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8 novembre 2020

Magnificent Jewels and Noble Jewels at Sotheby's Geneva, 11 November 2020


This November the Magnificent Jewels and Noble Jewels sale presents iconic designs from the world’s most prestigious jewellery houses, such as Van Cleef & Arpels and Cartier among others. The sale also features beautiful coloured diamonds, exceptional coloured stones and magnificent jewels from the early 19th century to the present day.

Featured Highlights


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Lot 181. Important Ceylon sapphire and diamond parure, 1960s and later. Estimate: 500,000 - 800,000 CHF. Courtesy Sotheby's.

Comprising: a necklace set with cabochon sapphires enhanced with brilliant-cut diamonds, the front set with a cabochon sapphire weighing 89.31 carats, detachable clasp signed Van Cleef & Arpels and numbered, length approximately 380mm, extendable to approximately 460mm or 540mm with two detachable segments that may also be worn as an additional bracelet, length approximately 175mm, a bracelet set with a cabochon sapphire weighing 93.36 carats, length approximately 165mm, signed Van Cleef & Arpels and numbered, and a pair of earrings respectively set with a cabochon sapphire weighing 15.32 and 16.71 carats, detachable ear clip fittings, signed Van Cleef and Arpels and numbered.

Accompanied by SSEF report no. 110177, stating that the sapphires weighing 93.36, 89.31, 15.32 and 16.71 carats are of Ceylon origin, with no indications of heating, the two larger stones showing weak asterism.

Further accompanied by a copy of a letter from Van Cleef & Arpels, dated 19 August 1974, confirming the weights of the four largest sapphires on the necklace, bracelet and ear clips, also stating that the jewels have been altered since their original conception by Van Cleef & Arpels.

From a Private Collection.

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Lot 186. Van Cleef & Arpels. Fine diamond brooch, circa 1940. Estimate: 30,000 - 50,000 CHFCourtesy Sotheby's.

Designed as a rose, the petals set with circular-cut diamonds, the leaves decorated with baguette diamonds, signed Van Cleef & Arpels, numbered, French assay marks for gold and platinum.

From a Private Collection. 

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Lot 191. Important 18.03 carats D Colour, Flawless diamond ring. Estimate: 1,195,000 - 1,375,000 CHF. Courtesy Sotheby's.

Set with a cushion-shaped diamond weighing 18.03 carats, size 50.

Accompanied by GIA report no. 5202170030, stating that the diamond is D Colour, Flawless, Excellent Polish and Symmetry, together with a type lla classification letter.

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Lot 196. Harry Winston. Important fancy coloured diamond necklace. Estimate: 825,000 - 1,375,000 CHFCourtesy Sotheby's.

Composed of a line of variously cut fancy coloured diamonds weighing from 0.78 to 1.30 carats, alternating with brilliant-cut diamonds, length approximately 370mm, signed Harry Winston, maker's mark, French assay mark for platinum.

Accompanied by thirty-one GIA reports, stating that the diamonds are Fancy Coloured, Natural Colour.

From an Important Private Collection.

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Lot 170. Monture Graff. Important 9.44 carats ruby and diamond ring. Estimate275,000 - 460,000 CHF. Courtesy Sotheby's.

Set with a cushion-shaped ruby weighing 9.44 carats, framed with brilliant-cut diamonds, size 53, signed Graff, mounted by Graff.

Accompanied by Gübelin report no. 0704560 and SSEF report no. 47656, each stating that the ruby shows no indications of heating, Gübelin stating that the ruby is of East African origin; together with another gemmological report.

Formerly from an Important European Collection.

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Lot 154. 15.11 carats VVS1 Clarity Fancy Intense Yellow Diamond RingEstimate110,000 - 160,000 CHF. Courtesy Sotheby's.

The two tone gold mount set with a step-cut fancy intense yellow diamond weighing 15.11 carats, size 55.

Accompanied by GIA report no. 2213149494, stating that the diamond is Fancy Intense Yellow, Natural Colour, VVS1 Clarity, together with a working diagram stating that the diamond may be internally flawless after minor repolishing.

Property of a Lady.

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 Lot 144. Bulgari. Gem set and diamond necklaceEstimate: 70,000 - 100,000 CHF. Courtesy Sotheby's.

 The front set with oval and pear-shaped pink sapphires and marquise-shaped diamonds, supporting pear-shaped amethysts and peridots, enhanced with brilliant-cut diamonds, length approximately 390mm, signed Bulgari, Italian assay mark for gold and maker's mark, case stamped Bulgari.

