An emerald and diamond tiara in a fitted case by Marzo. The central square-cut emerald set amidst a tapering openwork panelof scrolling foliate motifs, mounted atop a band set with six graduated cut-cornered step-cut emeralds interspersed with openwork panels with knife-edge set diamond collets, the piece set throughout with old and rose-cut diamond. Circa 1915. This tiara has been in the private ownership of a Spanish aristocratic family.
Suite of platinum, opal and diamond jewelry, Seaman Schepps | Lot | Sotheby's
The oval gold frame, enamelled with white, sky and dark blue trails of flowers and leaves surrounds a bust of Cleopatra, head and bust in agate, blue snake coiled around her right arm and hand, facing towards the front, within an inner border of fruit and flowers. 16th century.
Austro-Hungarian Gold Filigree 800 Silver Necklace w/ Green Paste
Stuart (1542-1587) facing in profile towards the right. The frame is red with white details, and the back which is covered with a diaper pattern of red and green stylised floral motifs and white quatrefoils is dated 1566, suspension loop, and formerly hung with pearl drop below. French, 1566.
An Indian inspired black opal, diamond, emerald and sapphire necklace, by Louis Comfort Tiffany. Circa 1915-20 | JV
Neckalce By Henry Wilson, London: Circa 1905 Henry Wilson's jewellery is distinctive for its rich colour combinations worked in stones and enamel, and its sculptural qualities. Like many other Arts and Crafts designers, including C.R. Ashbee, Wilson trained originally as an architect. He became interested in metals in the early 1890s, and went on to teach at the Royal College of Art, publishing a practical manual Silverwork and Jewellery in 1903. V&A Search the Collections
Gentleman's opal and diamond dress set, Van Cleef & Arpels, 1920s | lot | Sotheby's