17 June 2025 - Prince Ricardo De La Cerda
There are many striking antique Jewels coming up for Auction this month, with the Marie-Thérèse Pink Diamond and three magnificent Mughal Necklaces from a Royal Collection are among the spectacular Jewels on Auction at the Christie’s ‘Magnificent Jewels’ Sale in New York City tomorrow!
Estimate: USD 30,000 – USD 50,000
Color and Ingenuity: The Collection of Lucille Coleman
A pair of Van Cleef & Arpels Diamond ‘Flame’ Brooches with round, baguette and tapered baguette-cut diamonds, platinum and 18k white gold (French marks), circa 1950, signed Van Cleef & Arpels.
First released in 1934, Van Cleef & Arpels’ ‘Flamme’ (‘Flame’) brooch is an often referenced early example of the house’s now signature transformable jewelry. Motivated by the economic conditions of the time, designers utilized modernism’s simplified forms to develop jewels that would suit a variety of wear. Frequently worn as a pair, the ‘Flame’ brooches’ addition would elevate clothing, hats, hair and, after later style evolutions, necklaces.
Perhaps the best example of the ‘Flame’ brooches’ transformable nature can be found in the styles of Jacqueline Kennedy. The First Lady wore her brooches repeatedly, either adorning her multi-strand pearl necklace, pinned to jacket lapels or dresses, and, most famously, accenting her coiffure during a dinner given by President and Madame de Gaulle at Versailles on June 1, 1961.
The popularity of the flame motif continued throughout the 20th century with multiple variations produced, some released under the model name ‘Haricot’. A success in modern design principles, it is the sleek line, monochrome color composition and interesting textural contrast between the round and baguette diamonds that ensure these brooches’ lasting presence in style.
Estimate: USD 30,000 – USD 50,000
A Belle Époque Diamond Choker Necklace with old, single and rose-cut diamonds, platinum and 18k yellow gold (French mark), circa 1910.
Estimate: USD 50,000 – USD 70,000
Property from the Collection of Margaret Thompson Biddle
An Emerald and Diamond Pendant-Clasp with round and oval cabochon-cut emeralds, round, single and baguette-cut diamonds, 18k white gold and platinum (French marks), circa 1950.
Estimate: USD 30,000 – USD 50,000
Property from the Collection of Margaret Thompson Biddle
A pair of Emerald and Diamond Pendant Earring Drops with drop-shaped drilled bead-shaped emeralds, old and single-cut diamonds, platinum, circa 1950.
A collector of fine art and objects with an incredible eye for jewelry, the elegantly sophisticated Margaret Thompson Biddle was the daughter of notable copper miner and financier, William Boyce Thompson.
Her father, William Boyce Thompson was born and raised around mining in Helena, Montana, so it was no surprise that he went on to make a name for himself in the copper mining industry. After retiring from the New York Stock Exchange around 1915, Thompson’s interests returned back to mining with his founding of the Newmont Mining Corporation.
William and his family were avid supporters of philanthropies and charitable efforts around the world, so much so he was awarded the honorary title of Colonel by the American Red Cross. In addition to the several companies he owned, he founded the Boyce Thompson Institute in New York in the 1920s. The institute focuses on scientific plant research with the ultimate goal of improving human welfare.
Margaret caught the eye of prominent Philadelphian Anthony Drexel Biddle Jr, and in 1931 they were married. That same year he was appointed the Minister to Norway by President Roosevelt, and then Ambassador to Poland 1937. This led Margaret, their children, and him all over the world. After fleeing Poland in 1939, they landed in England for one of Anthony’s commissions. In this position, he worked with the governments-in-exile of Czechoslovakia, Luxembourg, the Netherlands, Poland, Norway, Yugoslavia, Belgium, and Greece. Biddle held numerous ambassador positions in the years that followed.
Relocating to France after their separation at the end of WWII, Margaret spent time between her home on the French Riviera and a hôtel particulier on the notable Boulevard Saint-Germain in Paris. Here she was known to be quite the hostess and socialite. At one of her lavish soirees one might have found The Eisenhowers, The Duke and Duchess of Windsor, and any notable French creative of the time.
Christie’s has had the incredible opportunity to share with collectors spectacular jewels from Margaret’s collection, including an elegant Diamond ‘Palm-Tree’ Brooch mounted by Cartier which sold for just over one million dollars in 2022. Most recently, a charming pear shaped diamond of 11.98 carats also brought over one million dollars in 2024.
Once again, Christie’s has the privilege of unveiling three more jewels from Margaret’s collection including an emerald and diamond pendant clasp and pair of emeralds drops, each of Colombian origin, along with an impressive old-cut diamond of over 13.00 carats.
