November is gearing up to be one incredible month for jewelry as Sotheby’s adds to the magnificent mix with the release of the catalog for its upcoming Magnificent Jewels sale in Geneva on November 13th, 2013.
The 370-lot sale, led by the mesmerizing 59.60-carat “Pink Star” diamond and the historic “Walska Briolette Diamond” Brooch by Van Cleef & Arpels, also includes jewels from the Collection of Odile de Richelieu, Countess Gabriel de La Rochefoucauld, Princess de La Rochefoucauld, daughter of the 7th Duke of Richelieu. The standout stars of the Richelieu collection are the The Richelieu Sapphires, a pair of rare and magnificent Kashmir sapphires weighing a total of 47.00 carats, mounted with diamonds as earrings.
For more on the highlights of the sale, please see my earlier post.
As usual, here are my favorite pieces from the sale:
Lot 372 – THE PINK STAR, ONE OF THE WORLD’S GREAT NATURAL TREASURES
Estimate: Upon request
Lot 372 – THE PINK STAR, ONE OF THE WORLD’S GREAT NATURAL TREASURES
The oval mixed cut fancy vivid pink diamond weighing 59.60 carats, mounted as a ring, size 51.
Accompanied by GIA report no. 5151467771, stating that the diamond is Fancy Vivid Pink, Natural Colour, Internally Flawless, Type IIa; together with a letter from the GIA stating that this is the largest Flawless or Internally Flawless, Fancy Vivid Pink, Natural Colour, diamond they have ever graded. The GIA report is additionally accompanied by a separate monograph. Also accompanied by a monograph from Gübelin, duplicate no. 16 of the original report no. 0701199, dated 21 February 2007, stating that the diamond is Fancy Vivid Pink, Type IIa, together with history and chemical analysis of the stone.
Catalogue Note
Meticulously cut by Steinmetz Diamonds over a period of nearly two years – a process in which the 132.5 carat rough was cast in epoxy more than 50 times in order to create models upon which the design team could experiment with different cuts – it was transformed into this spectacular 59.60 carat, fancy vivid pink, internally flawless oval cut gem – the largest internally flawless or flawless, fancy vivid pink diamond that the Gemological Institue of American (GIA) has ever graded.
The diamond was first unveiled to the public in May 2003 as the ‘Steinmetz Pink’, and was modelled by Helena Christensen at a dedicated event thrown to coincide with the Monaco Grand Prix. Writing in the Financial Times on the 31 May 2003, Mike Duff described the diamond as “the rarest, finest, most precious stone the world has ever seen”. The stone was first sold in 2007 and was subsequently renamed “The Pink Star”. In the same article, Tom Moses, senior vice-president of the GIA, is quoted as saying: “it’s our experience that large polished pink diamonds – over ten carats – very rarely occur with an intense colour… The GIA Laboratory has been issuing grading reports for 50 years and this is the largest pink diamond with this depth of colour [vivid pink] that we have ever characterised”.
Of all the grades of pink which exist – light fancy pink, fancy pink, fancy intense pink, fancy deep pink and fancy vivid pink – ‘fancy vivid’ is the highest possible colour grade for a pink diamond.
The current record price ever paid at auction for a diamond, or any gemstone, is the GRAFF PINK, a superb 24.76 carat, Fancy Intense Pink step-cut diamond, which sold at Sotheby’s Geneva in November 2010 for $46.16 million. Weighing
in at 59.60 carats, this diamond is twice the size. The current record price per carat for a fancy vivid pink diamond ($2,155,332) was set by a 5.00 carat diamond, sold in Hong Kong in January 2009.
In the summer of 2003, this amazing gem was exhibited at ‘The Splendor of Diamonds’ exhibition at the Smithsonian National Museum of Natural History in Washington, DC. Displayed in the Winston Gallery alongside the 45.52 carat blue Hope Diamond, the exhibition featured seven of the world’s rarest and most extraordinary diamonds. Also on view for the first time in the United States was the 203.04 carat De Beers Millennium Star, one of the largest diamonds in the world; the Heart of Eternity blue diamond; the Moussaieff Red, the largest known red diamond in the world; the Harry Winston Pumpkin Diamond; the Allnatt, one of the world’s largest yellow diamonds at 101.29 carats; and the Ocean Dream, the world’s largest naturally occurring blue green diamond.
Commenting at the opening of the exhibition, Dr. Jeffrey Post, curator of the Gems and Minerals Collection of the Smithsonian National Museum of Natural History said, “each of the diamonds is the finest of its kind and together with the museum’s gem collection makes for an exhibit of truly historic proportions”. In the three months the exhibition ran, the Smithsonian Museum of Natural History attracted more than 1.6 million visitors.
From July through November 2005, The Pink Star again took centre stage, this time at the ‘Diamonds’ exhibition held at the Natural History Museum, in London. “This exhibition will bring together many of the most impressive single stones in the world, fascinating science, and insights into the diamond industry to tell the story of diamonds from deep in the Earth to the red carpet,” said Michael Dixon, director of the Natural History Museum. For three months, the dazzling exhibition attracted approximately 70’000 visitors a day.
As stated in the summary of the GIA monograph, “There are no words more applicable to the Pink Star than those of French painter Eugene Delacroix ['what moves those of genius, what inspires their work is not new ideas, but their obsession with the idea that what has already been said is still not enough']. Valiant attempts to characterize its immense size, rich color, and remarkable clarity and purity all fall short. Much has been said about the Pink Star, but it is not enough. The Pink Star is a true masterpiece of nature, beyond characterization with human vocabulary. It is precisely this elusive beauty that will earn the Pink Star a page in the history books, where attempts to fully capture it will continue for years to come.”
