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Auction 8 July 2020 1pm HKT

\n\n

JW Marriott Hotel Hong Kong
\n88 Queensway, Admiralty, Hong Kong

\n\n

Viewing 4-7 July

\n\n

10am – 7pm

\n\n

International Tour

\n\n

Shanghai

\n\n

12 – 13 June, 11am – 6pm

\n\n

Capella

\n\n

480 West Jianguo Road, Xuhui District, Shanghai 200031

\n\n

Taipei

\n\n

13 – 14 June, 11am – 6pm

\n\n

B1 Art Gallery, Bellavita, No.28, Songren Rd., Xinyi District, Taipei

\n\n

Taichung, 11am – 6pm

\n\n

16 June

\n\n

Millennium Suite

\n\n

Suite 2301, 23/F

\n\n

Millennium Hotel Taichung

\n\n

No. 77, Shizheng Road, Xitun District, Taichung City

\n","auctionDetailsSmall","Hong Kong Auction 8 July 2020","extraInfo","

Terry Chu
\nHead of Jewellery, Asia, Senior Director
\n+852 2318 2038

\n","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348,349,350,351,352,353,354,355,356,357,358,359,360,361,362,363,364,365,366,367,368,369,370,371,372,373,374,375,376,377,378,379,380,381,382,383,384,385,386,387,388,389,390,391,392,393,394,395,396,397,398,399,400,401,402,403,404,405,406,407,408,409,410,411,412,413,414,415,416,417,418,419,420,421,422,423,424,425,426,427,428,429,430,431,432,433,434,435],"articles",[163,164,165,166,167,168,169,170,171,172,173,174],"departments",[156],"auctionCurrency",{"_153":70,"_154":155},"totalLotCount",129,"auctionMobilityAuctionRowId","1-2TL91O","auctionUrl","https://www.phillips.com/auction/HK060120","auctionResultsFile","https://www.dist.phillips.com/content/web/auction-results/auctionResultsFile_HK060120.pdf","currencyCode","currencySign","HK$",{"_157":158,"_159":160,"_161":162},"departmentId",4,"departmentName","Jewelry","departmentDisplayName","Jewels",{"_175":298,"_177":162,"_178":299,"_16":300,"_181":301,"_183":302,"_185":186,"_187":188,"_189":303,"_191":188,"_193":304,"_195":305,"_197":306},{"_175":288,"_177":162,"_178":289,"_16":290,"_181":291,"_183":292,"_185":186,"_187":188,"_189":293,"_191":294,"_193":295,"_195":296,"_197":297},{"_175":278,"_177":162,"_178":279,"_16":280,"_181":281,"_183":282,"_185":186,"_187":188,"_189":283,"_191":284,"_193":285,"_195":286,"_197":287},{"_175":268,"_177":162,"_178":269,"_16":270,"_181":271,"_183":272,"_185":186,"_187":188,"_189":273,"_191":274,"_193":275,"_195":276,"_197":277},{"_175":259,"_177":162,"_178":260,"_16":261,"_181":262,"_183":263,"_185":186,"_187":188,"_189":264,"_191":158,"_193":265,"_195":266,"_197":267},{"_175":249,"_177":162,"_178":250,"_16":251,"_181":252,"_183":253,"_185":186,"_187":188,"_189":254,"_191":255,"_193":256,"_195":257,"_197":258},{"_175":239,"_177":162,"_178":240,"_16":241,"_181":242,"_183":243,"_185":186,"_187":188,"_189":244,"_191":245,"_193":246,"_195":247,"_197":248},{"_175":229,"_177":162,"_178":230,"_16":231,"_181":232,"_183":233,"_185":186,"_187":188,"_189":234,"_191":235,"_193":236,"_195":237,"_197":238},{"_175":219,"_177":162,"_178":220,"_16":221,"_181":222,"_183":223,"_185":186,"_187":188,"_189":224,"_191":225,"_193":226,"_195":227,"_197":228},{"_175":209,"_177":162,"_178":210,"_16":211,"_181":212,"_183":213,"_185":186,"_187":188,"_189":214,"_191":215,"_193":216,"_195":217,"_197":218},{"_175":199,"_177":162,"_178":200,"_16":201,"_181":202,"_183":203,"_185":186,"_187":188,"_189":204,"_191":205,"_193":206,"_195":207,"_197":208},{"_175":176,"_177":162,"_178":179,"_16":180,"_181":182,"_183":184,"_185":186,"_187":188,"_189":190,"_191":192,"_193":194,"_195":196,"_197":198},"coverUrl","https://flockler.com/thumbs/sites/889/karen-suen-97307ebc-0dc0-4028-9c45-0d1e9dca9230_s600x0.jpg","section","summary","屢獲殊榮的香港珠寶設計師Karen Suen(孫譽文) 接受珠寶部亞洲區主管 Terry Chu(朱燕儀)專訪，分享她對寶石和設計美學的獨到見解。","Karen Suen的獨到設計美學","body","

Karen Suen(孫譽文) 的首個珠寶設計贏得朋友的讚譽，從而發現自己真正的藝術使命。從那時起，她便以工藝精湛、設計大膽而奢華的珠寶作品逐漸贏得了國際藏家的關注和好評。作品展現出無窮的原創性，色彩更是活力奔放，常被視為可佩戴的藝術品。除了曾獲得大中華區傑出設計師獎，Karen亦是拉斯維加斯The Couture Design Awards 2019的得獎者。Karen與珠寶部亞洲區主管 Terry Chu分享了她的設計哲學和創作過程。

\n\n

\n\n

Karen Suen天然粉紅色海螺珠配粉紅色鑽石及鑽石戒指; 天然粉紅色海螺珠配粉紅色鑽石及鑽石項鏈; 天然粉紅色海螺珠配粉紅色鑽石及鑽石吊耳環一對。

\n\n

Terry Chu: 可以告訴我們你的設計過程嗎？ 一般而言，你會先有設計方案然後才採購所需的寶石，還是由寶石作為出發點？

\n\n

Karen Suen: 我喜歡在著手設計前先與寶石互動，細心研究它們獨特之處。於我而言，這是唯一能充分發揮其潛能、魅力和美麗的途徑。因此，大多數設計都是根據我對寶石的理解所得出的結果。