Estimate: USD 100,000 – USD 150,000
India and Cartier: Property from an Exceptional Private Collector
Cartier Art Deco Multi-Gem and Diamond Shoulder Brooch with oval and round emerald cabochons, carved, buff-top and square-shaped emeralds, round ruby cabochons, table and old-cut and diamonds, black enamel, platinum and yellow gold, circa 1924, unsigned, areas of deficiency to the enamel and chips to the emeralds; accompanied by detachable tassel of later addition recreated from original records by Cartier workshops, seed pearls and onyx beads, square-shaped emeralds, round cabochon emeralds and rubies, black enamel, round diamonds, 18k white gold (French mark), signed Cartier, maker’s mark, numbered, accompanied by a black silk cord, red Cartier case
Sotheby’s, New York, 9 December 2010, Sale N08687, Lot 464
Christie’s, New York, 19 June 2019, Maharajas & Mughal Magnificence, Sale 17464, Lot 225
The intimate relationship between Cartier and India began in 1911. Jacques Cartier traveled to India for the very first time to attend the Coronation of George V and Queen Mary of Teck at the Delhi Durbar. During this weeklong celebration, whereas they were crowned Emperor and Empress of India, nearly every ruling Maharaja of India was present.
It was here where Indian tradition made a mark on Jacques but also where he captivated the attention of the Maharajas and Maharanis in attendance. Sharing western designs from the Maison in Paris, he developed lasting relationships with new clients and suppliers. Most importantly, he brought back to Paris innovative inspiration that would result in one of the most important eras not just for Cartier but for the history of jewelry design.
Fascinated by French design, it was not long before Indian royalty began to commission Cartier to breathe new life into their family jewels, creating new pieces from old materials and building a collaborative bridge between East and West.
Jacques began to import unique gemstones from India to France in order to craft bespoke pieces to fulfil these commissions and in turn, European interest and intrigue in Indian culture became increasingly popular. The international jet set were enamored by these designs and commissioned jewels of their own that included Indian elements enhancing otherwise western jewels.
Jacques kept a journal of his travels to and from India, noting moments of inspiration and admiration of the richly diverse part of the world. Carved and cabochon-shaped precious stones, natural pearls and enamel enhanced jewels that notably were of larger scale and more opulent in design than the diamond-set Art Deco jewels of the era.
Designed as a Jabot pin, Lot 39 is an incredible example of French design with Indian influence. Originating in France and wildly popular in the 1920s and 1930s, the jabot pin-brooch features an ornamented motif at either end. By design, only the bejeweled ends are visible, allowing the fabric to be seen in between. In the 17th century, jabot pins were primarily used to secure the piece of fabric on the front of men’s shirts. At this same time in history, Indian rulers were wearing this style of jewel to keep opulent garments in place or precisely secure their turban. Through the use of natural pearls, carved rubies and cabochon emeralds, in tandem with the sharply shaped baguette-cut diamonds and geometric polished platinum – this Cartier Art Deco Jabot-Brooch is a perfect marriage of East and West.
Featuring carved and cabochon emeralds, table and old-cut diamonds and opaque enamel work, Lot 40 is inspired by traditional Indian turban ornaments. Called ‘sarpechs’ or ‘jighas’, these traditional pieces were worn by Indian rulers on the front of their turbans. Ornate and often with openwork design, historical imagery shows Indian sarpechs and jighas with colorful enameled surfaces, charming portrait and table-cut diamonds, along with vibrant carved gemstones. These thoughtful creations were said to be worn by only the highest-ranking Indian rulers.
This fascinating Cartier brooch is intended to be worn on the shoulder, while the accompanying detachable seed pearl tassel moves with the wearer ever so gracefully. The use of opaque black enamel, old and table-cut diamonds, along with geometric nods cement this shoulder brooch firmly in the Art Deco period. A standout out lot in the groundbreaking 2019 Christie’s sale, Maharajas & Mughal Magnificence, this Cartier Art Deco Multi-Gem Shoulder Brooch is the perfect culmination of the inspiration Jacques Cartier took from India.
Filled with history, these two magnificent brooches from the same Exceptional Private Collection are some of the most excellent examples of the lasting dialogue between Cartier and India.
Estimate: USD 2,000,000 – USD 3,000,000
Magnificent Mughal Jewels: Property from a Royal Collection
A Mughal Carved Emerald Necklace with three carved hexagonal and two carved pear-shaped emeralds of approximately 470.00, 294.00, 199.50, 108.50 and 106.50 carats, circa 1750, later added gold and magenta cords, largest emerald inscribed “Ahmad Shah Durr-i Durran” (Pearl of Pearls)/
The present series of emeralds (Lot 41) centers upon an impressively sized 470 carat emerald with a carving of floral motif. The design emulates the popular architectural styles of 17th century Mughal India, masterfully carved to best bring out the full color and beauty of the stone.