Lot 373 – THE “WALSKA BRIOLETTE DIAMOND” BROOCH, VAN CLEEF & ARPELS, 1971
Estimate: Upon request
Lot 373 – THE “WALSKA BRIOLETTE DIAMOND” BROOCH, VAN CLEEF & ARPELS, 1971
Designed as a phoenix set with brilliant- and single-cut diamonds of yellow tint, the tail feathers similarly set, accented with pear-shaped emeralds and a cabochon sapphire, suspending from the beak a detachable fancy vivid yellow diamond briolette weighing 96.62 carats,tail feathers detachable into a pair of ear clips and a brooch, brooch signed V.C.A., numbered.
Accompanied by GIA report no. 16144205, stating that the diamond is Fancy Vivid Yellow, Natural Colour, VS2 Clarity.
Provenance
Formerly in the Collection of Ganna Walska (1887-1984)
Ganna Walska, the Polish-born opera and concert singer, was a famous international socialite. She married six times and over the course of her lifetime acquired an amazing collection of jewellery.
By the age of 17 she had embarked on her first marriage and was living in St Petersburg. Her husband’s health soon necessitated a move to Switzerland where his untimely death led Ganna to look further afield in search of her destiny. By 1915 she was in New York, beautiful and with a consuming desire to be a great singer. Here her singing career started with a series of concerts; on 18 February 1918 she made her debut in a recital with Caruso at the Biltmore Morning Musicals. Two years later she was signed up to sing with the Chicago Opera Company in their 1921 season. She had also met the man who would play such an important role in her life, Harold McCormick, the millionaire son of the Chicago Reaper King, himself the chairman of the International Harvester Company, and, of obvious importance to Ganna, an ‘angel’ for the Chicago Opera Company. During this period she married Dr Joseph Fraenkel, a neurologist many years her senior. Indeed in 1936, the United Press Association reported that she was ‘estimated to have married fortunes totalling $125,000,000 in her marital ventures with four wealthy men. She likewise was believed to have spent one-twelfth of this sum in attempting to further her great ambition to become an opera star.’ What proportion she was to spend on her jewellery collection was not revealed but it must have been quite extensive.
The earliest existing photographs of Ganna Walska show her wearing simple pearl jewels. It was not until the early 1920s that her great passion for acquiring and wearing spectacular jewels was fulfilled. Her time with Dr Fraenkel was brief: he died within a few years of their marriage. Soon after she sailed with friends to Paris. On the voyage she met Harold McCormick again who introduced her to a fellow passenger, Alexander Smith Cochran. Cochran seems to have been immediately smitten by the ravishing Ganna; even before the voyage was completed he had proposed to her. Alec Cochran ‘forcibly placed a perfect oriental pearl ring’ on her finger saying that ‘if by January you still do not want to marry me, send back this ring. I will understand that Harold McCormick is too much on your mind’. After many protestations she finally agreed, kept the ring, and their wedding took place in Paris in September 1920.
Alec Cochran was reputed to be the richest bachelor in the world and his wedding present to her was ‘to go with carte blanche to Cartier and choose anything’ she desired. Her choice was never revealed but it may well have been the fantastic yellow pear shaped briolette diamond weighing over 95 carats, which was sold in 1971. By the end of the 1920’s this gem was mounted by Cartier as a drop for one of the long sautoirs which were so fashionable at that period. A few days after their marriage the Cochrans returned to America where Ganna was determined to pursue her career in opera. Inevitably, their relationship deteriorated and that Christmas,staying in their New York residence, Alec continuously asked Ganna what she wanted as a present and she would emphatically reply that she did not want anything.
A few weeks prior to Christmas she visited Cartier in New York and decided to try on several bracelets to verify whether she ‘would care to follow the trend of fashion’, sometimes referred to somewhat unkindly as ’service stripes’. Ganna decided that she did not want to cover the ’natural beauty’ of her wrists with the ‘artificial beauty’ of precious stones. Alec Cochran had spotted his wife at Cartier and had returned there a few days later as he had ‘almost half an hour to waste before luncheon’ and if he bought some jewels for Ganna ‘it would kill a few minutes’ of his time. He had then unceremoniously thrust the package containing the jewels on her desk, which ensured that Ganna was enraged by the manner in which the gift was both chosen and given. She could not even bring herself to thank him. The present in question was a 21.15 carats heart-shaped diamond ring, which was to become known as the “Walska Heart”.
Two weeks later, the couple returned to Paris but by July 1922 they were divorced and within fourteen days she was married to Harold McCormick, who had also recently been divorced from the famous heiress Edith Rockefeller.
McCormick now set about trying to advance his wife’s career while showering her with the wonderful jewels which she adored. Sadly for Ganna, even his enormous wealth could not assure her of success on the opera stage and she received many negative reviews for her performances. It could, however, buy her the most incredible jewels. Despite her husband’s advice to relinquish her ambitions, Ganna travelled throughout America and Europe pursuing her quest. By 1929 she had left Chicago for Paris, agreeing to a separation from Harold. Once back in France she bought the Château of Galluis, halfway between Paris and Chartres, where she entertained the rich and famous with extravagant galas. She also spent time at the Théâtre des Champs Elysées, which she reportedly received as a present from Harold, and where she organized various operatic events. In 1931 Harold McCormick finally divorced her on the grounds of desertion.