\n\n

TC: 如果我沒記錯，你以前曾經是一位舞蹈員？此經驗如何啟發你的設計哲學？

\n\n

KS: 作為舞者和編舞家，我有很強的表現慾，並且對環境非常敏感。一個概念對我來說總是多層次的，是從不同角度發展出來的。我的珠寶設計亦一樣，是多維的。顏色和光線是我作品中最重要的兩個元素，在組合各種色澤的寶石和鑽石之同時，我希望找到協調和對比之間的平衡。我也喜歡運用各種切割的鑽石，因它們的亮度和折射各有不同，能配合設計發放異彩。

\n\n

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Karen Suen設計的一對天然翡翠雕「富貴自來」配紅寶石及鑽石吊耳環於2019年5月香港的「珍貴珠寶及翡翠」吸引到藏家熱烈競拍。

\n\n

TC: 佩戴Karen Suen珠寶的女士會是怎麼樣的一個人？

\n\n

KS: 我想她們是有品味、充滿樂趣和獨立的現代女性。我很多作品極富時尚感，且風格多變，所以她們一定是對品味有追求的人，可因應不同場合和服裝之需要，用我設計的珠寶搭配出自己的風格。我希望她們不只會將我的設計當作收藏品看待，而是當成會常常佩戴並炫耀的飾物。

\n\n

TC: 你許多設計上都鑲有天然珍珠，你為什麼會對它們情有獨鍾呢？

\n\n

KS: 我很喜歡大自然，因為它孕育出許多的天然資源。我尤其喜歡海洋，喜歡它的美、活力和所表現的情感。對我來說，所有天然寶石都是無價的，都是獨一無二的。由於污染關係，天然珍珠已成為十分稀有的珍寶。你不會找到兩顆完全一樣的天然珍珠。它也是唯一一種不需經過人工的雕琢，而從開採出來的那一刻起就被視為珍寶的寶石。天然珍珠在我心目中是純潔與優雅的最高象徵。

\n\n

\n\n

天然粉紅色海螺珠配粉紅色鑽石及鑽石項鏈, Karen Suen

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TC: 你有特別喜歡運用的寶石嗎？

\n\n

KS: 我最喜歡海螺珠。儘管它們被歸類為天然珍珠，卻有截然不同的美。其淡粉紅的色調給人一種浪漫的感覺，非常女性化。某些海螺珠表面會出現火焰紋理，是它們獨有的特徵。你永遠不會看到兩顆有相同火焰紋理和形狀的海螺珠，我覺得這十分有趣。要創作出一個可以襯托它們這種的美的設計，實在十分有挑戰性，而我非常喜歡這個創作的過程，彷彿是與與大自然的一場對話。

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天然粉紅色海螺珠配粉紅色鑽石及鑽石吊耳環一對, Karen Suen

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TC: 我留意到你十分著重工藝這一環，可否舉一個例子跟我們分享更多想法？

\n\n

KS: 我希望設計的焦點落在珍珠或寶石上，所以鑲嵌的金屬台子一定要輕盈。我通常會選玫瑰切割和水滴形鑽石作為裝飾元素，特別是在天然珍珠的設計上。我發現鑽石的輕柔閃光正好與天然珍珠柔和光澤和優雅魅力相輔相成。如果你仔細觀察這對海螺珠耳環，幾乎是看不到任何金屬鑲座。這樣一來，天然海螺珠的粉紅色澤在低調的鑽石亮光中又顯得更艷麗動人。

\n\n

\n","publishDate","2020-05-06T19:57:01.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/57665721/karen-suen-jeweler-interview-zh","displayOrder",11,"auctionEditorialID",781,"editorialID",2952,"flocklerID",57665721,"https://flockler.com/thumbs/sites/889/karen-suen-9a5c671b-0c35-41ac-abca-1544736597c4_s600x0.jpg","Our Head of Jewelry, Asia, sat down with Karen Suen, an award-winning Hong Kong-based jeweler with an international following, to talk about her choice of gemstones and design aesthetic. ","Karen Suen in Conversation with Terry Chu","

中文閱讀

\n\n

Karen Suen found her true calling when her first jewelry designs won admiration from friends and acquaintances. Since then, she has developed an international following and was known for her exquisitely-handcrafted and extravagant jewels. She is a recipient of the Outstanding Greater China Designer Awards and was a winner at The Couture Design Awards 2019 in Las Vegas. Karen spoke with Terry Chu, Head of Jewelry, Asia, to share a bit about her practice and philosophy as a designer.

\n\n

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Karen Suen A Conch Pearl, Pink Diamond and Diamond Ring ; An Elegant Conch Pearl, Pink Diamond and Diamond Necklace; A Pair of Conch Pearl, Pink Diamond and Diamond Pendent Earrings.

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TERRY CHU: What can you tell us about your design process? Do you usually come up with a design and source the gemstones required, or vice versa?

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KAREN SUEN: I like to interact with gemstones prior to designing, to study them in detail. I think this is the only way for me to fully realize the stone’s potential and beauty. Therefore, most of my designs are a result of how I understand a gemstone.

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TC: You were a dancer before; if I remember correctly? Does this inform your design philosophy?

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KS: I am very expressive and sensitive to the environment. To me, a concept is always multi-layered and jewelry design is the same, in that it is highly dimensional. Color and light are the two most important elements in my work. By juxtaposing gemstones and diamonds of various hues and colors, I try to strike a balance between complementing and contrasting components.

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Karen Suen A Pair of Carved Jadeite Plaque, Ruby and Diamond Pendent Earrings.

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TC: How would you describe a woman who wears Karen Suen jewelry?

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KS: I imagine them to be tasteful, fun-loving, independent and modern. She has a love for fashion, and can easily pair my creations with all sorts of outfits. I would also like for the Karen Suen woman to see my jewels as something they enjoy wearing instead of just storing them away as a collector’s piece.

