There are 56137 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeCollection of jewellery including 19th century stickpin with 15ct yellow gold finial set with a small diamond, yellow metal stickpin set with a pearl, pair of 9ct yellow gold bamboo effect hoop earrings, 1.8 grams, pair of 9ct yellow gold ruby and diamond drop earrings, 1.4 gram and pair of yellow metal earrings with black enamel bead drops encrusted with clear stones
Pair of sapphire and diamond cluster earrings in white gold setting, a pair of 9ct gold ruby and diamond cluster earrings and matching pendant in 9ct gold mount on 9ct gold chainWhite gold sapphire and diamond earrings are unmarked but the butterflies are stamped '18'. Total weight 2.5 grams.9ct gold pair earrings and pendant on chain weighs 2.5 grams in total.
Pair of cultured pearl and diamond earrings in 9ct white gold setting, together with a freshwater cultured pearl and silver necklace, 45.5cm long and matching bracelet, 19.5cm long Earrings both marked '375' and weigh 3.4 grams in total. All in very good condition commensurate with age. No damage or repairs. The box is damaged.
9ct gold amethyst and diamond cluster ring, pair of 9ct gold sapphire and cultured pearl earrings, two tie pins (both stamped 18K) and a yellow metal signet ring (damaged)9ct gold ring and earrings (excluding the silver butterfly fittings) weigh 7.6 grams in totalTwo tie pins (excluding the gold plated backs) weigh 2.7 grams in totalYellow metal signet ring, unmarked, weighs 4 grams
MARINA B: AN ONYX, EMERALD, RUBY AND DIAMOND 'NAJWA' NECKLACE, CIRCA 1982Designed as a rope of onyx beads, spaced by links set with pear-shaped cabochon emeralds, brilliant-cut diamonds, and onyx and ruby sections, mounted in 18K gold, signed Marina B, with maker's mark 'MB', numbered W347, with maker's mark 'S.A. P.B' for Sté Pierre-G. Brun, French assay marks, with maker's case, length approximately 83cm (slightly extensible)Société Pierre-G Brun is a jewellery workshop which worked for Cartier, Fred, amongst others. They were bought by Cartier in 2000.For a similar model, page 75: 'Marina B. The Art of Jewellery Design', by Viviane Jutheau de Witt, first published in 2003 by Skira Editore S.p.A. In the transformative landscape of the late 20th century, Marina B emerged as a visionary jewellery designer and pioneer, whose creations bridged the worlds of engineering precision and refined artistry. Born into the illustrious Bulgari family, she was part of the third generation of this renowned jewellery house. Following the death of her father in 1973, Marina assumed a central role in the family business until 1976 and in 1978, she established Marina B, opening her first showroom on Geneva’s Place du Molard and quickly expanding to the fashionable hubs of London, Milan, Monte Carlo, Paris, and New York. Marina B’s designs are characterised by splendid, heavy gold pieces set with intensely coloured gemstones. Instead of the conventional method of stringing pearls and beads, which she found mundane, she pioneered innovative assembly techniques that revealed the hidden beauty of each gemstone. By creating deliberate “belly buttons” in round, colourful stones and embracing interchangeable design elements, she crafted jewellery that was both dynamic and adaptable. A defining chapter in her colourful career was her collaboration with the highly skilled Parisian workshop of JeanPierre Brun. Introduced to her by her trusted draughtsman, JeanPierre Varin, Brun’s workshop became her principal partner. Brun’s jewellery workshop was established in Paris in 1936, and quickly became a cornerstone of ‘haute joaillerie’, renowned for its exceptional craftsmanship and collaborations with prestigious design houses. Initially led by Pierre G. Brun until his retirement in 1975. Under his sons’ Jean-Pierre and Etienne stewardship, the workshop solidified its reputation, working with esteemed brands such as Asprey, Boucheron, Bulgari, Cartier, Chaumet, and Van Cleef & Arpels. JeanPierre Brun himself described Marina B’s creations as highly structured, architectural, and meticulously constructed, comparing her uncompromising attention to detail to that of Suzanne Belperron. This collaboration not only underscored her commitment to precision but also played a crucial role in realising her inventive designs, including complex mechanisms for chokers and necklaces. Perhaps one of her most celebrated masterpieces is the Najwa sautoir necklace, introduced in 1982. Designed originally for a princess. Comprising a seamless strand of 1,800 nearly invisible pearls interwoven with subtle yet striking motifs in gold and diamond pavé, this necklace defied conventional aesthetics. The Najwa sautoir quickly evolving into a symbol of Marina B’s creative genius and remains an enduring icon of her prestige. Marina B’s