By the mid-‘30s Ganna had finally bowed to public opinion and reluctantly given up her dream of becoming a great opera diva. She decided to spend most of her time at her château in France. Her attention now turned to mystics and gurus, much of her time occupied in searching for her true self and the ’meaning of life’. She soon tired of her life in France and sold her French Chateau and returned to America where in 1938 she married Harry Grindell Matthews, the inventor of the wireless telephone and weaponry. The marriage was short lived and they divorced in 1941. A year later her final marriage was to Theos Bernard – the so called “White Lama” – but this too ended in divorce in 1946.
The sale of her jewels took place in New York in April 1971 when she was nearing her eighties. This sale did assure Ganna that even if she was not to be immortalised as an opera diva, she would surely be remembered as a one of the 20th century’s great jewellery collectors.
Exhibited
This spectacular brooch has been featured at a number of recent retrospective jewellery exhibitions held by Van Cleef & Arpels including:
“The Spirit of Beauty”, Mori Arts Center Gallery, Tokyo, 2010.
“Set in Style: The Jewelry of Van Cleef & Arpels”, the Smithsonian Cooper-Hewitt, National Design Museum, New York, 2011.
“The Art of High Jewelry”, Musée des Arts Décoratifs, Paris, 2012.
Literature
Cf: Stefano Papi and Alexandra Rhodes, Famous Jewelry Collectors, Thames & Hudson, London, 1999, pages 166-177.
Cf: ed. Evelyne Possémé, Van Cleef & Arpels: The Art of High Jewelry, Musée des Arts Décoratifs, Paris, 2012, pages 264 and 267.
Cf: Ian Balfour, Famous Diamonds, Antique Collectors’ Club Ltd, Woodbridge, Suffolk, 2009, pages 316, 320, 321.
Cf: Virginia Hayes and Steven Timbrook, Ganna Walska – Lotusland – Collections & Horticulture, Companion Press, Bishop, California, 2007.
Cf: Theodore Roosevelt Gardner 11, Lotusland – a Photographic Odyssey, Allen A. Knoll Publishers, Santa Barbara, 1995.
Cf: Ganna Walska and Richard R Smith, There’s Always Room at The Top, New York, 1943.
Catalogue Note
The fancy vivid yellow diamond briolette was purchased at the Sotheby’s (Parke Bernet) auction in New York from the Collection of the Jewels of Madame Ganna Walska which was held in 1971. Van Cleef & Arpels bought the briolette and immediately named it the “Walska Briolette” after the fabled lady and one of their great Patrons. In 1972 an important American collector commissioned Van Cleef & Arpels to mount the briolette as a present for his wife. The Maison created a transformational piece as a setting for the “Walska Briolette”: a Phoenix in yellow gold set with yellow and white diamonds, emeralds and sapphires. The fabulous 96.62 carat briolette is suspended from the bird’s beak but can de detached and worn separately as a pendant. The birds wings also detach and form a pair of earrings and the tail can be transformed into a brooch. In 2010 the 96.62 carat briolette was graded by the GIA as Fancy Vivid Yellow, Natural Colour, VS2 Clarity. In 2011, the brooch was sold privately to the current owner, a Distinguished Private Collector, who has consigned it for sale in this auction.
Lot 371 – THE RICHELIEU SAPPHIRES, A PAIR OF RARE AND MAGNIFICENT SAPPHIRE AND DIAMOND EARRINGS
Estimate: 2,300,000 – 4,200,000 CHF
Lot 371 – THE RICHELIEU SAPPHIRES, A PAIR OF RARE AND MAGNIFICENT SAPPHIRE AND DIAMOND EARRINGS
Each set with a cushion-shaped sapphire weighing 26.66 and 20.88 carats respectively, suspended from a star surmount set with a cushion- and pear-shaped diamonds, post and hinged back fittings.
Accompanied by SSEF report no. 69008 and Gübelin reports no. 13050112 and no. 13050113, each stating that the sapphires are of Kashmir origin, with no indications of heating, each with appendix letters expressing the rarity of these sapphires.
Provenance
Jewels from the Collection of Odile de Richelieu, Countess Gabriel de La Rochefoucauld, Princess de La Rochefoucauld (1879-1974). It is understood that the sapphires in these earrings were given to Odile de La Chapelle de Jumilhac de Richelieu as a wedding gift on the occasion of her marriage to Count Gabriel de la Rochefoucauld, Prince de La Rochefoucauld, in 1905. The sapphires have been remounted as earrings twice since this date.
Catalogue Note
The following is taken from the Swiss Gemmological Institute appendix letter, dated 3 July 2013. “The two gemstones form a perfectly matching pair in size and shape, combined with an attractive velvety blue colour and a fine purity. The inclusions found by microscopic inspection represent the hallmarks of sapphires from the reputed historic deposit in Kashmir, located in a remote part of the Himalayan Mountains in India. The velvety blue of these sapphires is due to very fine and subtle inclusions and a combination of well-balanced trace elements in these gemstones, typical and characteristic for the finest sapphires of Kashmir. In addition to these qualities, these sapphires have been spared exposure to heat treatment and their clarity and colour are thus all natural. A matching pair of natural sapphires from Kashmir of this size and quality is very rare and exceptional.”