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TC: Natural pearls are found in many of your designs. What is it about them that you find so intriguing?

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KS: I love Mother Nature, and I am particularly fond of the ocean. I love it for its beauty, vivacity and emotion. No two natural pearls are the same, and it is also the only gemstone that is treasured for the state in which they are found, free from human intervention such as cutting. Natural pearls have become a true rarity due to pollution. In my opinion, it is the utmost expression of purity and elegance.

\n\n

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Karen Suen An Elegant Conch Pearl, Pink Diamond and Diamond Necklace.

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TC: Do you have a favorite gemstone that you like working with?

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KS: Conch pearls. They are categorized as natural pearls but show a very different kind of beauty. The pastel pink hue affords it a sense of romance, and it’s so feminine. The mystic flame pattern found on the surface of gem-quality conch pearls is a very unique attribute. You will never see two conch pearls with the same flame pattern or of the same shape. To conceive a design that complements these natural pearls is extremely difficult and I enjoy the challenge.

\n\n

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Karen Suen A Pair of Conch Pearl, Pink Diamond and Diamond Earrings.

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TC: I can tell that craftsmanship plays a major role in your creations. Can you tell us more about that?

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KS: I’d like the pearls or gemstones to take center-stage in my designs, that is why I keep the mounting as lightweight as possible. Rose-cut and briolette diamonds are usually my choice of decorative components, especially for natural pearl jewels. I find the subtle shimmer of the diamonds compliments the soft glow of natural pearls. It is through the lightness of diamonds that the intensity of the pink natural conch pearls is effectively augmented.

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\n","2020-05-05T22:06:40.000000Z","https://www.phillips.com/article/57626864/jewels-hong-kong-karen-suen-terry-chu-auction",10,780,2948,57626864,"https://flockler.com/thumbs/sites/889/vcalead-a2e59666-84f1-4abd-983f-a7a3015498fa_s600x0.jpg","富藝斯珠寶部專家與我們一同觀賞梵克雅寶的「Alhambra」這個於半世紀前已面世的經典系列。","經典瑰寶─梵克雅寶的「Alhambra」","

鑽石「Alhambra」項鏈，梵克雅寶，約1992年。估價: 150,000 – 220,000港元。

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「Alhambra」系列據說啟發自西班牙格拉納達阿爾罕布宮的扇形拱門。

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梵克雅寶的「Alhambra」珠寶自1968年首次面世以來，至今已擁有超過50年的歷史。其經典的四葉草造型被視為幸運的護身符，據說靈感來自西班牙格拉納達阿爾罕布宮的扇形拱門，而擁有四塊心形葉瓣的四葉草在不同文化中亦是運氣、愛情、財富和健康的象徵。

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追溯「Alhambra」珠寶之雛形，其實是源於1960、70年代女性對於日間佩戴珠寶之需求。梵克雅寶有見及此，特意推出價格較為相宜、又可以搭配多種日間服飾的「La Boutique」系列，讓一向習慣於品牌訂製高級珠寶的客人有更多的選擇。第一件「Alhambra」作品面世時就被歸納成「La Boutique」的一部分。

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「Alhambra」珠寶之雛形是來自「La Boutique」系列的一部分。

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綠玉髓「Alhambra」項鏈，梵克雅寶。估價: 40,000 – 65,000港元。

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「Alhambra」長項鏈上簡約流動的線條，加上黃金滾珠邊的精緻細節，令它瞬間成為梵克雅寶的熱賣作品, 擄獲不少名流影星的心。從奧地利影星羅美．施奈德，到摩洛哥王妃格蕾絲都是「Alhambra」的忠實支持者; 不論是掛在襯衣外的隨性優雅，或是單串搭配連衣裙的高貴打扮，時尚女性都能穿搭出不同的風格。雖然「Alhambra」最初被定型為日間珠寶來推銷，但其造型優雅經典，配搭晚禮服同樣得宜。最近英國劍橋夫人在BAFTA頒獎典禮上，就以一套珠母貝的「Magic Alhambra」珠寶配搭金白色長裙亮相，獲得一眾好評。

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寶石「Lucky Alhambra」項鏈，梵克雅寶。估價: 80,000 -120,000港元。

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在群雄並起的高訂珠寶界中，梵克雅寶尤其善於從大自然萬物中取得靈感，打造各種靈動細膩的作品。四葉草的造型當然也不例外，而且透過運用天然寶石及半寶石的精妙色彩 --- 玉髓、孔雀石、青金石、珊瑚、虎眼石、珠母貝、綠松石等 ---- 以最夢幻絢麗的色調打動每位女士。儘管四葉草的線條看似十分簡單, 但每件「Alhambra」珠寶都是工匠一絲不苟的堅持，必需經過不少於十五個工序才得以順利誔生，成為經得起時間考驗的珠寶珍藏。

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五十多年來，梵克雅寶一直忠於「Alhambra」最原初的設計概念，配合時代變遷而思考出不同的設計，創作出不對稱、鏤空或有質感處理的四葉草，並適時引進新的彩色寶石，令「Alhambra」成為更多女士珠寶箱中不可或缺的收藏。富藝斯本季為大家帶來一系列精彩的梵克雅寶「Alhambra」作品，包括一條非常特別的例子，鏈子的扣環也被打造成四葉草的形狀，十分罕見。

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鑽石「Alhambra」項鏈，梵克雅寶，約1992年。估價: 150,000 – 220,000港元。

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\n","2020-05-08T13:35:49.000000Z","https://www.phillips.com/article/57731828/van-cleef-arpels-jewels-alhambra-hong-kong-auction-zh",9,779,2961,57731828,"https://flockler.com/thumbs/sites/889/vcalead-5a925827-d349-49ac-bc4b-00d6db5a2644_s600x0.jpg","Our specialist team takes a closer look at one of the most famous collections in jewelry, founded over 50 years ago. ","An Iconic Motif: Van Cleef & Arpels' Alhambra","

Van Cleef & Arpels A Diamond ‘Alhambra’ Necklace and Bracelet, Circa 1992.