work has always been more than mere ornamentation. It tells a story of a woman who dared to break with tradition, blending her heritage with her own inventive vision. Her jewellery, whether it be a transformative piece with reversible earrings, interchangeable gemstones, or a meticulously engineered choker, continues to capture the imagination of those who appreciate the fusion of technical mastery and artistic flair. Marina B changed ownership multiple times after Marina Bulgari stepped away from the brand in 1996. Drawing inspiration from its remarkable archive of over 12,000 sketches, in 2017 the brand has entered an exciting new chapter under the leadership of renowned jewellery designer Guy Bedarida. Known for his influential roles at Boucheron, Van Cleef & Arpels, John Hardy, took the helm at Marina B by acquiring a majority stake in the band and becoming its creative director. In February last year, Marina Bulgari passed away in her Roman house on Valentine’s Day, at the age of 93. Her lasting impact on the jewellery world is evident in every beautiful piece she created, reflecting her timeless style and spirit. Condition Report: A couple of beads discoloured to the front near the clasp (discreet) and a dozen on the reverseEmeralds: of bluish-green hue, medium tone, overall well matchedRubies: of purplish-red hue, medium tone, overall well matchedDiamonds: bright and livelySignature on clasp + maker's mark 'MB' for Marina B located on the tongue of claspEagle's head for French 18K gold + stamped OR750Maker's mark for Marina B - numbered W347With maker's mark for Société Pierre-G BrunClasp closes securelyNormal signs of wear, commensurate with ageTotal gross weight approx. 130g
JAR: A PAIR OF RESIN 'TICKLE ME FEATHER' EARCLIPSOf stylised feather design, in purple resin and 18K gold, signed JAR, numbered, with maker's mark, French assay mark, with maker's pouch, length 6cmJoel Arthur Rosenthal is one of the most exclusive and sought-after jewellery designers in the world, and yet, he remains a mystery to many. Founder of JAR, Rosenthal is known for his reclusive nature and limited production, making his creations highly coveted. His boutique in Paris's prestigious Place Vendôme doesn't advertise its presence with flashy signage or displays. Instead, the doors open only to a select few, such as Princess Caroline of Monaco, Ann Getty, Marella Agnelli and Princess Firyal of Jordan, ensuring that his work stays reserved for an elite clientele. A New York City native, Rosenthal never intended to enter the world of jewellery. After graduating from Harvard with a degree in art history and philosophy, he moved to Paris and opened a needlepoint shop. Though his business began slowly, his experiments with unusual colours of yarn attracted the custom of designers for Hermès and Valentino. It was through one of these clients, who asked him to design a mount for a gemstone, that Rosenthal's path toward jewellery design was set in motion. His growing fascination with fashion led him back to New York, where he worked at Bulgari's Fifth Avenue store. However, it was his love for gemstones that eventually drew him back to Paris in 1977, where he and his partner, Swiss psychiatrist Pierre Jeannet, opened an exclusive boutique. While JAR's name remained relatively unknown outside of Paris for years, his 2002 exhibition at London's Somerset House showcasing 400 of his pieces brought his work to global attention. A perfectionist, JAR shuns mass production and commercial trends, opting instead for an almost secretive, highly selective approach. This dedication to artistry and exclusivity culminated in a major retrospective at the Metropolitan Museum of Art in 2013, making him the first living jeweller to be honoured with a solo exhibition there. JAR's designs are celebrated for their daring use of unconventional gemstones, materials and striking colour combinations. His jewellery, often inspired by nature, transforms ordinary elements such as flowers, butterflies, and wildlife into intricate works of art. His mastery of materials like titanium and aluminium, paired with his innovative ombré colour schemes, adds a modern, sculptural quality to his pieces. Each piece is meticulously handcrafted, with only 70 to 80 jewels created annually, ensuring both exclusivity and a sense of personal connection with each client. One of her notable clients is Ellen Barkin, who in December 2006, after Revlon mogul Ronald Perelman blindsided her with divorce papers, turned the tables by selling her world-class jewellery collection at a Christie's auction in New York. The jewels, all gifts from her ex, included pieces once owned by the Duchess of Windsor and Doris Duke, but it was her 17 JAR pieces that stole the show. Highlights included a 22.76-carat thread ring and her favourite topaz, ruby, and diamond