The world’s finest and most sought after sapphires originate from the legendary mines of Kashmir. They were discovered by chance as a result of a land slide between 1879 and 1882, in the Kudi valley, above the almost inaccessible village of Soomjam, in the Padar Himalayan region of Kashmir.
Initially, these stones were traded for salt and other consumer goods. However, in 1882 they began to appear in the markets of Simla, the official summer capital of India. It was here that their popularity grew and their true value was recognized. As a result, the Maharaja immediately sent his troops to protect and control the Kashmiri mines and prohibited private trading.
The high altitude and the harsh weather conditions limited the mining operations to approximately three month of the year, from July through September. Despite these constraints, between 1883 and 1887, a labour-intensive production yielded some of the region’s finest large crystals. By 1887 the original ‘Old Mine’ was exhausted and its replacement, the ‘New Mine’, located one hundred meters south, was abandoned in 1908 as a result of poor weather conditions and the limited quantity of fine gemstones. Since those early times their supply has been limited as the mining of Kashmir sapphires has been sporadic at best, due to the remoteness and political unrest of this region.
What elevates Kashmir sapphires above all others is the unique combination of a rich, intense blue colour, with a soft and velvety appearance. Such attributes have often been compared to the vibrant blue hue of the cornflower. This outstanding colour, which is accentuated under artificial light, is unlike its rivals from other sources, which may seem greenish or grayish in comparison.
Such a set of very well matched Kashmir sapphire drops of fine quality is unprecedented at auction and can be classified as extremely rare.
Lot 355 – EXCEPTIONAL UNMOUNTED SAPPHIRE
Estimate: 1,650,000 – 2,600,000 CHF
Lot 355 – EXCEPTIONAL UNMOUNTED SAPPHIRE
The unmounted oval sapphire weighing 114.73 carats.
Accompanied by SSEF report no. 69915 and Gübelin report no. 13100121, each stating that the sapphire is of Burmese origin, ‘Royal Blue’ colour, with no indications of heating; both additionally accompanied by an appendix letter expressing the exceptional nature of this sapphire.
Catalogue Note
“Its saturated blue colour, poetically also referred to as ‘royal blue’, is due to a combination of well-balanced trace elements in the gemstone, typical and characteristic for the finest sapphires of Mogok, Burma. This sapphire has been perfectly cut from the rough crystal to show its colour at its best… A natural sapphire from Burma of this size and quality is very rare and exceptional and thus can be considered a true treasure of nature”, SSEF appendix letter, 25 September 2013.
Lot 332 – VERY FINE SAPPHIRE RING
Estimate: 680,000 – 910,000 CHF
Lot 332 – VERY FINE SAPPHIRE RING
Claw-set with a cushion-shaped sapphire weighing 21.42 carats, size 551/2.
Accompanied by SSEF report no. 69922 and Gübelin report no. 13100090, each stating that the sapphire is of Kashmir origin, with no indications of heating, the SSEF report also stating ‘Royal Blue’ colour, each with an additional appendix letter expressing the rarity of this sapphire.
Catalogue Note
“The described gemstone exhibits impressive size and weight of 21.420 ct combined with a highly attractive and saturated blue colour – poetically also referred to as ‘royal blue’- and an outstanding purity… A natural sapphire from Kashmir of this size and quality is very rare and exceptional and thus can be considered a true treasure of nature”, SSEF appendix letter, 27 September 2013.
Lot 346 – IMPORTANT DIAMOND NECKLACE FROM THE ART DECO PERIOD, 1930S
Estimate: 455,000 – 725,000 CHF
Lot 346 – IMPORTANT DIAMOND NECKLACE FROM THE ART DECO PERIOD, 1930S
Designed as a stylised ribbon set with graduated and tapered step-cut diamonds, suspending an articulated cascade of graduated circular-cut and step-cut diamonds, length approximately 375mm, central motif detachable and may be worn as a clip, indistinctly signed Boucheron to necklace and clip fitting, French assay and maker’s marks.
Lot 314 – THE ‘PIGEON HEART RUBY’ RING, CARTIER
Estimate: 365,000 – 545,000 CHF
Lot 314 – THE ‘PIGEON HEART RUBY’ RING, CARTIER
The cushion-shaped cabochon ruby weighing 31.30 carats, claw-set to a mount accented with brilliant-cut diamonds, size 51, signed Cartier, numbered, French assay and maker’s marks, case by Cartier.
Accompanied by SSEF report no.68467, stating that the ruby is of Burmese origin, with no indications of heating.
Additionally accompanied by Cartier Certificate of Authenticity no. 82 and a photocopy of the original design by Cartier.
Lot 348 – IMPORTANT DIAMOND CHOKER, CARTIER, CIRCA 1905
Estimate: 365,000 – 545,000 CHF
Lot 348 – IMPORTANT DIAMOND CHOKER, CARTIER, CIRCA 1905
Designed as a wide open work band of interlaced foliate motifs, mille grain-set with circular-, single-cut and rose diamonds, inner circumference approximately 326mm, unsigned, case stamped Cartier, two small diamonds deficient.