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中文閱讀

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The collection was inspired in part by the Moorish architecture of the Alhambra palace in Granada, Spain.

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Born more than fifty years ago in 1968, the iconic Alhambra collection is a talismanic design featuring a four-leaf clover motif, which was said to be inspired by the architecture and pure lines found in the Alhambra Palace in Granada, Spain. Drawing on an even older history, the clover itself has long been a symbol of luck, love fortune and health.

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Alhambra was first introduced as part of the La Boutique collection, which responded to the changing women's fashion of the time, addressing a need for versatile daytime jewelry alongside the magnificent pieces they would normally purchase from the Maison for formal occasions.

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The motif was introduced as part of the La Boutique collection.

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Van Cleef & Arpels A Green Chalcedony ‘Alhambra’ Necklace. Estimate: HKD40,000-65,000.

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The long chain with harmonious lines and yellow gold-beaded details became an immediate hit and was particularly popular among celebrity clients. From Romy Schneider to Princess Grace Kelly of Monaco, chains were causally layered over a blouse or a shift dress. The Princess also suspended a clover-shaped rock crystal pendant from the chains for a personal touch. Though the Alhambra was envisioned as a daytime jewel when it was launched, they are equally suitable for evening wear. Recently, the Duchess of Cambridge stepped onto the red carpet wearing a set of mother-of-pearl Magic Alhambra at the BAFTA Award ceremony.

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Van Cleef & Arpels A Gem-set ‘Lucky Alhambra’ Necklace. Estimate: HKD80,000-120,000.

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Van Cleef & Arpels, in the world of high jewelry, has long been known for their stunning creations inspired by Nature’s beauty. It is not surprising that they select some of the boldest and most attractive colors from precious and semi-precious gemstones for the Alhambra jewels – chalcedony, malachite, lapis lazuli, coral, tiger’s-eye, mother-of-pearl, turquoise – constantly delighting elegant women with a dreamlike palette. Despite its seemingly clean sinuous form, no fewer than fifteen successive steps of selection, production and verification are required to create an Alhambra jewel that will withstand the test of time.

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As years go by, Van Cleef & Arpels stays true to the original aesthetics of Alhambra whilst expanding the collection through the introduction of asymmetricity, hollowed forms, etched textures and new gemstones, catering to the tastes of an impressive bandwidth of women who treasure them as a staple in their jewelry collection. This season, Phillips is pleased to offer a number of classic Alhambra jewels including a rare vintage example where the diamond-set motifs are linked by clover-shaped chains.

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Van Cleef & Arpels A Diamond ‘Alhambra’ Necklace, Circa 1992. Estimate: HKD150,000-220,000.

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\n","2020-05-06T14:18:03.000000Z","https://www.phillips.com/article/57629749/jewels-hong-kong-van-cleef-and-arpels-alhambra-auction",8,778,2949,57629749,"https://flockler.com/thumbs/sites/889/614_003-9c3df447-e64f-499e-b55a-ed57378521a7_s600x0.jpg","重逾20克拉傲人份量的頂級黃鑽，在彩色級鑽石裡絶對是王者中的王者","頂級黃鑽的完美光芒","

20.25克拉IF鮮彩黃色鑽石配鑽石戒指
\n估價8,800,000-12,000,000港元
\n拍品 614，「珍貴珠寶及翡翠」拍賣
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十九世紀60年代發現南非鑽石礦源之前，黃色鑽石並不常見。色彩濃郁、展現耀眼艷麗黃色的鑽石實罕有有驚人，是難得一見的稀世珍寶。十七世紀法國著名寶石商人塔維尼爾遊歷世界，拜訪各地皇族，將所見所聞收入名為《六航記》的遊記裡，詳細記錄的瑰寶中就包括一顆名為「Florentine」的絶色黃鑽，讓它和其他如「The Great Table」粉紅鑽，以及之後被切割成「希望藍鑽」的「法國藍鑽」的重要美鑽都得以留傳千古。

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拍品 614, 20.25克拉IF鮮彩黃色鑽石配鑽石戒指
\n估價8,800,000-12,000,000港元

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鑽石是世上歷史最悠久的寶石之一，遠在約數十億年前形成，一直被埋在地球地殼下層和地幔深處。彩色鑽石亦然，黃鑽也不例外。鑽石之所以會呈現黃色，是因為結構中的碳分子被氮所取代，因此顏色的濃度也取決於氮所佔的比例和排列的方式。這個化學反應十分漫長，和大自然界中出現的許多現象一樣，稱得上是隨機發生的奇蹟。

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拍品 614, 20.25克拉IF鮮彩黃色鑽石配鑽石戒指
\n估價8,800,000-12,000,000港元

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於彩鑽來說，顏色的質量是決定其價值的主要因素。因此，制定一個準確描述和評估顏色的規範至為重要。在90年代之前，出現在市場上頂級的彩鑽為數不多，所以美國GIA鑑定所也是在1995年才進一步修定彩鑽色級，加入了最頂端的「鮮彩(Fancy Vivid)」來形容深淺和飽各度達到極致的最佳顏色。據GIA的數據指，每一萬顆鑽石中只有一顆屬於彩色級(Fancy)，而當中不論大小，又只有大概5%可以達到「鮮彩」級。當然，鑽石越大顆，能取得鮮彩級的例子就越是稀少。

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拍品 614, 20.25克拉IF鮮彩黃色鑽石配鑽石戒指
\n估價8,800,000-12,000,000港元

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此顆黃鑽的色彩在強度和飽和度兩方面取得完美平衡，加上重逾20克拉的傲人份量，在彩色級鑽石裡絶對是王者中的王者。能切割出如此碩大的黃鑽之原石本身就已稀珍難求，能切出「鮮彩黃」色鑽石的原石品質更是上乘，極度罕有。除了重量和顏色外，此美鑽的淨度亦達到幾近完美的「內部無瑕」級別，更是難得。一顆黃鑽能在重量、顏色和淨度三大重要元素上都擁用如此驕人的品質，堪稱藏家級的彩色鑽石。