earrings, which she wore to the 2005 Vanity Fair Oscars. The auction reached $20 million, with JAR pieces such as diamond bangles and a diamond ring each surpassing $1 million. Ellen didn't just sell jewellery but a story of revenge and unapologetic glamour. JAR's influence on the jewellery world is profound. His work, blending antique techniques with modern sensibilities, has inspired a new generation of jewellers and helped re-establish high jewellery as a true art form. For nearly half a century, Joel Arthur Rosenthal has remained an elusive figure in luxury jewellery, letting his creations speak for themselves with unmatched artistry and vision. Condition Report: For non pierced ears - with good tensionBoth numbered 29Minor signs of wear, overall in good conditionTotal gross weight approx. 17.9g
MARINA B: A MOTHER-OF PEARL AND GOLD RING, CIRCA 1980Of bombé design, centring a heart-shaped plaque, within a mother-of-pearl frame, to further mother-of-pearl shoulders, mounted in 18K gold, signed Marina B, with maker's mark 'MB', numbered, with maker's mark 'GS' for Guillemin & Soulaine, French assay mark, ring size FGuillemin & Soulaine was a Parisian workshop established in 1955. They worked for jewellery houses such as Marina B, Bulgari, Harry Winston to name just a few. The workshop closed in 1984.In the transformative landscape of the late 20th century, Marina B emerged as a visionary jewellery designer and pioneer, whose creations bridged the worlds of engineering precision and refined artistry. Born into the illustrious Bulgari family, she was part of the third generation of this renowned jewellery house. Following the death of her father in 1973, Marina assumed a central role in the family business until 1976 and in 1978, she established Marina B, opening her first showroom on Geneva’s Place du Molard and quickly expanding to the fashionable hubs of London, Milan, Monte Carlo, Paris, and New York. Marina B’s designs are characterised by splendid, heavy gold pieces set with intensely coloured gemstones. Instead of the conventional method of stringing pearls and beads, which she found mundane, she pioneered innovative assembly techniques that revealed the hidden beauty of each gemstone. By creating deliberate “belly buttons” in round, colourful stones and embracing interchangeable design elements, she crafted jewellery that was both dynamic and adaptable. A defining chapter in her colourful career was her collaboration with the highly skilled Parisian workshop of JeanPierre Brun. Introduced to her by her trusted draughtsman, JeanPierre Varin, Brun’s workshop became her principal partner. Brun’s jewellery workshop was established in Paris in 1936, and quickly became a cornerstone of ‘haute joaillerie’, renowned for its exceptional craftsmanship and collaborations with prestigious design houses. Initially led by Pierre G. Brun until his retirement in 1975. Under his sons’ Jean-Pierre and Etienne stewardship, the workshop solidified its reputation, working with esteemed brands such as Asprey, Boucheron, Bulgari, Cartier, Chaumet, and Van Cleef & Arpels. JeanPierre Brun himself described Marina B’s creations as highly structured, architectural, and meticulously constructed, comparing her uncompromising attention to detail to that of Suzanne Belperron. This collaboration not only underscored her commitment to precision but also played a crucial role in realising her inventive designs, including complex mechanisms for chokers and necklaces. Perhaps one of her most celebrated masterpieces is the Najwa sautoir necklace, introduced in 1982. Designed originally for a princess. Comprising a seamless strand of 1,800 nearly invisible pearls interwoven with subtle yet striking motifs in gold and diamond pavé, this necklace defied conventional aesthetics. The Najwa sautoir quickly evolving into a symbol of Marina B’s creative genius and remains an enduring icon of her prestige. Marina B’s work has always been more than mere ornamentation. It tells a story of a woman who dared to break with tradition, blending her heritage with her own inventive vision. Her jewellery, whether it be a transformative piece with reversible earrings, interchangeable gemstones, or a meticulously engineered choker, continues to capture the imagination of those who appreciate the fusion of technical mastery and artistic flair. Marina B changed ownership multiple times after Marina Bulgari stepped away from the brand in 1996. Drawing inspiration from its remarkable archive of over 12,000 sketches, in 2017 the brand has entered an exciting new chapter under the leadership of renowned jewellery designer Guy Bedarida. Known for his influential roles at Boucheron, Van Cleef & Arpels, John Hardy, took the helm at Marina B by acquiring a majority stake in the band and becoming its creative director. In February last year, Marina Bulgari passed away in her Roman house on Valentine’s Day, at the age of 93. Her lasting impact on the jewellery world is evident in every beautiful piece she created, reflecting her timeless style and spirit. Condition Report: Mother-of-pearl: of white body colour with pink and green overtones - a minor chip at the tip of one shoulderNumbered 1075/34Normal signs of wear, overall in good condition commensurate with ageTotal gross weight approx. 8.9g
