Two pairs of Mary Gregory-style cranberry coloured vases, circa 1900, the first oviform with crimped ornament, enamelled in white with a youth and companion, 23.5cm high, a pair of oviform vases similar with flared necks, a Victorian fluted cranberry-tinted small water jug with clear handle and waved rim, a ruby tinted tumbler with gilt decoration, a pair of Russian (St Petersburg) ruby and gilt engraved eggs, each decorated with the Imperial double-headed eagle within laurel cartouches, labelled to bases, a small ruby and gilt spill vase/match holder, a grey=cased Mary Gregory-style vase decorated in white enamel with putti and a facon-de-Venise gilt metal mounted two-handled circular tray with etched mirrored base and spirally twisted rim with ruby band inclusion, 33cm diameter (11) Condition Report Mary Gregory vases with rigaree - No chips to rimsMary Gregory oviform vases - One with some tiny nibbles to rim.General wear and tear.
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Collection of 19th century and later coloured glass including a set of six ruby red wine glasses, 16cm high, a pair of trumpet shaped green glasses, three green ale glasses, three green finger bowls, a mid-20th century blue and clear cased shallow bowl, 20cm diameter, a pink glass baluster vase and four yellow uranium glasses
Collection 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
Two Martin Andrews studio glass 'Seahorse' scent bottles and stoppers, each of wrythen form, with scrolling 'tail' and tear-shaped stopper, one in ruby and blue and the other blue, each with etched signature to base, 17.5cm high, an Okra Glass Studio scent bottle and stopper of tapering conical form, green tint with dark brown and cream inclusions and a cylindrical spill vase marbled in blue/green and ochre, each applied with Okra Glass Studio labels, 17.5cm high (4) Condition ReportAll pieces in good condition, no obvious signs of damage/restoration. General wear and tear.
A 9ct yellow gold ruby and diamond set three stone ring, the central ruby approx 0.5ct, flanked by two small round brilliant cut diamonds, size P, and a 10ct yellow gold Ku Klux Klan badge, modelled as a skull with crossed keys and enamelled 'KKK' decoration, 1 x 1cm, combined approx 4.5g (2).
Large oval opal and synthetic ruby pendant in a yellow metal mount on a gold plated box link chain, 41.5cm longThe pendant is unmarked and weighs 6.9 grams. Opal measures approximatley 24mm x 18mm. Cluster measures approximatley 31mm x 24mm in total. Not hallmarked, doesn't appear to be English and probably 9ct. Opal is natural and is a solid stone. The opal is in good condition. Chain is plated.
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.
An unusual group of eight Victorian ruby glass and gilt hanging window lustre ornaments - or Christmas decorations, comprising five of star form (three 13.8cm long, two 13.2cm long - one of each size with a chip) and three of shaped cartouche form (13.2cm long); together with a single green stained glass panel; and a small quantity of clear glass table lustre and chandelier drops.
Attributed to Ulisse Cantagalli, 19th century, a ruby-copper lustreware charger, decorated in red, white and blue, centred wtih a bird, surrounded by fan-shaped panels of foliage, the underside with a painted rooster mark, 42cm diameterCondition ReportThe edges with minor chips and losses to decoration, residue marks from tape. Some fading present.
An Indian hardstone-hilted dagger, 19th century, the hilt inset with foliate clear and ruby-coloured glass, the scabbard embroidered with golden thread, 30.5cm longShipping Disclaimer: Buyers must be aware of their country’s shipping and import policies regarding guns, knives, swords, and other offensive weapons prior to purchase. They are required to ensure that the lot can be delivered by a specialist shipper, whether in the UK, Europe or internationally. No compensation will be given to buyers who fail to organise shipping arrangements for goods and weapons due to the prohibitions, restrictions or import regulations of their country.Condition ReportThe embroidered scabbard with pulls and frayed, the hilt missing some glass insets, the silvered metal mounts tarnished in areas.
A Chinese famille rose dish, Qing dynasty (1644-1911), of circular form, painted with an open scroll amongst flowers, with a bird perched on a blossoming peony branch, enclosed with a border of prunus against a crackled ground, the underside with ruby enamel,23.4cm diameterCondition ReportChipped to rim.