Provenance
Special occasions call for special gifts, particularly when celebrating the wedding anniversary of one of the most prominent couples of the Belle Epoque in Sicily. Presented to Giulia Branciforte, Principessa Lanza di Trabia e di Butera, née Florio (1879-1947) on the occasion of her twentieth wedding anniversary from her husband, Pietro Branciforte, Principe Lanza di Trabia e di Butera (1862-1920), this choker would likely have been purchased from the Cartier shop in Paris, opened in 1899 on the rue de la Paix. The Florio family was one of the wealthiest and most powerful families in Italy having built, throughout the 19th Century, an impressive entrepreneurial empire, ranging in activities from shipping, banking and wine making, to tuna canning, textiles, metal work and chemicals. At the delicate age of fifteen, Giulia married Pietro Branciforte, whose noble roots could be traced back to 13th century Sicily. The couple made for a perfect fin de siècle match. The financial well-being of the House of Trabia and Butera was greatly aided by their union and the sum of five million lira which came with it, an unthinkable fortune for the time. The money would be well spent and used in the restoration of the Palazzo Butera, located on the Foro Italico facing the Mediterranean Sea, which would become the quintessential meeting place of the elite in Palermo during the period of the Belle Epoque. Giulia, known for great kindness and grace, is remembered for the humanitarian initiatives she pioneered during the two World Wars, and for the support she showed towards the poor.
Literature
Cf: Fundación Colección Thyssen-Bornemisza Board of Trustees, The Art of Cartier, page 19 for another example of a belle époque diamond choker by Cartier.
Lot 337 – GEM SET AND DIAMOND DEMI-PARURE, ‘TUTTI FRUTTI’, CARTIER
FROM THE ESTATE OF THE LATE GUNTHER SACHS
Estimate: 230,000 – 365,000 CHF
Lot 337 – GEM SET AND DIAMOND DEMI-PARURE, ‘TUTTI FRUTTI’, CARTIER
Comprising: a necklace and a bracelet, the necklace designed as a series of carved emeralds and sapphires, accented with cabochon rubies and brilliant-cut diamonds, some of yellowish tint, length approximately 350mm, the bracelet of matching design, length approximately 170mm; each signed Cartier, numbered, French assay and maker’s marks, two later cases stamped Cartier.
Lot 336 – IMPORTANT EMERALD AND DIAMOND NECKLACE, VAN CLEEF & ARPELS, CIRCA 1948
Estimate: 230,000 – 320,000 CHF
Lot 336 – IMPORTANT EMERALD AND DIAMOND NECKLACE, VAN CLEEF & ARPELS, CIRCA 1948
The necklace of swag design suspending five detachable clips, set with three step-cut emeralds and variously-cut stones including step-, circular-cut, marquise-, kite-shaped, demi-lune- and baguette diamonds, length approximately 380mm, signed Van Cleef & Arpels, numbered.
Provenance
Formerly in the collection of Lily Pons
Catalogue Note
In 19th century Italy, the leading lady in an opera or commedia dell’arte was known as the ‘Primadonna’, literally the ‘first lady’. During her nearly three decades with the Metropolitan Opera in New York, Miss Lily Pons embodied this role, her fame carrying over into both film and radio.
Lily Pons (1898 – 1976), née Alice Joséphine Pons, was born in France, in the region of Draguignan, near Cannes. Having studied piano as a young girl, her professional singing début came with the title role of Lakmé, at an opera house in Alsace. She built up her repertoire in Parisian opera houses before débuting at the Met in 1931 where she was instantly lauded for her performance of Lucia de Lammermoor. Exuding beauty, charm, and an incredible talent, she specialized in French and Italian coloratura parts and became the first soprano to reach the high ‘F’ composed by Delibes in his Lakmé opera, and also able to hold a high ‘D’ for nearly a minute.
In 1944 and 1945, Miss Pons toured with the USO (United Service Organizations), performing for American troops at military bases throughout Europe, the Middle East, India and China. By then she was a naturalized US citizen, and was accompanied on her trips by her husband, the famous conductor Andre Kostelanetz, who led a band composed entirely of American soldiers.
Miss Pons went on to star in three Hollywood films, including I Dream Too Much with Henry Fonda whilst maintaining a recording contract with RCA, Victor and Columbia, leaving a vast legacy of recordings. Other honours include a Time Magazine cover in December 1940, a US postage stamp with her image, and a town in Maryland named after her – Lilypons, Maryland. From her native France she was awarded the Croix de Lorraine and the Légion d’honneur.
Becoming one of the highest paid performers of her time, Miss Pons maintained an impressive art collection including works by Renoir, Braque, Pissaro, Chagall and Matisse. Her clothing and jewellery collection was equally impressive. She is seen on the cover of her Lucia di Lammermoor recording from 1954 wearing a sumptuous dress by Nina Ricci, and the Van Cleef & Arpels necklace offered here.
Lot 338 – IMPORTANT GEM SET AND DIAMOND BRACELET, 1930S
FROM THE ESTATE OF THE LATE GUNTHER SACHS
Estimate: 230,000 – 365,000 CHF
Lot 338 – IMPORTANT GEM SET AND DIAMOND BRACELET, 1930S
Designed as a wide band centring on a marquise-shaped diamond weighing 9.38 carats, framed with a pair of black enamelled trees decorated with carved emerald, ruby and sapphire leaves, accented with circular-cut diamonds of yellow tint and cabochon rubies, and pavé-set throughout with near colourless circular- and single-cut diamonds, length approximately 185mm, accompanied by additional chain allowing to be worn as a choker, length approximately 145mm.