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\n仔細端詳這顆寶石之同時，別忘記它所承載的幾十億年歷史。因為種種的意外，原石得以在遙遠的世界裡誔生，因為各種的機緣，今天來到我們的眼前。它那猶如艷陽的和暖色彩，瑰麗如斯，注定受到藏家注目，也一定能喚起寶石愛好者的無限想像。

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\n","2020-06-23T10:54:00.000000Z","https://www.phillips.com/article/59686806/hong-kong-jewels-auction-yellow-diamond-zh",7,849,3039,59686806,"https://flockler.com/thumbs/sites/889/614_003-e4d20d39-cc12-4e92-ad9a-0a6bf6a81a54_s600x0.jpg","Sized at over 20 carats, specimens of this size, color, clarity and quality are exceedingly rare. ","Yellow Diamonds: The Perfect Glow","

Lot 614: An Impressive Fancy Vivid Yellow Diamond and Diamond Ring.
\nEstimate: HK$8,800,000-12,000,000.

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中文閱讀

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Yellow diamonds were not widely seen until a more reliable source was found in South Africa in the late 1860s. However, diamonds bestowed with an evident and attractive yellow color were referenced as early as the 17^th century by famed gem merchant Jean-Baptiste Tavernier in his travelogue Les Six Voyages de Jean Baptiste Tavernier, when he referred to the famous double rose-cut light yellow ‘Florentine’ diamond together with other historical diamonds, including the Great Table pink diamond and Tavernier Blue, which later became what is known today as the Hope Diamond.

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Lot 614: An Impressive Fancy Vivid Yellow Diamond and Diamond Ring.
\nEstimate: HK$8,800,000-12,000,000.

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Diamonds were formed around a billion years ago and spent most of their existence at great depths in the lower crust and upper mantle of planet Earth. Yellow diamonds are no exception. It is the presence of nitrogen which causes a diamond to appear yellow, and the intensity of color depends on the amount of nitrogen and how the nitrogen atoms are arranged in the lattice. This replacement of carbon atoms with nitrogen is an extremely long process that is nothing short of miraculous.

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Lot 614: An Impressive Fancy Vivid Yellow Diamond and Diamond Ring.
\nEstimate: HK$8,800,000-12,000,000.

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Color saturation is the most important factor when it comes to establishing the value of colored diamonds. It is therefore crucial to systematically describe and grade colors. However, so few diamonds of fine and superb colors were seen in the market before the 1990s that GIA only managed to refine its grading system for colored diamonds in 1995, adding the ultimate ‘Fancy Vivid’, a grade reserved for the rarest, most highly saturated diamonds in all hues. It is estimated that only one in 10,000 diamonds is attributed the color prefix beginning "Fancy," and only around 5% of these diamonds, regardless of size, receive the distinctive ‘Fancy Vivid’ grade from the GIA. Moreover, this already small quantity is reduced further to a mere fraction, as size increases.

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Lot 614: An Impressive Fancy Vivid Yellow Diamond and Diamond Ring.
\nEstimate: HK$8,800,000-12,000,000.

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For fancy colored diamonds, a specimen that weighs over 20 carats, and displaying a notable strength and saturation of yellow, is extremely scarce. Given the paucity of quality rough material, a sizeable colored diamond with a top Fancy Vivid Yellow color grade is even more unusual and rare. To add to its impressive size and striking color, this diamond is also Internally Flawless, impeccably clean to the eye and free from any inclusions. It is a collectors’ gem combining the best color with the highest clarity and an exceptional carat weight.

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When we behold such an extraordinary and pure gemstone, let us not forget all the amazing coincidences and accidents which afforded its formation in a world and time so very far away. This alluring fancy vivid yellow diamond will surely enchant and capture the attention of many connoisseurs.

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\n","2020-06-22T19:42:27.000000Z","https://www.phillips.com/article/59665565/hong-kong-jewels-auction-yellow-diamond",6,848,3037,59665565,"https://flockler.com/thumbs/sites/889/606_003-805f9262-2383-4fc7-9ddb-afc4051780f2_s600x0.jpg","靈感來自孔雀的羽毛，這枚蕭邦(Chopard)手鐲即將在富藝斯7月的珍貴珠寶及翡翠拍賣亮相，讓我們先在此觀賞這枚獨一無二的珠寶傑作。","栩栩如生的炫目神彩","

蕭邦(Chopard)寶石配鑽石「孔雀」手鐲， 2018年製
\n珍貴珠寶及翡翠，香港

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綜觀千奇百態的鳥類中，孔雀因為在求偶時會張開藍綠色的大尾巴，展示像扇子一樣的羽毛，總是讓人嘆為觀止，直呼漂亮。這種體型龐大的鳥原生地為印度，在希臘的神話中，百眼巨人阿格斯在過世後，據說將自己的眼腈都轉移給孔雀，因此孔雀的羽毛上才會有一個個藍色的大眼睛。

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17世紀畫家彼得．保羅．魯本的《朱諾和阿格斯》，背景裡有孔雀。
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孔雀在羅馬帝國的時期被珍藏於花園中，成為了珍禽異獸的一種。到了十九世紀後期至二十世紀初期，孔雀成為了中產家族的竉物，於鳥舍內養飼，亦出現在對公眾開放的公園裡。在西方文化中，孔雀是奢華生活和榮耀的象徵，而在亞洲，牠所代表的是美麗和高貴。

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法國水彩畫家愛德華．特拉維斯 (1809 – 1876) 的作品，圖中的情侶在公園中觀看孔雀。

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從十九世紀中期到二十世紀中期的這一百年間，鳥算是十分常見的珠寶設計題材。展翅高飛，代表人類對掙脫束縛、奔向自由、遨翔天際的渴求。將牠們幻化成精緻的小珠寶，讓我們可以更仔細的欣賞其美態，也是將牠們留在身邊的一種方法。珠寶設計師可以根據不同鳥類的特徵，選擇想要重點描繪的部分，這可能是鳥的身體，也可能是羽毛，或是定格某些優雅的動作。利用各種彩色寶石去刻畫鳥的線條和對稱美，羽翼的層次感都是設計師表現技法的部位。如果要數十九世紀最重要的孔雀珠寶，一定是法國最後一位皇后尤金妮的羽毛別針。這枚於1868年由Mellerio打造的孔雀羽毛別針尺寸驚人，中心鑲嵌了一顆祖母綠，再以小鑽石、藍寶和紅寶一圈圈地環繞，表達的方式傾向於仿真的自然主義。