A PAIR OF DIAMOND PENDENT CLIP EARRINGS, FRENCH, CIRCA 1955Each surmount designed as a stylised scalloped knot of brilliant-cut diamonds, suspending a tassel of tapered baguette-cut and brilliant-cut diamonds, mounted in 18K gold and platinum, diamonds approximately 8.50cts total, with partial maker's mark, French assay marks, length 4.2cm Condition Report: Diamonds: approx. 8.50cts total, estimated colour H/I, estimated clarity VS with a couple of SI (one small diamond with minor chip visible under 10x magnification)Eagle's head for French 18K gold and dog's head for French platinumUnable to identify the maker's markFor pierced ears with postNormal signs of wear, overall in good conditionTotal gross weight approx. 25.5g
MARINA B: A TOURMALINE 'PATRIZIA' RINGHorizontally set to the bezel, the oval-shaped pink tourmaline, set within a bi-coloured 18K gold hoop, signed Marina B, maker's mark 'MB', numbered, French import mark, ring size OCf: See Vivianne Jutheau de Witt (2003-2011) Marina B: The Art of Jewellery Design. Skira Editori for comparable rings, page 112, no. 214 (dated 1987). In the transformative landscape of the late 20th century, Marina B emerged as a visionary jewellery designer and pioneer, whose creations bridged the worlds of engineering precision and refined artistry. Born into the illustrious Bulgari family, she was part of the third generation of this renowned jewellery house. Following the death of her father in 1973, Marina assumed a central role in the family business until 1976 and in 1978, she established Marina B, opening her first showroom on Geneva’s Place du Molard and quickly expanding to the fashionable hubs of London, Milan, Monte Carlo, Paris, and New York. Marina B’s designs are characterised by splendid, heavy gold pieces set with intensely coloured gemstones. Instead of the conventional method of stringing pearls and beads, which she found mundane, she pioneered innovative assembly techniques that revealed the hidden beauty of each gemstone. By creating deliberate “belly buttons” in round, colourful stones and embracing interchangeable design elements, she crafted jewellery that was both dynamic and adaptable. A defining chapter in her colourful career was her collaboration with the highly skilled Parisian workshop of JeanPierre Brun. Introduced to her by her trusted draughtsman, JeanPierre Varin, Brun’s workshop became her principal partner. Brun’s jewellery workshop was established in Paris in 1936, and quickly became a cornerstone of ‘haute joaillerie’, renowned for its exceptional craftsmanship and collaborations with prestigious design houses. Initially led by Pierre G. Brun until his retirement in 1975. Under his sons’ Jean-Pierre and Etienne stewardship, the workshop solidified its reputation, working with esteemed brands such as Asprey, Boucheron, Bulgari, Cartier, Chaumet, and Van Cleef & Arpels. JeanPierre Brun himself described Marina B’s creations as highly structured, architectural, and meticulously constructed, comparing her uncompromising attention to detail to that of Suzanne Belperron. This collaboration not only underscored her commitment to precision but also played a crucial role in realising her inventive designs, including complex mechanisms for chokers and necklaces. Perhaps one of her most celebrated masterpieces is the Najwa sautoir necklace, introduced in 1982. Designed originally for a princess. Comprising a seamless strand of 1,800 nearly invisible pearls interwoven with subtle yet striking motifs in gold and diamond pavé, this necklace defied conventional aesthetics. The Najwa sautoir quickly evolving into a symbol of Marina B’s creative genius and remains an enduring icon of her prestige. Marina B’s work has always been more than mere ornamentation. It tells a story of a woman who dared to break with tradition, blending her heritage with her own inventive vision. Her jewellery, whether it be a transformative piece with reversible earrings, interchangeable gemstones, or a meticulously engineered choker, continues to capture the imagination of those who appreciate the fusion of technical mastery and artistic flair. Marina B changed ownership multiple times after Marina Bulgari stepped away from the brand in 1996. Drawing inspiration from its remarkable archive of over 12,000 sketches, in 2017 the brand has entered an exciting new chapter under the leadership of renowned jewellery designer Guy Bedarida. Known for his influential roles at Boucheron, Van Cleef & Arpels, John Hardy, took the helm at Marina B by acquiring a majority stake in the band and becoming its creative director. In February last year, Marina Bulgari passed away in her Roman house on Valentine’s Day, at the age of 93. Her lasting impact on the jewellery world is evident in every beautiful piece she created, reflecting her timeless style and spirit. Condition Report: Tourmaline: of purplish-pink hue, medium tone, good transparency, facets are smoothNumbered C1510Normal signs of wear, overall in good conditionTotal gross weight approx. 12.1g