 Maison Mauboussin

Maison Mauboussin was founded in 1827 by M. Rocher, in the midst of French political instability and colonial conquests. Despite the political distress, the period saw a rise in universal exhibitions designed to share knowledge and achievements, which eventually served as an inspiration for jewellers. In 1878, Jean-Baptist Noury, the successor of M. Rocher, received a medal in recognition of his work in the Exposition Universelle de Paris which established the Maison’s solid reputation.

Under the lead of George Mauboussin, the interwar period is characterised by exotism, reflected in the selection and quality of Mauboussin gems: jade from the Orient, pearls and coral from the Middle East... This exotism made way for the Art Deco style, in which Mauboussin ranked first in the creation of Art Deco jewellery.

In 1928, Mauboussin saw its creations reach every corner of the world by establishing branches in New York, London, Rio de Janeiro and Buenos Aires. Mauboussin’s success attracted important customers such as the Maharaja of Indore and Queen Nazli of Egypt. The gems used for this clientele are believed to be amongst the most beautiful in the world.

Throughout the years, up until today, Maison Mauboussin has reflected the evolution of women’s fashion and has managed to combine tradition with modernity in its creations.

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Lot 102. Mauboussin. Diamond demi-parure, 1950s. Estimate 50,000 - 80,000 CHF. Courtesy Sotheby's.

Comprising: a pair of pendent ear clips set with baguette diamonds, each supporting a detachable pendant set with circular-cut and baguette diamonds, and a brooch, each signed Mauboussin, French assay marks for platinum and gold and maker's marks, fitted case, stamped Mauboussin.

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Lot 112. Mauboussin. Sapphire and diamond demi-parure, 1940s. Estimate 40,000 - 55,000 CHF. Courtesy Sotheby's.

 The necklace composed of a polonaise chain with hexagonal links, supporting a cluster of cones set with circular-cut sapphires and diamonds and a cascade of similar stones, length approximately 400mm, the bracelet of similar design, signed Mauboussin, may be worn as clips, detachable, unsigned, indistinctively numbered, each with French assay marks for gold and maker's marks for Verger Frères.

Jewels by the Decade

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Lot 176. Formerly in the collection of Manuel de Guirior y Portal de Huarte y Edozain, First Marquis de Guirior. Magnificent emerald and diamond parure, circa 1770. Estimate 642,000 - 920,000 CHF. Courtesy Sotheby's.

Comprising: a necklace of floral and foliate design in closed-back settings, collet-set with three step-cut emeralds highlighted with oval and circular-cut emeralds, single- and circular-cut diamonds, supporting a pear-shaped emerald weighing 11.94 carats, to a velvet black ribbon, the front of the necklace measuring approximately 190mm, a pair of girandole pendent ear clips set with oval, cushion- and pear-shaped emeralds and cushion-shaped diamonds and two jewels of similar design in closed back settings, fitted case.

Accompanied by SSEF report 114679, stating that the fourteen largest emeralds, are of Colombian origin, with a minor amount of oil in fissures, together with an appendix letter. Also accompanied by AGL report no. 1078500, stating that the largest pear-shaped emerald is of Colombian origin, with a minor amount of oil in fissures.

Also accompanied by original notarised archives from the Guirior family dated 1877 and 1943.

Provenance: This emerald and diamond parure was given by Manuel de Guirior y Portal, First Marquis de Guirior to his wife Maria Ventura de Guirior, and was then given together with his title, to his great-nephew,
Don José Maria de Guirior and Larrea, Marquis de Guirior, who then gave it to his son
Don José Fausto de Guirior and Larrea, Marquis de Guirior, who then gave it to his gran-daughter,
Maria delos Dolores Porcel y Guirior, Marquesa de San Millan y de Villa Alegre.

Note: Manuel de Guirior y Portal, First Marquis de Guirior (1708-1788), Viceroy of New Granada (1773-1776) and Viceroy of Peru (1776-1780)

Manuel de Guirior y Portal, First Marquis de Guirior, Lieutenant General of the Royal Navy, Viceroy of New Granada and Peru was born in Aoiz in the old kingdom of Navarra, on March 21, 1708. Born into an illustrious Navarrese family, his parents were Don Carlos de Guirior Erdozain, and María Josefa del Portal. Having entered the navy at the age of twenty-five, Manuel de Guirior sailed around the world serving several missions to transport troops to various locations within the Mediterranean and fought in the Seven Years’ War against the English. He soon rose through the ranks and was promoted to lieutenant in August 1738.

