Oscars

Cartier diamond flank solitaire ring. Set to centre with a rectangular step-cut diamond in an open back claw setting, with an approximate weight of 0.95 carats, flanked by two rectan...

Ancient Roman Hippocampus intaglio ring. Set with an oval nicolo onyx intaglio depicting a hippocampus facing left, in a closed back roman-set setting, flanked by broad integrated sh...

Chaumet Burmese ruby and diamond cluster ring. Set with six oval old cut natural unenhanced Burmese rubies in open back claw settin...

Georgian hair slide or scarf slide. A yellow gold hair slide, featuring a hand with ruffled cuff holding a sprig of leaves and berries between the index an...

Drop shape old mine diamond earrings. A matching pair, set with a drop shape old mine diamond in an open back claw setting, two in total, one D colour, SI1 clarity with a weight of 1...

Viking gold stamped ring. A large yellow gold ring featuring a curved bombe' shaped plaque, with raised linear detail to the centre and decorated with a series of repeated triangular...

Art Deco cushion shape old mine diamond ring. Set to centre with a cushion shape old mine diamond, J colour, VVS2 clarity, with a weight of 3.24 carats in an open back rubover settin...

Natural lavender jade bead necklace with diamond set clasp, circa 1950. A necklace composed of thirty three untreated lavender jade spheric...

Sapphire and diamond cluster ring. Set to centre with a cushion shape old mine diamond in a open back rubover setting with an approximate weight of 2.05 carats, surrounded by forty s...

Diamond line bracelet. Set with forty one square step-cut diamonds in open back half rubover settings with a combined approximate weight of 16.40 carats, to a striking articulated li...

Victorian five stone diamond ring. Horizontally set with five cushion shape old mine diamonds in open back rubover settings, with a t...

Antique enamel bug brooch. Set to centre with five round rose cut diamonds in closed back grain settings with an approximate combined weight of 0.05 carats,...

Stuart sardonyx cameo of John Milton mounted in a Victorian gold ring. Set with an oval sardonyx 17th century cameo in a rubover setting featuring ...

Synthetic ruby and diamond buckle ring. Set with three rectangular baguette cut synthetic rubies in open back rubover settings with a combined approximate weight of 0.30 carats, furt...

Late Medieval iconographic ring depicting the Holy Trinity. A yellow gold ring featuring a central rectangular plaque, finely engraved with the figur...

Byzantine betrothal ring, 7th-8th century AD. A yellow gold ring with square plaque-form bezel engraved with two crowned full-length figures ...

Burmese sapphire and diamond cluster ring. Set to centre with an oval old cut natural unenhanced Burmese sapphire in an open back claw and rubover setting with a weight of 2.64 carat...

Old cut diamond flanked solitaire ring. Set to centre with a round old cut diamond, G colour, SI1 clarity, with a weight of 2.24 carats, in an open back claw setting, flanked by six ...

Georgian 'urn' blue enamel mourning ring. Set centrally with a crystal covered rounded marquise shape plaque in a closed back rubover setting, enc...

Vintage Van Cleef & Arpels diamond and lapis lazuli 'Philippine' ring. Set with eighteen round old cut diamonds to a central curving bezel in grain settings with an approximate combined weight of 0.60 carats within twisted rope effect borders, flanked by two tapered domed lapis lazuli smoothly conforming down the shoulders to a yellow gold solid D-shape shank. Marked 18 carat yellow gold, signed 'VCA', numbered '66 B6001 C343', maker's mark 'P&Fils' for Péry et Cie...

Van Cleef & Arpels gold bracelet. A yellow gold articulated bracelet comprised of sixteen sections of seven rows of horizontal tubular woven links interspersed with a vertical yellow...

Art Deco flanked solitaire diamond ring. Set to centre with a single rectangular emerald-cut diamond, H colour, VVS1 clarity with an approximate weig...

Victorian micro mosaic pendant. Set to centre with a circular panel of fine micro mosaic depicting a floral arrangement, further set to ...

Georgian hair, diamond and pearl mourning ring. Set with twenty eight round rose cut diamonds in closed back grain settings with a combined approximate w...

Diamond floral spray brooch. Set with one drop shape old mine diamond in an open back cutdown setting with a weight of 1.80 carats, and fif...

Art Deco sapphire and diamond ring by Oscar Heyman Brothers. Set to centre with three square step cut natural unenhanced Ceyl...

Ruby and diamond brooch. Set to centre with thirty four square baguette cut natural unenhanced rubies in open back channel settings with a combined approximate weight of 3.40 carats,...

A yellow gold ring with heavy asymmetrical bezel composed of a drop shaped cluster of nineteen carved oval sapphires in claw settings with an approximate total weight of 20.00 carats...