Carved emeralds held great significance for Indian royalty, particularly during the Mughal dynasty and thereafter, due to deeply rooted cultural and aesthetic traditions.
Fine large emeralds were unknown until their discovery in Colombia by the Spanish Conquistadors during the 16th and 17th centuries. They were extremely popular in all three of the great Islamic empires of the time: Ottoman Turks, the Safavid Persians and Mughal Indians; so much so that none appear to have been retained at the time in Europe.
Emeralds were brought to India by Spanish and Portegese merchants as trade goods during the Mughal dynasty. They were highly prized for many reasons, specifically their rich green color – a color in Islam that represents paradise, life and renewal.
Used as beads or as part of artifacts, these stones were often large in size but, by nature, internally flawed, making them unsuitable for traditional faceting. Rather than discarding imperfect areas, artisans skillfully carved intricate designs into the stones, transforming each emerald into a unique artistic creation that maximized its visual and symbolic value.
By the 17th century, master carvers in Jaipur produced refined and intricate emerald carvings with floral motifs that derived from architecture of the time. With great precision they carved each stone to bring out the full color and beauty of the stone.
Mughal rulers had a strong appreciation for intricate craftsmanship and detailed ornamentation. Gemstone carvings of floral patterns, religious motifs, and inscriptions resonated with the region’s artistic sensibilities and symbolic language. Additionally, many carved emeralds bore Islamic inscriptions, such as verses from the Quran, or Hindu imagery, reflecting the religious beliefs of the maharajas and adding a sacred dimension to the jewelry. This spiritual layer elevated the gemstones beyond decoration, filling them with personal and devotional significance.
Like important spinels, some emeralds were inscribed with names of their owners as they were handed down from generation to generation signifying their power, authority and wealth. Set in turbans, necklaces, bazubands or ceremonial daggers, these stones were not only luxurious but also distinct, enhancing a ruler’s prestige through rarity and artistic uniqueness while offering protection.
The present series of emeralds (Lot 41) centers upon an impressively sized 470 carat emerald with a carving of floral motif. The design emulates the popular architectural styles of 17th century Mughal India, masterfully carved to best bring out the full color and beauty of the stone. Its impressive size and precise craftsmanship, along with it’s ideal rich Colombian color, would have made it an ideal prize for Nader Shah following his 1739 capture of Delhi and subsequent control over the Mughal royal treasury.
Legend tells of Nader Shah bequeathing generals and nobles jewels from his trove in exchange for their loyalty. It is possible that the 470 carat emerald was given to Ahmad Shah as such a reward. As both Nader Shah and the Mughal emperors used impressive stones as a display of opulence and power, Ahmad Shah utilized the tradition of stone inscription to record provenance of importance. The reverse of this emerald is inscribed ‘Ahmad Shah Durr-i Durran’, forever connecting an important man to this important gem.
Estimate: USD 2,000,000 – USD 3,000,000
Magnificent Mughal Jewels: Property from a Royal Collection
A Mughal Multi-Gem And Emerald Necklace centering upon a hexagonal and drop-shaped emerald of approximately 297.00 carats total, two baroque-shaped emeralds, baroque drop-shaped spinel bead, baroque ruby bead, baroque natural pearls of 14.20 to 11.60 mm, circa 1750, gold, later added magenta and green cord
Fine large emeralds were unknown until their discovery in Colombia by the Spanish Conquistadors during the 16th and 17th centuries. They were extremely popular in all three of the great Islamic empires of the time: Ottoman Turks, the Safavid Persians and Mughal Indians; so much so that none appear to have been retained at the time in Europe.
Emeralds were brought to India by Spanish and Portegese merchants as trade goods during the Mughal dynasty. They were highly prized for many reasons, specifically their rich green color – a color in Islam that represents paradise, life and renewal.
Used as beads or as part of artifacts, these stones were often large in size but, by nature, internally flawed, making them unsuitable for traditional faceting. Rather than discarding imperfect areas, artisans skillfully carved intricate designs into the stones, transforming each emerald into a unique artistic creation that maximized its visual and symbolic value.