After decades of loyal service, Manuel de Guirior was notably appointed Viceroy in 1772, as Governor and Captain-General of the New Kingdom of Granada. In this position, de Guirior succeeded Don Pedro Mesia de la Cerda who had submitted his resignation, unable to control the riots in Quito, with whom he had continuous friction.

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Family tree of the House Guirior.

De Guirior's appointment marked the beginning of a new era for New Granada. As Viceroy, Manuel De Guirior managed to appease the different rebel groups with peaceful interventions. He reformed the religious communities and missions and ensured a more humanitarian treatment of the native population. For example, he took steps to strengthen the economy and also carefully promoted the sciences, by founding the first public library (aimed at the education of the indigenous population). He also re-established the Public University, which was considered a huge success. He opened a hospital and a hospice and founded the first library in Bogota. Simultaneously, de Guirior improved the colony's coastal defenses and altered the cultural geography of New Granada by dividing the city of Bogotá into borrios (or boroughs).

Following these accomplishments, de Guirior became lieutenant-general, by Royal Order, on 20th December 1774. He remained in this position until August 24, 1775, when he was appointed Viceroy, Governor and Captain-General of the kingdom of Peru, relocating to Lima in 1776.

In this viceroyalty, de Guirior continued to apply the policy that had provided him with such excellent results previously. To develop the economy, he adopted liberal measures for commerce, agriculture, industry and mining. Again, he supported scientific research, most notably into the flora of Peru. In June 1977, José Antonio de Areche arrived in Lima as an inspector from the King. Unfortunately, de Areche disagreed with de Guirior over several matters, including taxes, justice and administration. Consequently, de Guirior was subjected to a trial of grievances but was posthumously acquitted.

Having later returned to Madrid, de Guirior died at the age of 80 on 25th November 1788.

This parure is a rare and very fine example of the late 18th Century jewellery which has reached us in its original form. Antique jewels rarely survived and were often dismantled. Due to their scarcity and high value, gold and silver were melted down and reused and precious gemstones were dismantled and reset in new mounts following the changes in taste and fashion.

Very few jewels in closed-back settings, where the backs of the stones are not visible, a technique used until the end of the 18th Century, still exist today, especially in the shape of girandole earrings. Composed of a larger stone combined with a bow supporting three pear-shaped drops, this design was the favorite motive of the seventeenth century and early Eighteenth Century.

The very fine emeralds in this parure further confirm its Spanish provenance. With the discovery and development of new maritime routes in the late 15th Century, the Spanish empire had direct access to a vast amount of natural resources. It is undeniable that Manuel de Guirior, as Viceroy, was able to source the finest emeralds from Colombia.

Gifted by Manuel de Guirior y Portal, the Viceroy of New Granada and later Peru, to this wife, Dona Maria Ventura de Guirior y Otazu, this exquisite parure is therefore referred to as the Virreina Suite in the family archives 

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Lot 124. Ruby and diamond necklace, circa 1880. Estimate 180,000 - 280,000 CHF. Courtesy Sotheby's.

Of garland design, set with circular-cut, cushion- and pear-shaped rubies and similarly cut and rose diamonds, one diamond deficient, inner circumference approximately 380mm.

Accompanied by a gemmological report.

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Lot 203. Chaumet. Fine ruby and diamond necklace, circa 1905Estimate 220,000 - 260,000 CHF. Courtesy Sotheby's.

Composed of sixteen graduated clusters spaced by trefoil motifs, set with cushion-shaped rubies weighing from 0.68 to 4.37 carats, and circular-cut and cushion-shaped diamonds, length approximately 420mm, unsigned, French assay marks and maker's mark for Chaumet.

Accompanied by SSEF report no. 86169, stating that fifteen rubies are of Burmese origin, with no indications of heating; and SSEF report no. 86287, stating that one ruby weighing 1.04 carats is of Burmese origin, with indications of heating and minor residue in fissures.

Property of a Lady of Title 

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Lot 179. Boucheron. Delicate diamond bandeau, circa 1910Estimate 92,000 - 135,000 CHF. Courtesy Sotheby's.

Of foliate design, decorated with circular-cut and rose diamonds, inner circumference 510mm, signed Boucheron, case stamped Boucheron.

