate details and clip backs, Marked: 18k (2x), c. 1960’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
European gem set butterfly brooch with rubies, emeralds (3.5 carats TW), diamonds, opals, a sapphire (4 carats TW) and a garnet (5 carats TW) in 18K gold, c. 1880’s
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
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
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
Joseph Kutchinsky, London (1914-2000) “Wrapped Cloth” ring in 18K yellow gold with a platinum tapered rectangular form pave set with 37 round diamonds (approx. 8 carats TW) , signed, 1973 (London gold mark small “s” for 1973) (illustrated: Christie’s Twentieth-Century Jewelry, Sally Everitt and David Lancaster (New York: Watson-Guptill Publications, 2002) p.113.
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
Bulgari, Rome, Revivalist “Lion Recumbent” wide bracelet, 18k gold with an elaborate woven edge detail and further decorated with 22 full figure resting lions, signed: BVLGARI, Made in Italy, 18k, original brown leather envelope, c.1940’s
*** The lion motif is modeled after the famous recumbent lions by Antonio Canova (Italy, 1757-1822), made for the monumental tomb of Clement XIII at St. Peter’s Basilica in Rome
Tapio Wirkkala / Nils Westerback, Pendant Necklace, Lap-gold (18K gold or higher) pendant head with a rigid necklace, marked, 1970
TAPIO WIRKKALA (1915-1985) Finland
NILS WESTERBACK Finland
Pendant Necklace 1970
Lap-gold (18K gold or higher) pendant head with a rigid necklace
Makers: Tapio Wirkkala and Nils Westerback
Marks: 750, three crowns symbols
Model illustrated in: The Art of Jewelry, Graham Hughes (New York: The Viking Press, Inc., 1972), p. 135; Scandinavian Design, Charlotte and Peter Fiell (Köln: TASCHEN, 2002) p. 675; Marianne Aav, Rosa Barovier Mentasti and Gordon Bowyer, et al., Tapio Wirkkala – eye, hand and thought, exh. cat., Museum of Art and Design, Helsinki, 2000, p. 194, fig. 342 and p. 370
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 ruby and diamond ring set in platinum topped 18k yellow gold, four round diamonds (approx. 1 carat TW) set with 20 square and caliber cut natural rubies (approx. 3 carats TW) further set with 34 round diamonds (approx. 2.50 carats TW) c.1920
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
Cartier Art Deco brooch, carved rock crystal with a fancy platinum mount set with diamonds, original leather box, signed c. 1925
Cartier Art Deco brooch, carved rock crystal with a fancy platinum mount set with two European and cushion cut diamonds (approx. 3 carats TW) further set with two European and cushion cut diamonds (approx. 1 carat TW) with diamond pave work filling out the surrounding floral motif, original leather box, signed and numbered, c. 1925
Faberge (attr.) Oval gold (18K rose gold) box with an extremely fine and intricately carved agate cameo medallion of Zeus, c. 1895
For a related oval gold and cameo medallion box in the Russian National Museum presented in the original Iosif Marschak Kiev box see: Illustration #560 “Faberge / Cartier” by Geza von Habsburg (2003)
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.
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
Walter P. McTeigue Penguin brooch, platinum set with pave diamonds (approx. 3 carats TW), 18k gold body further set with two cabochon emerald eyes, signed, c.1940’s
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
@hd_jewels