By the 17th century, master carvers in Jaipur produced refined and intricate emerald carvings with floral motifs that derived from architecture of the time. With great precision they carved each stone to bring out the full color and beauty of the stone. Mughal rulers had a strong appreciation for intricate craftsmanship and detailed ornamentation. Gemstone carvings of floral patterns, religious motifs, and inscriptions resonated with the region’s artistic sensibilities and symbolic language. Additionally, many carved emeralds bore Islamic inscriptions, such as verses from the Quran, or Hindu imagery, reflecting the religious beliefs of the maharajas and adding a sacred dimension to the jewelry. This spiritual layer elevated the gemstones beyond decoration, filling them with personal and devotional significance. Like important spinels, some emeralds were inscribed with names of their owners as they were handed down from generation to generation signifying their power, authority and wealth. Set in turbans, necklaces, bazubands or ceremonial daggers, these stones were not only luxurious but also distinct, enhancing a ruler’s prestige through rarity and artistic uniqueness while offering protection.
Estimate: USD 1,000,000 – USD 2,000,000
Magnificent Mughal Jewels: Property from a Royal Collection
A Mughal Three Strand Spinel and Natural Pearl Necklace with forty-five polished spinel beads, forty-eight round and near-round natural pearls ranging from approximately 13.20 mm to 9.90 mm, yellow gold, circa 1750, braided pink and gold cord, Eight of the spinels are inscribed:
Upper Strand
1. The Sultan Muhammad Tuqhluq
2. Jahangir Shah (son) of Akbar Shah, 1022
Second inscription: Second Lord of the Auspicious Conjunction, 1045 / 8
Middle Strand
3. Jahangir Shah (son) of Akbar Shah, 1017
4. Unclear inscription
5. Jahangir Shah (son) of Akbar Shah
6. The Sultan Mahmud Shah, 951(*)
Lower Strand:
7. Babur Shah Badshah, 891
Second inscription written in Devanagari
8. Jahangir Shah (son) of Akbar Shah, 1017(*)
Second inscription: Second Lord of the Auspicious Conjunction
Inscribing a gemstone with an emperor’s name with lineage and dates was a mark of appreciation for the exceptional beauty of the stone, and bestowed on it respect and imperial dignity. In some examples where more than one inscription is noted, it is suggested that the stone was passed down through generations.
For centuries rulers of the Mughal empire venerated precious stones of the highest caliber. Portrayed in historical Mughal imagery, Emperors adorned themselves with countless strands of pearl necklaces that featured richly saturated spinels and emeralds. Not only was the desire to ornament because these rulers had a true appreciation for jewelry rooted in tradition, but they deliberately chose magnificent jewelry set with top quality gemstones as a means of showcasing their status and power.
With no expense spared, special officials were commissioned to search for these spectacular-colored stones. Often inscribed with the name and titles of the rulers of the time, only those with the best color, clarity and size were chosen to carefully record history. The Timurids, ancestors of the Mughals, had begun the tradition of inscribing titles and names on stones of such outstanding quality, and large spinel beads were certainly their favorite. As much as these gems were a symbol of the opulence and dignity of the empire, they were also treasured as protective talismans.
Inscribing a gemstone with an emperor’s name with lineage and dates was a mark of appreciation for the exceptional beauty of the stone, and bestowed on it respect and imperial dignity. In some examples where more than one inscription is noted, it is suggested that the stone was passed down through generations.
One famous example of a historical spinel is the Carew Spinel, which is housed in the Victoria and Albert Museum. Prized for its color and history, the Carew Spinel is inscribed with the names of Jahangir, Shah Jahan and Alamgir, also known as the former Mughal Prince Aurangezb. These spinels originated from the Badakhshan mine, in the ‘Pamir’ region located between Afghanistan and Tajikistan. This province gave its derived name to spinels, described as “Balas Rubies” for decades. Later in the 19th century it would be determined that spinels and rubies are chemically two different gems, but for hundreds of years, any red stone was described as a ruby. Another famous historical inscribed spinel is the “Timur Ruby” which is indeed a spinel. Residing in England like the Carew Spinel, the Timur Ruby is part of the illustrious Royal Collection of HM Queen Elizabeth II of England.
This three-strand spinel and pearl necklace is incredible example from the Mughal dynasty. 8 out of the 45 polished spinel beads feature names of important rulers including Babur Shah Badshah, Jahangir Shah, The Sultan Mahmud Shah, and The Sultan Muhammad Tuqhluq.
Equally as important as the ruler whose name was to be inscribed, was the position of the planets on the day the stone was set to be inscribed. Astrological factors correlated directly with this detailed practice, as these enchanting stones were believed to have spiritual and protective properties.
The Mughal Dynasty was founded by Babur in the 15th Century. He was a direct descendent of Timur, and Chagatai who was the second son of the notable Mongol ruler, Genghis Khan. Inscribed on one bead is his name “Babur Shah Badshah”. Known for his military strategies and autobiography, the Baburnama which details the events of his life, Babur laid the foundation for one of the most powerful empires in Indian history. The same bead shares another inscription written in Devanagari, which is a script used to write many languages of the time.