Antique shell cameo brooch and earrings by John Brogden, English, circa 1870. A yellow gold suite of jewellery, the brooch composed of a horizontally situated oval Bull’s Mouth shell cameo of the Greek goddess Selene riding a serpentine dragon in a rubover collet setting, encircled by a conforming frame of gold beading and twisted gold wire punctuated with four gold palmette form plaques engraved and decorated with dark blue enamel and placed at the cardinal points, the reverse mounted with a hinged pin and scroll clasp, the earrings each composed of a vertical oval Bull’s Mouth shell cameo engraved with a bust length portrait of Selene with crescent-set headdress, encircled by a conforming frame matching that of the brooch with the addition of a pendant decoration composed of a horizontal bar of gold beading and twisted gold wires suspending gold link chains graduated from centre and ending in conical gold elements, the reverses mounted with French wire fittings, all in a fitted red leather case, the interior marked ‘FIRST CLASS PARIS MEDAL/ 1855.1867.1851/ PARIS FIRST CLASS & LONDON PRIZE MEDALS/ JOHN BROGDON/ Goldsmith/ MANUFACTORY/ 16, Henrietta St. Covent Garden/ London’. The cameo—defined as a gem, usually either a mineral or a shell, upon which a design has been carved in relief—is believed to have originated in Hellenistic Greece, during the third century BC. These miniature sculptures, at that time confined to the medium of hardstone, are thought to have been made with the primary purpose of personal adornment. The same practice of mounting cameos in jewellery was then continued by the Ancient Romans, and they are known to have been worn by many a Roman emperor. After the fall of Rome the fashion for cameos went into a decline, until it was again revived during the Renaissance period, brought about by a keen interest in the ancient world. At this time both antique and contemporary cameos were mounted in jewellery, as well as collected as objet d’art. The art of cameo cutting was revived in Italy, where it would remain a centre for the coming centuries. Again there was a lull in interest in carved gemstones, until the Neoclassical revival of the eighteenth century, largely stimulated by the discoveries of the ancient Roman cities of Pompeii and Herculaneum. As with the Renaissance, antique specimens were generally prized over modern cameos, and the worldliest men in Europe held them among their collections of art and antiques. That said, carving centres in Rome and Torre del Greco (near Naples) in Italy were established in response to the demand of the Grand Tourists, who travelled to Italy and Greece to become educated in the wonders of the ancient world. It was at this time that shell cameos, mostly made in Torre del Greco due to its proximity to the sea, became more popular, owing to the relative ease in carving shell over hardstone. In addition to Rome, hardstone cameos also became a specialty of Idar Oberstein, Germany, which had a long history with both the gem mining and cutting trade. In a shift away from the collector’s cases of the previous century, the nineteenth century saw a strengthening in the fashion for wearable cameos. After the Empress Josephine donned a cameo-set suite of jewellery at the coronation of Napoleon in 1804, cameo jewellery became all the rage. Napoleon played a further hand in promoting the art by establishing a gemstone carving school in Paris, inspired by his appreciation for the arts of the ancient world. By the mid-nineteenth century shell cameos, in part due to their lightness compared with hardstone cameos, were the height of fashion. Large shell cameos as well as hardstone cameos were set into contemporary mounts, often as suites of jewellery. Some of the best cameos of the nineteenth century—carved by a select group of recognized carvers—were set into revivalist mounts, corresponding to the subject matter. In Victorian England cameo jewellery was particularly prized, due in part to the fact that the Queen owned and wore a number of cameo jewels. One example which can often be seen in official portraits is the Badge of the Order of Victoria and Albert, carved by Tommaso Saulini of Rome, who also produced cameos for the maker of the present suite, John Brogden. To meet demand some carvers set themselves up in London, including William Schmidt, a German carver from Idar Oberstein, who produced cameos for top London jewellers, including Brogden, Carlo Giuliano and Child & Child. In fact, Schmidt purports to have been the first to carve cameos out of opal, which Brogden reportedly displayed in the Paris Exhibition of 1878. An extant example, now in the collection of the British Museum, was set by the Giuliano firm. Regarding subject matter, cameos throughout time have been largely figural, from bust length profile portraits to scenes with multiple full-length figures, and sometimes animals. Ancient Greek and Roman cameos often depicted mythological scenes as well as contemporary figures. During the Renaissance, mythological scenes were popular, often taken directly from ancient sculpture, as well as portraits of notable contemporary figures. During the eighteenth and nineteenth centuries, due to the revivalist styles, both Renaissance and Classical subjects were copied and set into matching (and sometimes unmatching) revivalist mounts. From the Renaissance through the Victorian era, being able to recognize the source of the carving in a cameo was a mark of erudition, revealing in the wearer knowledge of Classical art. As mentioned, the present cameo parure...

Emerald and diamond cocktail ring by J. E. Caldwell, American, circa 1940. A platinum ring diagonally set with one central marquise shaped old cut untreated Muzo emerald in a claw se...

Victorian diamond and enamel snake pendant. Set to centre with a cushion shape old mine diamond in an open back cut-down setting with an approximate weight of 2.20 carats, further se...

Maison Plisson et Hartz chimera brooch. A circular yellow gold brooch, composed of an intricately carved crouching chimera with teeth bared and wings unfurled, encircled by a swirl o...