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孔雀因為顏色絢爛，在新藝術時期尤其適合以半透明的鏤花搪瓷來詮釋，甚至可以說是那個年代裡中最有代表性的鳥類。隨著時代轉變，設計師也會用如蛋白石和珐瑯彩來呈現孔雀的動人色彩。到了Art Deco裝飾藝術風格時期，幾何成為設計的重要元素，設計師在造型上相對注重對稱的線條和孔雀羽毛的圖案。

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時至今日，對於很多工匠和珠寶大師來說，孔雀依然是一個十分有趣和具挑戰性的題材，他們可通過靈活的寶石運用和細膩的金工技法去表現自己的無窮想像力。雖然一路走來，許多大師都曾以別針去表立達孔雀的美，但瑞士的高級珠寶鐘錶品牌蕭邦卻一反傳統，決定以寫實的方法，將華美的孔雀羽毛打造成包裹手腕的瑰麗鐲子。

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這隻手鐲遠看就已憾動人心，近看更是精緻得不可言喻，許多細節都見證了設計師和工匠的巧思和創意，值得我們一再細心欣賞。整隻靈動的孔雀在比例上絶對經過精妙考量，頭和身比例較小，焦點放在孔雀最引人入勝的尾巴上。孔雀轉頭的姿勢順著身體的弧線往尾巴的方向延伸，連成一條柔美的立體曲線，順著佩戴者的手腕到前臂，一點點的擴張變寬。寶石以紫、棕、綠和藍等色調為基底，營造冷豔的氣派；羽毛的顏色漸層盡見選配寶石一絲不苟的精神，既奢華又細膩，精彩萬分。

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要成就這隻手鐲的設計，蕭邦珠寶的工匠團隊必需刻服兩大挑戰。第一，打開手鐲的機關。第二，如何設定組件之靈活性讓佩戴者手部的活動不受限制。

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此手鐲的開關為鉸鏈式，聽起來一點都不複雜，但難度在於如何在鏤空的設計裡完美隱藏這個連接。手鐲上一個細小的螺栓精準的控制著鉸鏈的開合，簡單可靠，被工匠完美地隱藏在鏤空的結構中。至於組件的靈活性，因為孔雀的頭和身剛好落在佩戴者的手背，其身體開始轉換成尾巴的一節尤其需要保持活動順暢，佩戴者的手腕才可以輕鬆扭動。因此羽毛之間的組件特別多，角度必需拿捏得絲毫不差，調得太鬆孔雀就失去生命力，太緊又會造成佩戴者的不適，所以每一個細節都定必經過精妙計算。

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從概念到實踐，從接受挑戰到找出解決難題的方法，不難想像工匠打造這隻手鐲所需花上的精神和工時。如此別樹一格的設計也是蕭邦精心打造的獨特作品，舉世無雙。此鏤空的設計將金屬的重量減到最低，讓手鐲的主人能在用餐席間，以至載歌載舞的時候都能輕鬆佩戴。如此引人注目的珠寶不論在任何場合都定必是話題之作，喜歡收藏獨一無二設計的珠寶愛好者絶對不能錯過蕭邦的傑作。

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\n","2020-06-19T09:57:20.000000Z","https://www.phillips.com/article/59551301/jewels-hong-kong-auction-chopard-peacock-bangle-zh",5,850,3030,59551301,"https://flockler.com/thumbs/sites/889/606_003-435f517a-3f3a-43c7-a649-600fb0bff881_s600x0.jpg","Inspired by the brilliant plumage of the peacock, this Chopard bangle coming to auction in our Hong Kong Jewels & Jadeite sale is a one-of-a-kind statement piece. ","Feathered Brilliance","

Chopard. A Unique and Exotic Gem-set and Diamond 'Peacock' Bangle, circa 2018.
\nJewels & Jadeite, Hong Kong.

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中文閱讀

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Throughout history, peacocks have been appreciated for their magnificent plumage which has long been considered something of a spectacle. Originating from India, the giant bird was associated with Argus in Greek mythology, who transferred his hundred eyes to the peacock’s tail upon his death.

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Juno and Argus by Peter Paul Rubens from the 17^th century, featuring a peacock in the background.

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Peacocks were also displayed as a curiosity in the gardens of the Romans. Later, in the second half of the 19^th century and turn of the 20^th century, they were kept in the aviaries of aristocratic homes and public parks. The bird came to symbolize luxury, vanity and pride in Western culture, whilst representing beauty and nobility in Asia.

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Work by French watercolorist Edouard Travies (1809 – 1876) depicting lovers watching a peacock in a park.

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During the mid-19^th to mid-20^th century, birds were a very popular motif among jewelers who used them to portray a desire for freedom, liberty and the ability to fly. By turning them into a piece of jewelry, humankind could prevent them from flying away and observe them in greater detail. Jewelers, in turn, could focus on the bird’s body, plumage or movements through a combination of colored gemstones, by defining curves, emphasizing asymmetry, volume and layers. One of the most famous peacock jewels from the 19^th century was a brooch commissioned by Empress Eugenie in 1868, made by Mellerio. It was a naturalistic rendition of a peacock feather, with rows of diamonds, emeralds, rubies and sapphires, typical of jewels at that time.

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During the Art Nouveau period, peacocks reigned superior since their colors allowed artists to experiment with plique-à-jour techniques to heighten the beauty of the magnificent creature. One could almost say that the peacock was an emblematic bird of that time. As years went by, jewelers also introduced other gemstones such as opals and enamel to show their beguiling colors. During the Art Deco period when geometry played a major role in designs, jewelers placed an emphasis on the symmetry and pattern of the peacocks’ tail feathers.