The third Mughal emperor, Akbar the Great (1542-1605), also collected highly coveted spinels, most notably wearing them directly on the skin for their protective qualities. His son, Emperor Jahangir (1569-1627), followed suit as a wonderful connoisseur of gems. Jahangir Shah, also known as Emperor Jahangir, is inscribed into history in a bead on the necklace as well. Carefully inscribed the bead reads “Jahangir Shah (son) of Akbar Shah” with the second inscription of the bead reading “Second lord of the Auspicious Conjunction”. He was the fourth ruler of the Mughal empire who reigned from 1605 to 1627. History notes he was patron of the arts, so it is no surprise that he followed his father as a wonderful connoisseur of gems. Emperor Jahangir’s reign is marked by advancements in the arts and governing styles versus military achievements. His name is also inscribed on a few other beads located on the necklace.
His deep appreciation and passion for collecting important gemstones was continued by his son, Shah Jahan (1592-1666). Shah Jahan is best known for constructing the monumental Taj Mahal at Agra, one of the most magnificent architectural wonders in the world.
Predecessors to those rulers above, “The Sultan Mahmud Shah” inscribed on one bead as well – this name possibly referring to Sultan Mahmud Shah III of Gujarat. He was a ruler of the Gujarate Sultanate in the early 16th Century. Nestled in the necklace sits a bead inscribed “The Sultan Muhammad Tuqhluq”. Likely this refers to the Sultan of Delhi Muhammad Tughluq, who was the ruler of the Delhi Sultanate in the 14th Century.
Found between the three strands of alternating pearls and spinel beads sits a rich cultural history, documented with the honor and prestige one can only expect from the Mughal empire. This necklace presents an exceedingly rare opportunity to acquire a jewel of such historical provenance directly offered from a royal collection.
Estimate: USD 3,000,000 – USD 5,000,000
Belonged to Queen Marie Antoinette’s only daughter, the Duchess d’Angoulême
A Marie-Thérèse Pink Diamond JAR Ring with a fancy purple-pink modified kite brilliant-cut diamond of 10.38 carats, round diamonds, blackened platinum, unsigned, pink JAR case, accompanied by a gold and silver hairpin, circa likely 1868, pink JAR ring case and fitted purple hairpin case
Marie-Thérèse bequeathed it to her niece, Duchess Marie-Thérèse de Chambord, and was later acquired by Queen Marie Theresa of Bavaria, who referred to it in her will as ‘a pink solitaire diamond from Aunt Chambord.’ It remained part of the royal family’s own storied collection and was henceforth passed down for generations until it sold in 1996.
Later, the current owner tapped legendary jewellery designer Joel Arthur Rosenthal, known as JAR, to design a new setting for the diamond as the centrepiece of a stunning ring.
Estimate: USD 150,000 – USD 250,000
The Collection of Anne H. Bass
A pair of elegant JAR Green Beryl and Diamond Pendant Earrings with green beryl briolette drops, round diamonds, blackened platinum and 18k yellow gold (French marks), signed JAR, Paris, pink JAR case.
A leading philanthropist, visionary collector and tireless patron of the arts, Anne Hendricks Bass (1941 – 2020) was widely admired for her refined eye, intellectual rigour and deep commitment to beauty in all its forms. She was one of New York’s most respected philanthropists supporting the New York Botanical Garden, the Museum of Modern Art and the New York Public Library for the Performing Arts. Additionally, her efforts to save Texas Ballet Theatre from bankruptcy and her 25-year tenure on the New York City Ballet board created a lasting impact on American arts.
During her lifetime, Mrs. Bass was celebrated not only for her philanthropic spirit and enduring commitment to the arts, but also for her refined taste, timeless elegance, and exceptional eye for beauty. Lots 114 to 139 showcase the fine collection of jewels assembled with discernment and passion over decades, and comes from Mrs. Bass’s personal collection. It represents one of the most impeccably curated private jewelry collections to appear on the market. The collection features the exceptional pieces of famed houses such as Van Cleef & Arpels, Bulgari and Cartier. Most notably, it features one of the finest private assemblages of jewels by the legendary Joel Arthur Rosenthal, widely known as JAR. Many of these exceptional works are featured in the landmark 2002 publication JAR Volume I, making this sale a rare opportunity to acquire creations of profound beauty and historical importance.
Mrs. Bass’ legacy and refined spirit endure, not only through her remarkable patronage of the arts but also through this extraordinary collection of jewelry.