Emerald and pyrite snake ring. Set with one round cabochon natural unenhanced emerald in an open back rubover setting with an approximate weight of 0.25 carats, further set with a py...

Conch pearl and diamond necklace. Set with an oval natural conch pearl, approximately 7.3 x 9.0 mm, suspended from five round old cut diamonds ...

Victorian diamond pendant/brooch. Centrally set with a cushion shape old mine diamond in an open back cut-down setting with an approximate we...

Vintage marquise diamond cluster ring. Set to centre with a marquise shape old cut diamond, F colour, VS2 clarity, with a weight of 2.39 ...

Oscar Heyman Brothers sapphire and diamond ballerina ring. Set to centre with an oval brilliant cut diamond in an open back claw setting with an approximate weight of 1.17 carats, en...

Ancient Roman earrings, 2nd century AD. A pair of yellow gold earrings, each with an inverted drop shaped ornament decorated a gold bead and scr...

Victorian natural pearl and enamel locket. Set to centre with a natural half pearl in a closed back grain setting, encircled by a single row of eight natural half pearls in closed ba...

Ancient Roman intaglio Victory ring. Set to centre with an oval cornelian intaglio in a closed back Roman set setting depicting the full length figure of ...

Van Cleef & Arpels diamond cocktail ring. Set centrally with twelve round brilliant cut diamonds in open back grain settings with a combined approximate weight of 0.60 carats, to an ...

Art Deco black opal and diamond ring. Set to centre with an oval cabochon natural black opal in an open back rubover setting with an approximate weight...

Art Deco diamond solitaire ring. Set with a central round old cut diamond, I colour, SI1 clarity, with an approximate weight of 4.17 carats in an open back claw setting, to an angula...

Post-Medieval posy ring 'loue is the bonde of peace'. An ornately crafted gold posy ring featuring nine hollow domed half-spheres, each encircled by...

Vintage diamond cluster ring. Centrally set with one cushion shape old mine diamond, I colour, VS1 clarity, with a weight of 1.50 carats in an ...

Marchak cabochon emerald, carved ruby and diamond ring. Set centrally with a round cabochon natural emerald with no colour enhancement in an open back rubover setting with an approxi...

Ruby and diamond three stone ring. Set to centre with an oval old cut natural unenhanced Mozambique ruby in an open back claw setting with an approximate weight of 2.05 carats, flank...

Enamelled silver gilt box, Cartier Paris, French, circa 1930. A silver gilt box in black enamel, the top centred with a stylized floral design, the hin...

Post Medieval fede ring with posy, circa 1650-1720. A yellow gold fede ring, finely carved to centre with a pair of clasping hands, set above with a hear...

Edwardian turquoise and diamond coronet cluster ring. Set to center with a round cabochon cut natural turquoise in an open back claw setting, with an approximate weight of 1.20 carat...

Medieval sapphire and emerald ring. Set to centre with a hexagonal cabochon natural sapphire in a closed back rubover setting with an approxi...

Victorian engraved box. An oval snuff/pill box featuring a gold lid engraved with floral motifs set within a garland border and a foliate pattern to...

Old mine diamond cluster ring. Set centrally with a cushion shape old mine diamond in an open back grain setting with an approximate weight of 1.2...

Ancient Roman cornelian signet ring with engraving of Mars. Set with one central oval cornelian intaglio in a closed back rubover setting featuring...

Convertible diamond necklace/bracelet. Set with twenty-five cushion shape old mine diamonds in open back rubover settings with a combined ...

Georgian diamond brooch. Set with one hundred and ten rose and table cut diamonds of varying shapes and sizes, in closed back cut down settings ...

George Nassau was an English country gentleman, and the brother of Henry, 5th Earl of Rochford. He was a historian and bibliophile and amassed an extensive library including many manuscripts on his home county Suffolk, with illustrations commissioned by him from leading artists of the time such as Thomas Gainsborough. His will notes that on his death, the following people were to receive mourning rings, valued at six guineas each: Reverend H.I. Berners, Sir William Rowley, John Wright Esq., Reverend William Gibson, Sir William Parker Bt., Sir Francis Hilman, Captain Hopkins, Reverend William Garratt, William Berners Esq., Reverend Dr Kilderlee, Colonel Dupuis, John Phillips Esq., Sir Robert Spencer Kilderlee Esq., James Saicer Esq., James Wenn Esq., Earl Ludlow, George Farrant Esq., John Butler...

Wolfers Frères Colombian emerald and diamond ring. Set to centre with an octagonal emerald-cut natural Colombian emerald with minor clarity enhancement in an open back rubover settin...

Burmese red spinel and diamond dress ring. Set to centre with a cushion shape old cut natural unenhanced Burmese red spinel, in an open back rubover s...

Gubelin sapphire and diamond bombé cocktail ring. Set to centre with one round transitional cut diamond in an open back claw setting with an approxima...