Catalogue Note
Rubies, sapphires and emeralds carved in the shape of fruit, flowers, berries and birds made their appearance in Western jewellery around 1913 in a series of designs by Cartier’s brilliant designer Charles Jacqueau. These early sketches of pendants and brooches representing bowls of carved fruits and leafage and birds drinking from water fountains surrounded by flowers and foliage, are the predecessors of the hugely popular late 1920’s Cartier multi-coloured gemstones jewels that in recent years have become known as ‘Tutti Frutti’. The carving of the precious stones into organic shapes was almost certainly done for Cartier in India although gems carved in this way were not used in traditional Indian jewellery. Cartier, however, often used them in designs of Indian inspiration such as the celebrated ‘Collier Hindou’ created in 1936 for heiress and socialite Daisy Fellowes and sold at Sotheby’s in Geneva in May 1991. In the late 1920’s and early 1930’s Cartier excelled in the creation of sumptuous bracelets designed as wide bands of undulating branches of leaves and berries, mounted with carved stoned and gem beads studded with diamonds and highlighted with onyx or black enamel. The style was widely popular both sides of the Atlantic and many of the famous jewellery maisons of the time such as Mauboussin, Mellerio dits Meller, Ostertag, Van Cleef & Arpels and Yard produced an array of multi-coloured carved gemstones bracelets, bracelets, watches, brooches, clips and double clips.
The bracelet offered here is a magnificent and impressive example of this type of jewellery. The imposing size, the quality of manufacture, and the large marquise shaped diamond at the centre makes this jewel a truly exceptional creation of the late Art Deco period.
Lot 320 – EMERALD AND DIAMOND BANGLE, DAVID MORRIS
Estimate: 140,000 – 230,000 CHF
Lot 320 – EMERALD AND DIAMOND BANGLE, DAVID MORRIS
Of hinged design, set with sugarloaf cabochon emeralds framed with brilliant-cut and rose diamonds, inner circumference approximately 170mm, signed David Morris, numbered.
Lot 250 – SAPPHIRE AND DIAMOND RING, RONALD ABRAM
Estimate: 140,000 – 185,000 CHF
Lot 250 – SAPPHIRE AND DIAMOND RING, RONALD ABRAM
Claw-set with a cushion-shaped sapphire weighing 4.52 carats, between heart-shaped diamond shoulders, size 491/2, signed Ronald Abram.
Accompanied by SSEF report no. 69958, and Gübelin report no. 050904, dated 15 September 2005, each stating that the sapphire is of Kashmir origin, with no indications of heating, the SSEF report also stating ‘Royal Blue’ colour.
Lot 366 – EMERALD AND DIAMOND BROOCH-PENDANT, 19TH CENTURY
Estimate: 140,000 – 230,000 CHF
Lot 366 – EMERALD AND DIAMOND BROOCH-PENDANT, 19TH CENTURY
Centring on a step-cut emerald measuring approximately 21.50 x 18.10 x 12.05mm, framed by a scrolling motif highlighted with single-cut and rose diamonds, encircled by pinched collet-set cushion-shaped stones, partial French maker’s mark, pendant fitting and detachable brooch pin.
Accompanied by SSEF report no. 69009, stating that the emerald is of Colombian origin, with a minor amount of oil in fissures.
Provenance
Jewels from the Collection of Odile de Richelieu, Countess Gabriel de La Rochefoucauld, Princess de La Rochefoucauld (1879-1974). This brooch was given to Odile by her mother-in-law, the Countess Aimery de la Rochefoucauld, née Henriette de Mailly Nesle (1852-1913).
Lot 368 – ATTRACTIVE NATURAL PEARL AND DIAMOND COLLIER DE CHIEN, RENÉ BOIVIN
Estimate: 140,000 – 230,000 CHF
Lot 368 – ATTRACTIVE NATURAL PEARL AND DIAMOND COLLIER DE CHIEN, RENÉ BOIVIN
Composed of four strands of natural pearls, lightly graduated from 5.30 to 8.15mm, the central plaque designed as two perpendicular rows of pearls flanked with cushion-shaped and circular-cut diamonds, the clasp set with four drilled pearls framed with a pavé of rose diamonds, French assay and maker’s marks.
Accompanied by SSEF report no. 69441, stating that the one hundred and eighty-one pearls were found to be natural, saltwater, and that due to the setting, the pearls on the front motif and clasp could not be tested.
Provenance
Jewels from the Collection of Odile de Richelieu, Countess Gabriel de La Rochefoucauld, Princess de La Rochefoucauld (1879-1974). This brooch was given to Odile by her mother-in-law, the Countess Aimery de la Rochefoucauld, née Henriette de Mailly Nesle (1852-1913).
Lot 281 – DIAMOND AND SYNTHETIC RUBY BRACELET, 1930S
FORMERLY IN THE COLLECTION OF TAMARA DE LEMPICKA
Estimate: 140,000 – 185,000 CHF
Lot 281 – DIAMOND AND SYNTHETIC RUBY BRACELET, 1930S
Of geometric design, set with step-, carré-, circular-cut and baguette diamonds, accented with step-cut synthetic rubies, length approximately 200mm, signed Marc, French assay and maker’s marks, the centre detachable and may be worn as a clip.
Provenance
Tamara de Lempicka may be seen wearing this bracelet in the photograph from the 1930s. The rings, also seen in this image, were sold by Sotheby’s Geneva in November 2012.