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Up to this very day, the peacock is considered a highly intriguing and challenging subject for masterful artisans and designers, where exquisite metalwork and the ingenious use of gemstones boast the power of imagination. Though many forerunners chose to render the magnificent bird in brooches, Swiss high jeweler Chopard decided on a completely different approach. The figurative depiction is highlighted by resplendent tail feathers that wrap around the wearer’s wrist.

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This truly spectacular design is marked by numerous details that are worthy of closer study and appreciation. By keeping the peacock’s head and torso at a relatively small size, its scale and ratio were carefully established to emphasize the dramatic effect of the bird’s tail. Its head turns at an angle that follows the sinuous curves of its gradually expanding tail. Tiny gemstones of violet, brown, green and blue colors were meticulously set to outline its torso feathers in subtlety. The graduation of cool hues on the feathers is accurately executed, allowing the openwork structure to gleam in intricate opulence.

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To realize this very design, Chopard’s team first had to overcome two basic challenges - the method to open up the bangle for wearing and the articulation required so the wearer can freely move their arm and hand.

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Similar to a traditional hinged design, this bangle opens upon the release of a concealed bolt, a simple mechanism that is at once discreet, efficient and secure. Chopard kept the metal to a minimum and made it almost invisible in the matrix of fine feathers. As for the articulation, Chopard’s team focussed on the part where the peacock’s torso begins to grow into tail feathers, so the peacock nods ever so slightly when the wearer moves their wrist. Each overlapping feather at this point is supplely linked, every angle perfectly adjusted. A misstep in any calculation might have caused the peacock to lose all liveliness or on the contrary, resulting in discomfort to the wearer.

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It is not difficult to imagine the thousands of hours that went into the conception, study and realization of this magnificent design. Needless to say, this is a one-of-a-kind high jewelry creation that was singularly produced by the Maison. Its openwork structure keeps this masterpiece at a manageably lightweight, so its lucky wearer can enjoy a fun and unique jewel while dining, or even dancing. One thing is for certain, no one can miss this conversational piece. This remarkable and majestic animal will happily rest on your arm if it is yours to keep.

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\n","2020-06-18T15:12:11.000000Z","https://www.phillips.com/article/59523414/jewels-hong-kong-auction-chopard-peacock-bangle",851,3025,59523414,"https://flockler.com/thumbs/sites/889/631_003-75f98692-4667-4aa3-8448-c79ab51f4b59_s600x0.jpg","與富藝斯合作無間的 Vivienne Becker 詳述1950年代的時尚革命如何改變珠寶，特別是鑽石首飾的設計。","五十年代珠寶革新","

拍品 631: 12.55克拉 D/IF Type lla 鑽石戒指，海瑞温斯頓，約1953年。
\n估價 6,800,000-8,800,000港元
\n珍貴珠寶及翡翠, 香港

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1950年代在歷史上是鑽石大放異彩的時期之一：此十年間，鑽石不但成為女性的摰友，還彰顯了新英國君主伊麗莎白女王二世的威嚴，而紐約「明星之珠寶商」海瑞溫斯頓(Harry Winston)被冠以「鑽石之王」的美譽，同時De Beers「鑽石恆久遠」的說法亦被廣泛傳揚。

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二次大戰之後，世界沉浸在一片歌舞昇平的樂觀氣氛之中，期待著繁華盛世的到臨。1956年美國版的《時尚芭莎》封面選上一條卡地亞手鏈，為叱吒50年代的新財富揭開了序幕。珠寶，尤其是閃爍出一片喜氣洋洋光芒的鑽石，搶佔了時代精神。它代表了世人經歷多年苦難和省儉後對奢侈的渴望，也同時予人安穩和永恆的撫慰。更重要的是，鑽石精緻稀有，典雅正式，加上帝王般的氣派，正好是其時歌頌嫵媚氣質的完美象徵。女性放下戰時的剛強外表，在這個高訂服的黃金時代重新懷抱自己的女性美，成為不少時裝大師包括迪奧(Christian Dior)、寶曼(Balmain)、巴黎世家(Balenciaga)及Jacques Fath的靈感源泉。

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1952年4月號《哈潑時尚》雜誌內的海瑞溫斯頓鑽石項鏈及戒指廣告。

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在這種集合天時、地利、人和的環境下，經典、動感十足、歷久常新的50年代珠寶風格得以誔生：各種形狀和切割的美鑽被組合成整個純白的抽象造型，輪廓流暢而剛勁，在光線和質感的變換中營造迷人的動感。無論是描繪成扭紋、圓環或螺旋形的緞帶、潺潺流水、還是壯麗的瀑布或急流，鑽石都能多角度與光線互動，閃出璀璨流光。它有一種規矩的秀氣，也有荷里活式的華麗，再加上一點無畏無懼的精神。它是靜謐和熱鬧之間的一個平衡點，所表現出來的當代氣息中內含古典主義，經得起時間考驗，時至今天仍能引起共鳴。它讓我們聯想起不少20世紀中葉的時尚名流和具影響力之人物，如紐約第一絶色Babe Paley、社交名媛Mona Bismarck、來自法國的才女Pauline de Rothschild，以及時尚教主Diana Vreeland等，她們都深信珠寶的穿戴是自己個性的終極表現。

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拍品630: 鑽石耳環一對，海瑞温斯頓，鑽石共重21.63克拉, D-G /VVS1-VS2。
\n估價1,350,000-1,850,000港元

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其實白鑽珠寶的風潮早於20、30年代的電影裡出現過，但50年代這次卻甚為不同。首先，50年代流行的只有鑽石一種寶石。第二亦是最重要的一點：鑽石是珠寶裡唯一的主角，盡量將金屬的鑲台隱藏起來，才能令美鑽主宰設計的輪廓、比例、形狀和動態；40年代雞尾酒風格的細節變得更精緻輕盈、柔順，以至女性化。鑽石切割方面的進程亦成就了50年代的設計，圓形配長方形，還有梨形配馬眼形的強列對比都定義了50年代經典風尚。