AN IMPORTANT LATE 19TH CENTURY PAIR OF AMETHYST AND DIAMOND PENDENT EARRINGSOf girandole design, each set with three pear-shaped amethyst drops, to the old-cut diamond foliate motif and circular-cut amethyst and old-cut diamond cluster surmount, mounted in silver and gold, with partial Russian assay mark ?'56', amethysts approximately 35.00cts total, diamonds approximately 3.30cts total, length 4.9cmA historical pair from the 18th century, of similar design, was sold at Christie's in Geneva, 13.11.2007, lot 269.Amethysts have been treasured for centuries, revered by ancient cultures from Greece to medieval Europe. The name comes from the Greek amethysts, meaning “not intoxicated,” reflecting the belief that the stone could ward off drunkenness and promote mental clarity. Symbolising wisdom, royalty, and spiritual protection, amethysts were worn by bishops and monarchs, were valued for their beauty and their perceived ability to calm the mind and strengthen resolve. Among the most coveted are Siberian amethysts, famed for their rich, velvety purple hue often accented with flashes of red and blue. Mined from Russia’s Ural Mountains since the 18th century, these stones quickly became the gold standard of amethyst quality. Though production from the region has declined, Siberian amethysts remain highly prized for their depth of colour and exceptional clarity, often commanding premium prices on the market. Today, amethysts are sourced from regions including Brazil, Zambia, Uruguay, and Madagascar, each offering distinct characteristics. Brazilian stones are typically lighter with a clear, violet hue, while Zambian amethysts are darker, often with a bluish tint. Uruguayan gems stand out for their vivid saturation and purity. Yet among them all, Siberian amethysts remain the most prized, distinguished by their intensity and historical provenance. Siberian amethysts were favoured by the Russian nobility, with figures like Empress Catherine the Great adorning themselves in amethyst-laden jewels. In modern times, the stone continues to make public appearances. Queen Elizabeth II famously wore amethyst pieces from the Kent Amethyst Suite, while Lupita Nyong’o stunned at the 2015 Golden Globe Awards in Chopard amethyst earrings.Siberian amethysts have achieved remarkable results at auction, reflecting their rarity and historic value. A Victorian amethyst and diamond necklace from the 19th century sold at Christie’s London for over £75,000, far exceeding its estimate. Similarly, pieces from Queen Alexandra’s collection have also surfaced in royal exhibitions and private sales, often valued in the six-figure range, underscoring the enduring prestige of these exceptional gems. The Romanov dynasty ruled Russia from 1613 until 1917, when the Revolution abruptly ended their empire. The last years of the 19th and the early 20th century was a period of elegance and excess for the Tsars and the wealthy families of Russia. The Imperial family’s jewellery was amongst the most precious in the world. These jewels were tangible symbols of the power of the Romanovs and their deep ties to European aristocracy and culture and were once the epitome of Russian opulence. After the Bolshevik Revolution, the fate of these precious treasures would become one of the most captivating chapters in the story of the Russian Empire’s fall. The Bolsheviks, in their sweeping promises of equality, claimed that the jewels once hoarded by the aristocracy would be used for the benefit of the people. “Diamonds, pearls, and precious stones that have cost workers endless suffering for centuries are now in safe hands. The proletariat will be able to use them wisely,” they boasted in the 1920s. Yet, while the Soviet government officially denied any sale of the Romanov collection, they could not entirely escape the growing rumours that began circulating in the West. In response to these whispers, the Bolsheviks organised a lavish exhibition of the Russian Crown Jewels in Moscow on December 18, 1925, to counter the belief that the revolution had torn apart the cultural and material legacy of Russia’s royal family. But less than a year later, the treasures were quietly