Catalogue Note
Tamara de Lempicka was a pioneering artist who occupied an important position in the ‘roaring twenties’, in Paris. Her aesthetic embodied the spirit of the Art Deco era and its sense of style and modernity. In the last few years, many of her paintings have been auctioned by Sotheby’s including, Le Rêve, which was sold in November 2011 for $8.5 million, setting a new auction record for the artist.
Lot 252 – FINE EMERALD AND DIAMOND BROOCH, LATE 19TH CENTURY
Estimate: 120,000 – 165,000 CHF
Lot 252 – FINE EMERALD AND DIAMOND BROOCH, LATE 19TH CENTURY
Centring on a step-cut emerald within a surround of circular-cut diamonds, detachable brooch pin.
Accompanied by SSEF report no. 71410, stating that the emerald is of Colombian origin, with a minor amount of oil in fissures.
Lot 147 – SAPPHIRE, RUBY, EMERALD AND DIAMOND BRACELET, ‘TUTTI FRUTTI’, CARTIER, CIRCA 1970
Estimate: 95,000 – 125,000 CHF
Lot 147 – SAPPHIRE, RUBY, EMERALD AND DIAMOND BRACELET, ‘TUTTI FRUTTI’, CARTIER, CIRCA 1970
Designed as a band composed of carved sapphire, ruby and emerald leaf motifs, highlighted with brilliant-cut diamonds, length approximately 170mm, signed Cartier, numbered, French assay and maker’s marks, fitted case stamped Cartier.
Lot 277 – GEM SET, ENAMEL AND DIAMOND DESK CLOCK, LACLOCHE FRÈRES, 1940
Estimate: 92,000 – 138,000 CHF
Lot 277 – GEM SET, ENAMEL AND DIAMOND DESK CLOCK, LACLOCHE FRÈRES, 1940
The square dial applied with black Arabic numerals around a foliate design, surmounted with a carved jadeite bead, the clock supported by carved pillars composed of lapis lazuli, marble and onyx, inset with cabochon emeralds, accented with red enamel and rose diamonds, measuring approximately 148 x 155 x 28mm, dial signed J. J. Lacloche, signed to reverse Vacheron & Constantin, French assay marks, fitted case stamped Jacques Lacloche.
Lot 347 – TURQUOISE AND DIAMOND PARURE, SCHLUMBERGER, 1960S
Estimate: 92,000 – 138,000 CHF
Lot 347 – TURQUOISE AND DIAMOND PARURE, SCHLUMBERGER, 1960S
Comprising: a necklace designed as fronds decorated with cabochon turquoises and circular-, single-cut and baguette diamonds, length approximately 385mm; a pair of ear clips and two rings en suite, size 49 and 50 respectively; each signed Schlumberger, one small diamond deficient.
Lot 270 – SAPPHIRE AND DIAMOND BROOCH, BULGARI, 1970S
Estimate: 85,000 – 130,000 CHF
Lot 270 – SAPPHIRE AND DIAMOND BROOCH, BULGARI, 1970S
Of scroll and foliate design, set with a cabochon sapphire weighing 15.22 carats, brilliant-cut and baguette diamonds, signed Bulgari, case stamped Bulgari.
Accompanied by SSEF report no. 69976, stating that the sapphire is of Burmese origin, with no indications of heating.
Lot – RUBY AND DIAMOND BRACELET, 1930S
Estimate: 73,000 – 110,000 CHF
Lot – RUBY AND DIAMOND BRACELET, 1930S
The wide band of open work trellis design, set with carved rubies and circular-cut diamonds, length approximately 165mm, clasp fitting detachable.
Lot 266 – EMERALD AND RUBY RING, CARTIER, 1950S
Estimate: 68,000 – 92,000
Lot 266 – EMERALD AND RUBY RING, CARTIER, 1950S
Centring on a carved oval cabochon emerald, inset to a foliate open work mount decorated with circular-cut rubies, size 52, signed Cartier, numbered, French assay and maker’s marks.
Lot 308 – AMETHYST, TURQUOISE AND DIAMOND BROOCH, CARTIER, CIRCA 1960
Estimate: 47,000 – 65,000 CHF
Lot 308 – AMETHYST, TURQUOISE AND DIAMOND BROOCH, CARTIER, CIRCA 1960
Designed as an orchid, the petals set with polished turquoise, circular-cut and oval amethysts, accented with brilliant-cut diamonds, signed Cartier, numbered, French assay and maker’s marks.
Lot 143 – GOLD, ENAMEL, GLASS AND AMETHYST BROOCH-PENDANT, RENÉ LALIQUE, 1900S
Estimate: 44,000 – 60,000
Lot 143 – GOLD, ENAMEL, GLASS AND AMETHYST BROOCH-PENDANT, RENÉ LALIQUE, 1900S
Centring on an octagonal-shaped amethyst, within a foliate enamel frame accented to the cardinal points with enamel and glass anemone flower heads, signed Lalique, detachable brooch pin to reverse.
Lot 265 – DIAMOND BRACELET, BOUCHERON, 1900S
Estimate: 40,000 – 60,000 CHF
Lot 265 – DIAMOND BRACELET, BOUCHERON, 1900S
The blackened platinum ribbon, modelled to resemble lace, embellished with foliate motifs, highlighted with circular-cut and rose diamonds, length approximately 180mm, signed Boucheron, French assay and marker’s marks.
Literature
Cf: Gilles Néret, Boucheron: Histoire d’une dynastie de joailliers, 1988, Lausanne, pages 66 and 67 for a bow brooch of similar design, created by Lefort for Boucheron in 1908.