ExhibitedCf.: Tiara, Dignity and Beauty, The Story of the Tiara, Bunkamura Museum of Art, Japan, 2007, plate 89, for a similar bandeau by Boucheron. 

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Lot 163. Formerly in the Collection of Queen Victoria Eugenie of Spain. Cartier. Burmese Sappire and diamond clip, 1933. Estimate 80,000 - 120,000 CHF. Courtesy Sotheby's.

Set with a cabochon sapphire stated to weigh 25.20 carats, enhanced with circular-cut, baguette, bullet- and kite-shaped diamonds, signed Cartier, numbered, French assay mark for platinum and maker's mark.

Accompanied by a duplicata of Gübelin report no. 19010018, stating that the sapphire is of Burmese origin, with no indications of heating, together with a copy of a Cartier certificate of authenticity.

Provenance: Formerly in the Collection of Queen Victoria Eugenie of Spain (1887-1969)
Then by descent
Sotheby’s New York, 12-13 April 1999, lot 163.


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Lot 147. René Boivin. Pair of gold and diamond ear clips, 1940s. Estimate 80,000 - 120,000 CHF. Courtesy Sotheby's.

Each designed as a cone set with rose diamonds, highlighted with beads set with circular-cut diamonds en tremblant, unsigned, French assay mark for gold. 

Accompanied by a copy of a certificate of authenticity from Françoise Cailles and Jean-Norbert Salit.

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Lot 188. Diamond double-clip brooch, 1950s. Estimate 20,000 - 30,000 CHF. Courtesy Sotheby's.

Of swirl design, set with brilliant-cut and baguette diamonds, detachable brooch fitting, numbered.

From a Private Collection.

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Lot 136. Coral and diamond demi-parure, Bulgari and a ring, 1960s. Estimate 20,000 - 30,000 CHF. Courtesy Sotheby's.

Comprising: a brooch set with a cabochon coral highlighted with brilliant-cut diamonds, a pair of ear clips similarly set, signed Bulgari, Italian assay mark for gold, case stamped Bulgari, together with a ring, size 54.

Property of a Lady. 

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Lot 150. Bulgari. Enamel and ruby bracelet-watch, 'serpenti', circa 1970. Estimate 75,000 - 110,000 CHF. Courtesy Sotheby's. 

Designed as a coiled serpent, applied with black, red and white enamel, the eyes set with pear-shaped rubies, the mouth opening to reveal a circular dial, dial signed Jeager-Le Coultre, bracelet expandable, signed Bulgari.

Accompanied by a Bulgari certificate of authenticity.

From the Collection of Henriette Hélène Porgès, Marquise de la Ferté-Meun

Jules Porgès was born in Vienna and raised in Prague, where his father was a jeweller. He moved to Paris in the 1860s with his wife Anna, and became a diamond trader. He recognised the significance of the diamond finds in South Africa, and in 1873 and he sent two of his employees, Alfred Beit and Julius Wernher, down to the area. Between 1875 and 1880, he acquired several mines in South Africa: De Beers, Bultfontein, Dutoitspan and the whole of Kimberley, in association with Cecil Rhodes. He founded the Compagnie française de diamants du cap de Bonne-Espérance, which he sold to De Beers in 1887. Called ‘The Diamond King’, he also bought gold mines between 1880 and 1888 in the region of Johannesburg. He stopped these activities in the early 1890s and then focused then on his Parisian life.

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Jules Porgès in Prague in 1875 (Courtesy of Antoine Porgès).

In 1892, he built a hôtel particulier on 14-18 Avenue Montaigne in Paris, where once stood the maison Pompéienne of Prince Napoléon-Jérôme Bonaparte. He also bought the château de Rochefort-en-Yvelines from the la Rochefoucauld family and asked the architect of the Ritz Hotel in Paris, Charles Mewès, to build a sumptuous château inspired by the Hotel de Salm in Paris (the Legion d’Honneur Palace).

Jules Porgès was amongst the more prominent art collectors in Paris. His home housed important Old Masters, such as Rubens, Van Dyck, Rembrandt, Bruegel de Velours and Le Lorrain. It was also the place of somptuous balls and dinners. André de Fouquières in Cinquante ans de panache and Mon Paris et ses Parisiens, mentions these grand events.

