REVIEW: JEWELLERY, WATCHES, SILVER & OBJECTS OF VERTU: 12 MARCH

A string of highlights registered multiple-estimate prices from this impressive catalogue, with notable strengths across all disciplines.

They started with a late 19th century natural pearl and diamond necklace, of garland design, selling for more than three time over top estimate at £16,000. Set throughout with natural pearls and vari-cut diamonds, the necklace was spaced by diamond-set floral motifs, with a detachable pierced frontispiece suspending a pearl and diamond cluster drop and mounted in silver and gold. It had been estimated to fetch £3,000-5,000.

A stunning Art Deco aquamarine and diamond double clip brooch, circa 1935, trebled its top estimate at £15,000. Each clip was centred with rectangular step-cut aquamarine volutes bordered by brilliant-cut diamonds, between radiating baguette-cut diamonds. Platinum mounted with its original frame, the clip shows considerable similarities to Cartier’s aquamarine set jewels, most of which was produced by their London branch from 1932 onwards. During the economic depression of this period Cartier started using semi-precious stones such as aquamarine and topaz as a more affordable alternative for their clients. As with Cartier’s examples, this brooch illustrates a progression from the geometric rigidity of Art Deco designs of the previous decade towards a new expressive use of curves and volutes allowing the aquamarines to take centre stage.

Doubling its mid estimate to achieve a hammer price of £15,000 was a mid-20th century sapphire necklace and bracelet suite by Van Cleef & Arpels, designed as a continuous series of alternately angled reeded batons, set with circular-cut sapphires throughout.

The selection of Objects of Vertu in the sale included numerous fine 18th and 19th century enamelled snuff boxes: a Swiss gold and enamelled snuff box by Rémond Lamy & Cie, Geneva, circa 1800, rose over its £7,000-8,000 estimate to take £10,000. The cover was decorated with an ‘en plein’ enamelled scene, probably by Jean-Louis Richter, depicting a mamelouk on horseback, attacked by a lion, against an Egyptian landscape of Giza, framed within a blue, black and white enamelled border with taille d’épargne gold peacock feathers. The lid was stamped with an incuse maker’s mark, and the inside base with a St Petersburg town mark and the assay mark of Alexander Yashinov.