Geoffrey Baxter for James Powell and Sons, Whitefriars, a ruby red glass vase, model 9464, designed circa 1954, optic ribbed chalice form, 17cm highNote: One of Baxter's earlier designs, incorporating the traditions of optic ribbing and the Arts and Crafts forms of earlier glass to produce a more Scandinavian style
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
A PAIR OF RUBY AND DIAMOND HOOP EARRINGSEach hoop channel-set to the front and reverse with calibré-cut rubies, edges pave-set with brilliant-cut diamonds, mounted in 18K white gold, diamonds approximately 4.50cts total, length 3.5cm Condition Report: Rubies of deep pinkish-red hue, good transparency, overall well matched in colourDiamonds bright and lively, estimated total diamond weight approximately 4.50-5.00cts totalStamped 750 for 18K goldFor pierced earsNormal signs of wear, overall in good conditionTotal gross weight approx. 14.2g
A RETRO RUBY AND DIAMOND CLIP BROOCH, FRENCH, CIRCA 1940Of openwork scroll design, set with a cluster of circular-cut rubies accented with a line of brilliant-cut diamonds, mounted in 18K gold, with maker's mark 'GR', numbered 9256, French assay mark, length approx. 2.9cm, width approx. 3.7cm Condition Report: Rubies: of pinkish-red hue, medium to dark tone, good transparency, some typical inclusions visible under 10x magnification, one ruby more electric and inclusion free (it is possibly synthetic), some facet abrasions visible under 10x magnificationDiamonds: bright and livelyWith maker's mark: horizontal lozenge with 'G?R' unable to identify the symbol between the two letters, located on the pin and reverse of the broochFrench assay marks: eagle's headNumbered on the reverse of the brooch 9256Normal signs of wear, commensurate with age, overall in good conditionTotal gross weight approx. 11.1g
BULGARI: A FINE RUBELLITE, RUBY AND DIAMOND RINGOf bombé design, centring an oval-shaped rubellite weighing approximately 15.00cts, the mount decorated with geometrical pattern pavé-set with brilliant-cut diamonds and calibré-cut ruby cabochons, mounted in 18K gold, signed Bvlgari, ring size M Condition Report: Tourmaline: dimensions approx. 20.42x13.55x8.54mm - approx. 15.00cts total, of purplish-red hue, medium tone, good transparency, facets are smoothDiamonds: bright and lively - estimated clarity VSRubies: of red hue, medium to dark tone, overall well matchedSigned Bvlgari inside hoop underneath gallery and 750 for 18K inside hoopWith 'S' stamped on the outside of the hoopMinor signs of wear, overall in good conditionTotal gross weight approx. 18.9g
VAN CLEEF AND ARPELS: A RUBY BROOCH, CIRCA 1955The stylised rose flower, embellished with circular-cut ruby pistil, to textured gold leaves and polished gold stem, mounted in 18K gold, signed Van Cleef & Arpels, numbered, with maker's mark 'P&Fils' for Pery & Fils, French assay marks, length 4.3cm Condition Report: Rubies: of pinkish-red hue, medium tone, good saturation, good transparency, overall well matched in colourSignature located on the reverse, on top of the double clip pin clasp, numbered 10483, with maker's mark for Pery & FilsFrench assay marks located on pin (with partial maker's mark) and reverse of the stem with partial maker's mark for Pery & FilsOne pin slightly bentClasp closes securelyNormal signs of wear, overall in good conditionTotal gross weight approx. 16.6g
JEAN & PIERRE BELLIN: A CORAL, DIAMOND AND CULTURED PEARL PENDANT NECKLACE, CIRCA 1970The ropetwist-link chain suspending two openwork lozenge motifs highlighted with brilliant-cut diamonds, within ropetwist and beading detailing, suspending a detachable cultured pearl and coral tassel finishing with gold bead terminals, mounted in 18K gold, with maker's marks 'Sté JPB' for Jean & Pierre Bellin', unsigned, French assay marks, necklace length 50.5cm, detachable tassel length 9.2cmProspective buyers are advised that several countries prohibit the importation of items containing materials from endangered species, such as coral. Therefore, buyers should familiarise themselves with relevant customs regulations before bidding if they plan to import this lot into another countryJean & Pierre Bellin, heirs to a long lineage of master jewellers, represented the fourth generation of a family whose legacy in fine craftsmanship began in the early 20th century. Trained by both their father and grandfather, the brothers honed their skills in the prestigious workshops of Cartier before setting out to revive their own family’s maison. In 1962, they brought new life to the house by opening an impressive atelier at 62 rue La Fayette, one of the largest jewellery workshops in Paris. This expansion followed their original atelier on 16 rue de la