Lot 361 – AGATE CAMEO, NATURAL PEARL, ENAMEL AND DIAMOND BROOCH, CIRCA 1865
Estimate: 37,000 – 55,000 CHF
Lot 361 – AGATE CAMEO, NATURAL PEARL, ENAMEL AND DIAMOND BROOCH, CIRCA 1865
The agate cameo depicting Hercules in profile wearing a lion skin, set within a surround of cushion-shaped and circular-cut diamonds, to a foliate frame highlighted with green enamel, suspending natural pearl pendants.
Accompanied by SSEF report no. 68486, stating that the four pearls were found to be natural, saltwater.
Provenance
Jewels from the Collection of Odile de Richelieu, Countess Gabriel de La Rochefoucauld, Princess de La Rochefoucauld (1879-1974).
Catalogue Note
The slaying of the Nemean Lion was the first of Heracles’ twelve labours, ordered by King Eurystheus. Taken from Greek mythology, the tale was popular in Roman and later Renaissance times, his name thus Romanised to Hercules. The greatest of Greek heroes, he is depicted here wearing the Nemean lion’s pelt.
Lot 68 – GOLD AND DIAMOND PARURE, RENÉ BOIVIN
Estimate: 34,000 – 50,000
Lot 68 – GOLD AND DIAMOND PARURE, RENÉ BOIVIN
Comprising: a necklace, a bangle, a pair of ear clips and a ring, each decorated with adjustable polished links concealing panels of brilliant-cut diamonds, inner circumference of necklace 370mm and bangle 160mm respectively, ring size 50, each signed René Boivin, French assay and maker’s marks.
Provenance
By family tradition, this parure was gifted to the current owner from the Royal Court of His Majesty Sultan Qaboos of Oman.
Lot 298 – CORAL, JADEITE AND ENAMEL DEMI-PARURE, SUZANNE BELPERRON, CIRCA 1935
Estimate: 32,000 – 45,000 CHF
Lot 298 – CORAL, JADEITE AND ENAMEL DEMI-PARURE, SUZANNE BELPERRON, CIRCA 1935
Comprising: an open hinged bangle applied with black enamel, set with two large jadeite beads, highlighted with coral and jadeite rondelles, inner circumference 160mm; and a pair of clips en suite, set with half jadeite beads highlighted by black enamel gadrooned motifs, embellished with coral, French assay and maker’s mark for Groëne et Darde, fitted case for clips stamped B. Herz.
Accompanied by a certificate from Olivier Baroin.
Lot 201 – DIAMOND BRACELET, ‘VAUCANSON’, BOUCHERON, CIRCA 1934
Estimate: 28,000 – 37,000
Lot 201 – DIAMOND BRACELET, ‘VAUCANSON’, BOUCHERON, CIRCA 1934
The reversible bracelet, featuring a triple row of yellow gold links to one side, the other side composed of platinum set with circular-cut diamonds, length approximately 180mm, French assay and partial maker’s marks.
Literature
Bijoux Art-Deco et Avant-Garde; Jean Desprès et les Bijoutiers Modernes, Musée des Arts Décoratifs, 2009, Paris, pages 233 and 234 for a similar bracelet by Boucheron, model no. 1397, created in April 1934; additionally page 103 for a wider version of this bracelet.
Catalogue Note
As written in the exhibition catalogue Bijoux Art-Deco et Avant-Garde, this design was “conçus pour être réversibles: côté or jaune pour le jour, côté or gris (ou platine) et diamants pour le soir”, [created to be reversible: yellow gold for day, white gold (or platinum) and diamonds for evening]. As the 1930s coincided with the Great Depression, a reversible bracelet of this quality was both luxurious and practical.
Lot 369 – NATURAL PEARL AND DIAMOND CLIP, SUZANNE BELPERRON, 1932-1955
Estimate: 28,000 – 46,000 CHF
Lot 369 – NATURAL PEARL AND DIAMOND CLIP, SUZANNE BELPERRON, 1932-1955
Of stylised tonneau design, the centre set with eight slightly baroque to baroque and drop-shaped natural pearls measuring from 7.35 x 8.45 x 6.65mm to 9.25 x 10.25 x 8.65mm, set to either side with a line of cushion-shaped and single-cut diamonds, French assay and maker’s mark for Groëné et Darde.
Accompanied by SSEF report no. 68488, stating that the pearls were found to be natural, saltwater.
Provenance
Jewels from the Collection of Odile de Richelieu, Countess Gabriel de La Rochefoucauld, Princess de La Rochefoucauld (1879-1974).
Lot 57 – DIAMOND AND ENAMEL BRACELET-WATCH, BULGARI
Estimate: 28,000 – 46,000
Lot 57 – DIAMOND AND ENAMEL BRACELET-WATCH, BULGARI
Designed as a snake applied with black and white enamel, the eyes set with pear-shaped diamonds, the mouth opening to reveal a circular dial signed Jaeger LeCoultre, signed Bulgari, Italian assay and maker’s marks.
Literature
Cf: Amanda Triossi, Bulgari: 125 Years of Italian Magnificence, Grand Palais, Milan, 2010, pages 362 and 363 for bracelet-watches of similar design.
Lot 199 – GOLD, SAPPHIRE, RUBY AND DIAMOND CLIP, CARTIER, 1940S
Estimate: 28,000 – 46,000 CHF
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