« J’ai dit ce qu'étaient, avant 1914, les soirées de l'ambassade d’Autriche-Hongrie quand, dans les salons de l'hôtel Matignon, les plus brillants cavaliers faisaient tourner, au rythme de la valse, les plus jolies femmes de Paris ... et quelques têtes. Pas de fête sans la présence du prince de Hohenlohe, des comtes Nemès, Festeties, Tarnovski, Schoenborn, du baron Léon de Vaux, du baron Oscar de Gautsch et Rodolphe de Mittag, valseur irrésistible, qui avait dérobé le cœur d'une grande dame de chez nous. L'ambassade avait à Paris une véritable annexe officieuse : l'hôtel Porgès, avenue Montaigne. Mme Jules Porgès, qui était viennoise, avait fait construire ce vaste hôtel d'allure majestueuse et de style incertain dont les salons, emplis de toiles anciennes autant que des salles de musée, servirent de cadre à bien des fêtes. Elle avait aussi à Rochefort-en-Yvelines un château confortable et somptueux à la manière d'un Palace ».

« L'hôtel Porgès connut une période brillante. La maîtresse de maison donnait des fêtes somptueuses, accueillant avec une infinie bonne grâce ses invités en haut du magnifique escalier de marbre.

Tout se déroulait selon les rites d'une cérémonie assez pompeuse, mais ce que ces réunions eussent pu avoir d'un peu solennel était joyeusement animé par la présence de l'ambassadeur de la Double Monarchie, le comte de Khevenhuller, hôte régulier et plein de séduction de Mme Porgès, par les jeunes diplomates austro-hongrois, tous incomparables valseurs, par l'ami espagnol de la maison, le comte de Casa-Sedano, qui apportait là sa bonne humeur et son entrain.

Au cours d'une de ces soirées, je conduisis le cotillon avec la fille de Mme Porgès, la marquise de La Ferté-Meun ».

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Jules Porgès and his family at the Porgès Château at Rochefort en Yvelines (Courtesy of Antoine Porgès).

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Lot 171. Cartier. Fine diamond necklace, circa 1925Estimate 367,000 - 460,000 CHF. Courtesy Sotheby's. 

Of geometric design, set with circular-cut and rose diamonds, supporting a detachable pendant swing-set with a rose diamond stated to weigh 8.39 carats within a frame of similarly cut diamonds, length approximately 420mm, detachable into segments, one may be worn as a bracelet, length approximately 190mm, signed Cartier, three segments unsigned, numbered, French assay marks for platinum and maker's marks, one element and one small diamond deficient.

Provenance: Formerly in the Collection of Henriette Hélène, dite Elly, Porgès, Marquise de la Ferté-Meun (1878 - 1946), married to Eugène, Marquis de la Ferté-Meun (1870-1946), daughter of Jules Porgès (1839-1921) and Anna Wodiamer. 

The Timeless Appeal of Art Deco Jewels

The First World War put a dramatic end to the frivolous, light-hearted spirit of the Belle Epoque and to its extravagant excesses in the fields of dress, fashion and jewellery.

Cartier always perceptive to changes in fashion, was able to foresee well before political events dramatically changed the world during four years of conflict, that women were ready to revolutionise the way they dressed, adorned themselves and behaved in society.

During the first decade of the 20th century, Cartier had already started to trace the lines of the jewellery style which would favor the dynamic and emancipated women of the 1920s and suit their short tunic dresses and hairstyles à la garçonne. This change was triggered by the contemporary experiences of Cubist painters and certainly influenced by the Vienna Secessionist artists such as Klimt, Hoffmann and Olbrich, who promoted the evolution of the style for painting, architecture and interior decoration based on squares and circles.

Jewels gradually lost their original delicate lightness to assume a solid rigidity, foreshadowing the development in jewellery design which, after the war, would fully embrace the tenets of what is known as Art Deco.

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Lot 131. Diamond bracelet, circa 1925. Estimate 18,000 - 25,000. Courtesy Sotheby's.

Of geometric openwork design, pierced and millegrain-set with circular-cut and rose diamonds, length adjustable from approximately 160mm to 190mm, French assay mark for platinum.

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Lot 166. Sapphire and diamond bracelet, 1920s. Estimate 20,000 - 30,000 CHF. Courtesy Sotheby's.

Millegrain-set with circular-cut sapphires highlighted with similarly-, single-cut and rose diamonds, length approximately 180mm, French assay mark.

From a Private Collection.

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Lot 172. Cartier. Pair of emerald, diamond, onyx and enamel earrings, 1924. Estimate 30,000 - 50,000 CHF. Courtesy Sotheby's.