Grange-Batelière, established decades earlier. Their sister Pierrette later joined them, as did thier brother Philippe, as representatives of the next generation, ensuring that the Bellin legacy would continue to shine. Jean & Pierre Bellin quickly gained a reputation for being extraordinary craftsmen: their work was defined by a vibrant aesthetic, blending the clean, bold lines of Art Deco with the rich, flowing elegance of Baroque art. They were particularly renowned for their use of emeralds, rock crystal, and other stones that required intricate cutting and imaginative setting. Demand for their pieces was so high that clients were often placed on lengthy waiting lists. Though they were among the most successful independent jewellers in France, a significant portion of their revenue came from international markets, particularly in the Middle East and Asia, where their name became synonymous with refined French luxury. In the 1980s, the two brothers also produced unique, high-priced pieces, destined for Place Vendôme houses such as Mauboussin and Chaumet, and numerous pieces of jewellery for Fred. In the 1980s and 1990s, the Bellin workshop embraced evolving techniques, including the popular “chaté de chaton”, a setting style that added movement and energy to gemstone designs. Whether it’s a turquoise cabochon bird pendant with ruby foliage and emerald eyes or a finely polished brooch with engraved detail, every Bellin jewel holds a spark of individuality and imagination. From the narrow streets of Paris’s 9th arrondissement to private collections across the globe, such as the Sultan of Brunei, Jean & Pierre Bellin crafted a legacy of elegance, imagination, and timeless artistry. In a testament to the enduring appeal of their creations, a sale held last March by Margaux Serrano Maison de ventes in Paris featured 56 pieces dedicated to the jewellery crafted by the Bellin brothers. This exceptional auction offered collectors and connoisseurs the rare opportunity to acquire works from the renowned Parisian house. Condition Report: Coral: Typical angel's skin hue, overall well matched and in good conditionPearls: cream tint with pink and green overtones, high lustreDiamonds: bright and livelyMaker's marks located on the clasp of the necklace and on the clasp of the pendantFrench assay marks - eagle's head for 18K gold - located on both the necklace and pendantClasps close securelyNormal signs of wear, overall in good conditionTotal gross weight approx. 59.5g
A GEM-SET NOVELTY PENDANT, FRENCH, CIRCA 1960The stylised bird with an oval-shaped star sapphire body, the head embellished with single-cut diamonds and circular-cut ruby eye, the tail set with three similarly-cut diamonds suspending a angel ropetwist tassel, to polished gold swirled feet, mounted in 18K gold and platinum, French assay marks, numbered 2880, length 5.4cm Condition Report: Possibly previously a brooch as wellNumbered 2880 - French assay mark for 18K gold and for platinumDiamonds: bright and lively - ruby eye of pinkish-red hue, with rutile intersecting needles visible under a bright light source and 10x magnificationTassel: a couple of very minor wire sticking out of the tail otherwise good movementStar sapphire: 6 rays - purplish-blue hue, light tone, translucent, natural inclusions visible with naked eyeThe reverse with bale to wear as pendantNormal signs of wear commensurate with age, overall in good conditionTotal gross weight approx. 14.7g
BULGARI: A RUBY DRESS RINGThe bi-coloured bombé and reeded mount centring an oval-shaped ruby cabochon, within collet-setting, mounted in 18K white and yellow gold, signed Bvlgari, Italian registry mark, with maker's case, ring size L Condition Report: Ruby: of purplish-red hue, translucent, minor nick visible under 10x magnification, inclusions visible under a bright light sourceStamped CM 3.92 (ruby weight), signed Bvlgari, Italian registry mark, stamped 750 for 18K goldNormal signs of wear, overall in good conditionTotal gross weight approx. 11.1g
FRASCAROLO: AN ENAMEL, RUBY AND DIAMOND LEOPARD BROOCH, CIRCA 1960Modelled as a roaring leopard, its textured body applied with black enamel dots, nose and tongue with red enamel, its whiskers and belly set with single-cut diamonds, to circular-shaped ruby eye details, mounted in 18K gold, with maker’s mark ‘FC’ for Frascarolo, Italian registry mark, width 6.6cm Condition Report: Some loss to red enamel on tongue and a few black spots with minor lossDiamonds bright and livelyStamped FC, Modele Deposé, 750/18K, Made in Italy and with Italian registry mark slightly indistinctNormal signs of wear, overall in good conditionTotal gross weight approx. 47.5g
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