sold, and the secrets of their dispersal would only emerge later. In a remarkable twist of history, American antiquarian Norman Weiss acquired a substantial portion of the Crown Jewels exhibition in 1926, purchasing 9 kilograms of imperial treasures for $50,000. Among the pieces were two pairs of magnificent 18th-century girandole earrings, a quintessential example of Russian royal jewellery, that soon entered the international market. One of these pairs, set with vibrant Ural amethysts, is famously associated with Empress Catherine the Great. The earrings are prominently featured in a portrait of the young Catherine, then still a Tsarevna and Grand Duchess, long before she assumed the throne. Though not yet immersed in imperial luxury, the gift, commissioned by Empress Elizabeth Petrovna from her court jeweller, Jérémie Pauzié, already reflected the grandeur of the 18th-century Russian court. Crafted by Pauzié, renowned for his meticulous attention to detail and his intricate, heavy designs, the earrings became a significant part of Catherine’s early life. When time came for Cathrine’s coronation, the soon-to-be crowned empress entrusted Pauzié with the creation of the Imperial Crown of Russia. The jeweller collaborated closely with the court’s most skilled artisans, and together, they fashioned the exquisite crown, adorned with nearly 5,000 diamonds and 75 large pearls, a feat that has since become an iconic piece of Russian history. After the earrings were sold to Weiss, they resurfaced in 1929 when JS Phillips purchased them at Christie’s London for 135 pounds. Decades later, in 2007, they appeared again at Christie’s in Geneva, fetching 433,000 Swiss francs and reaffirming the enduring allure of Russian imperial jewellery. The sale of the Romanov jewels remains a poignant and fascinating story, illustrating the complex intersection of revolution, power, and history. These jewels, symbols of a vanished world, continue to captivate collectors, historians, and admirers offering a glimpse into the opulence of the Russian Empire before its collapse. Condition Report: Amethysts:3 PS each approx. 6.43cts, 4.57cts & 4.18cts & 1 RD 2.12cts3 PS each approx. 6.57cts, 4.35cts & 4.40cts & 1 RD 2.11ctsPS: Of purple hue, medium to dark tone, good transparency, facets are smooth, well matched in colourRD: Of purple hue, medium tone, good transparency, one slightly darker than the other oneDiamonds: approx. 3.30cts total, bright and livelyWith partial Russian assay mark ? '56' on each back earrings, one posts slightly looser when opening itFor pierced earsNormal signs of wear, commensurate with age, overall in good conditionTotal gross weight approx. 22.6g
A Pair of 9ct Gold Three Stone Diamond Drop Earrings, the round brilliant cut diamonds illusion set to beaded spacers, approximately 1.5cm drop; A Pair of 9ct Gold Single Stone Diamond Earstuds, round brilliant cut to four claw setting, a vintage single stone diamond drop pendant, stamped "375" "0.20". (3)
Group of gold jewellery comprising a 9ct white gold heart shaped pendant necklace set with pink sapphires and diamond chips, plus matching pair of stud earrings, together with a 9ct heart-shaped amethyst pendant necklace, a further 9ct fine link chain necklace and a similar 10k example, 4.5g total (6)
Assorted gilt and gold jewellery, comprising of a pair of gilt earrings, 9ct gold charm bracelet with charms weighing 4.67g, a 15ct gold necklace weighing 5g, a 9ct gold brooch weighing 0.8g, a 9ct gold jug charm weighing 0.8g, a 9ct scissors charm weighing 0.8g, a pair of 9ct gold earrings weighing 1g, camo earrings, and a heart shaped pendant with diamond chips.
South East AsianCirca 1990sAn impressive pair of emerald and diamond cluster earrings. Each set to the centre with a rectangular cut emerald, weighing approximately 7.29 carats together, of pretty bright colour and fair clarity. Within a brilliant cut diamond and calibre cut baguette diamond setting.Estimated total diamond weight for the pair is 3 carat, clarity VS-13, colour G-J.Mounted in 18 carat yellow and white gold.The stones measuring 10 mm (H) x 8.8 mm (W) / 10.6 mm (H) x 8.6 mm (W) Total weight: Approximately 15.44 grams
British Circa 1870 A spectacular diamond stars tiara. Comprising five slightly graduated diamond stars, set throughout with old cushion cut brilliant diamonds, and mounted in silver and gold. Each removable to form a brooch and earrings. With original fittings. Complete, in original blue velvet display case by Collingwood & Son, Conduit Street Dimensions: Largest star: 4.2cm diameter
Loading...
![Two pairs of pearl earrings, to include: [a] A pair of white gold, cultured pearl and diamond bow earrings [b] A pair of fres](https://cdn.globalauctionplatform.com/5dfacb7d-f756-44d2-a30e-b2ba01099553/0f82c171-aab0-40d6-8a03-b2bb00a9d0b9/468x382.jpg)