Each designed as a line of box linking set with single-cut diamonds, supporting a palmette motif with black enamelled border, the centre set with a carved emerald leaf bordered by cushion-shaped diamonds, surmounted by a buff-top onyx, later post fittings, signed Cartier, numbered, French assay marks for platinum.

From a Private Collection.

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Lot 173. Cartier. Onyx and diamond bracelet, 1923. Estimate 40,000 - 60,000 CHF. Courtesy Sotheby's.

Designed as a series of annular links set with circular-cut diamonds, alternating with bombé onyx sections collet-set at the centre with a circular-cut diamond, length approximately 185mm, signed Cartier, numbered, French assay marks for gold and platinum and partial maker's mark, fitted case stamped Cartier.

Accompanied by a Cartier certificate of authenticity

From a Private Collection.

Of Noble Provenance

Highlighting this November’s offering of exquisite jewels of noble provenance is a beautifully matched pair of natural pearls, set in a glittering pair of diamond earrings attributed to Cartier, come from the collection of Sarah Baillie-Hamilton, born Sarah Cook (1903-1995).

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Lot 198. Attrributed to Cartier. Pair of superb natural pearl and diamond earrings, 1930s. Estimate 75,000 - 110,000 CHF. Courtesy Sotheby's.

Each composed of a foliate surmount set with circular-cut and cushion-shaped diamonds, supporting a drop shaped natural pearl measuring approximately 10.30 x 10.40 x 13.50mm and 10.60 x 10.70 x 13.50mm respectively, later hook fittings, unsigned, fitted case stamped Cartier.

Accompanied by a gemmological report; together with an SSEF report. 

Accompanied by SSEF report no. 114993, stating that the pearls were found to be natural, saltwater.

Property of the Earl of Haddington.

NoteThis beautifully matched pair of natural pearls, set in a glittering pair of diamond earrings attributed to Cartier, come from the collection of Sarah Baillie-Hamilton, born Sarah Cook (1903-1995).

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Sarah, Countess of Haddington (1903-1905)

Born in Montreal in 1903, she met George, the 12th Earl of Haddington when he was working as an aide-decamp to the Governer-General of Canada. The couple married in 1923, settling down in Scotland at the family seat at Mellerstain. Lady Haddington opened the family home as an emergency military hospital during the war, and was fondly remembered by the injured soldiers who recovered there for the kindness she showed to them. Her dedication to the injured troops carried into the post-war years, and she tirelessly raised funds for the Scottish National Institution for the War Blinded at Lindburn.

In addition to her many contributions during the war, Lady Haddington was also a very talented gardener, as evidenced by the gardens she created at Tyninghame House, near Haddington in East Lothian, and a classically-trained pianist. Her love and natural gift for music (her tastes ranged from Chopin to Rod Stewart) drew her into managing the first Edinburgh International Festival in 1947, which she helped guide for 14 years.

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Lot 201. Harry Winston. 5.73 carats Colombian emerald and 4.99 carats D Colour, VVS1 Clarity diamond ring. Estimate 100,000 - 200,000 CHF. Courtesy Sotheby's.

Of toi et moi design, set with a pear-shaped emerald weighing 5.73 carats and a similarly cut diamond weighing 4.99 carats, size 501/2, unsigned, maker's mark for Jacques Timey.

Accompanied by GIA report no. 2203975233 , stating that the diamond is D Colour, VVS1 Clarity together with a working diagram stating that the diamond may be internally flawless after minor repolishing; further accompanied by SSEF report no. 113216, stating that the emerald is of Colombian origin, with a minor amount of oil in fissures 

From a Noble Family.

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Lot 199. Attractive 8.47 carats Colombian emerald and diamond ring. Estimate 40,000 - 60,000 CHF. Courtesy Sotheby's.

Set with an oval emerald weighing 8.47 carats, the mount enhanced with single-cut diamonds, size 501/2.

Accompanied by SSEF report no. 113182, stating that the emerald is of Colombian origin, with a minor amount of oil in fissures.

From a Noble Family.


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Lot 200. Harry Winston. Fine 16.11 carats D Colour, VVS1 Clarity diamond ring, 1968. Estimate 100,000 - 200,000 CHF. Courtesy Sotheby's.

Set with a step-cut diamond weighing 16.11 carats, between tapered baguette diamond shoulders, size 54, unsigned. 

Accompanied by GIA report no. 5201975191, stating that the diamond is D Colour, VVS1 Clarity, together with a copy of a Harry Winston invoice, dated 17 April 19680

From a Noble Family.