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與此同時，巴黎重拾昔日的五光十色，再次成為全球的藝術和奢侈品中心，吸引到不少朝拜高級時裝和珠寶的人到訪。凡登廣場上星光熠熠，卡地亞、梵克雅寶、寶詩龍(Boucheron)及Mellerio盡展大師風範，成功將鑽石引入全新的珠寶風格中。而由鑽石切割師查理斯．梵克所創立的梵克雅寶表現尤其出色，緞帶、花草及羽毛的新穎造型彷如神來之筆，蝴蝶結被構想成花環，花枝蔓生盛開，以梨形鑽石拼貼為葉，方形鑽石並鑲為枝。鑽石緞帶旋繞捲曲，交織成華麗的項鏈，在為埃及皇室訂製的作品中更是常見。

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海瑞溫斯頓於1977年的廣告選用祖母綠方形切割的鑽石為主角。

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二戰期間，卡地亞和梵克雅寶進一步提升他們在美國的業務，因深受啓發，其創意作品滿足了50年代的名媛和她們萬紫千紅的生活之需求。在這十年間，美國也為珠寶界引來了最具影響力的重點人物: 海瑞，溫斯頓(Harry Winston, 1896 - 1978)，一枝獨秀為鑽石市場注入了強大的力量。他不但是頭腦靈活的生意奇才，加上天生對寶石眼光獨到，品味精準，使他往往一眼就看出鑽石的底蘊，理解其潛能，並洞悉其內涵。他第一筆交易就是基於這種精闢見解：購入古董珠寶並拆下鑽石，將其重新切割打磨，提升鑽石的品質，再打造成現代感十足的珠寶。這個概念出乎意料的成功，令溫斯頓迅速於1932年成立自己的同名公司，並正式開展收藏世上稀有鑽石的重要旅程。珍稀的囊中物包括Jonker巨鑽、東方之星鑽石，以至世上最有名、最傳奇的深藍色戈爾康達鑽石「希望之鑽」。

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1949至1953年間，海瑞溫斯頓在美國、歐洲及古巴舉辦了名為「溫斯頓的宮廷珠寶」的巡迴展覽，而「希望之鑽」理所當然是重點展品。溫斯頓除了透過此活動進行慈善籌款以外，亦藉此大大提升鑽石的形象，教育大眾，以及分享觀賞寶石的無窮樂趣。50年代期間，溫斯頓開創出他至今最備受讚譽的「簇擁式」(clustering)鑲嵌技巧，銳意將結構中之金屬減至最少，讓鑽石有更多空間閃照出耀眼的光芒。溫斯頓先生曾表示如果可以的話，他會將鑽石直接妝點在女人的肌膚上。而他這種懸浮式的鑲嵌方法幾近將其想法變成事實。

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拍品 605: 鑽石耳環一對，海瑞温斯頓，鑽石共重21.63克拉, D-G /VVS1-VS2。
\n估價2,800,000-3,500,000港元

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正當許多同期的時裝大師如迪奧等在作品中引進建築式的設計和結構，溫斯頓亦帶領著一種「珠寶建築」的風潮，讓大家能專注於寶石本身，將鑲台拋諸腦後，進入另一個嶄新的境界。據說事緣於一個40年代末的晚上，溫斯頓回到家門前，看到掛在大門上的聖誕花環，冬雪落在枝葉上，閃出冰雪亮光，純白靜謐，讓溫斯頓大為驚嘆。他仔細地觀察葉子之間的連結和所構成的形狀，並決心要用他最喜愛的鑽石重塑花環的美。他嘗試將不同切割的鑽石高低有致地鑲嵌，刻意讓光線從多個角度進入鑽石，每個切面、平面和角度間的互動都有效令鑽石迸發其火光、活力與亮度，讓徐徐流動的光線奏出澎湃炫目的樂章。此技法主要運用梨形和馬眼形鑽石，在花卉造型之別針上效果顯著，經典的「簇擁式」設計會以梨形的花辮環抱中間的方鑽或彩鑽和寶石。這種設計用在耳環設計上深得溫莎公爵夫人的喜愛，全因耳環能完美修飾臉型，令雙目更有神，又會勾畫耳朵的線條，令整體造型更靈巧，更富時代感。品牌中的「V」型花環項鏈亦採用了同一種鑲嵌技巧，幾十年來一直是海瑞溫斯頓的經典作品，廣受歡迎。

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晚間出席宴會，項鏈可以說是晚禮服的絶配；耳環則適合搭配任何服飾佩戴，起畫龍點睛之效。胸針用途更是多變，可於日間別於衣領、肩膀和修腰的立體剪裁New Look外套上，晚上可別於更意想不到的地方，如腰間，或搖身一變為髮飾。肯尼迪夫人便喜愛將梵克雅寶的Flamme別針戴在她悉心整理的髮型上。

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拍品631: 12.55克拉 D/IF Type lla 鑽石戒指，海瑞温斯頓，約1953年。
\n估價6,800,000-8,800,000港元

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高訂珠寶跟高訂服裝於50年代關係變得極其緊密，彼此啓發。高訂服裝會在沙龍展上以高訂珠寶配搭作品，並強調珠寶在整個完成造型上的必要，可以說是那時期的一個全新概念。此時期的梵克雅寶與時裝大師巴黎世家之合作至今為人津津樂道，而天才橫溢的Pierre Sterlé和法國戰後三大時裝設計師之一Jacques Fath亦曾攜手進行創作。Sterlé作為1950年代其中一位最具代表性的珠寶師計師，在運用鑽石方面如入化境，往往能用不同比例的方形鑽石描繪線條流麗的飄逸緞帶，時而跟一列列的圓鑽纏綿交織，時而傾瀉出潺潺溪流般的清徹水珠。50年代的時尚品味及生活文化以女性美為主導，成功牽線珠寶和時裝，但其實亦因為鑽石本身無堅不摧，那堅毅的精神啟迪並定義了50年代的珠寶，一直賦予女性力量，並引領往後數十年來佩戴珠寶的進程。

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\n","2020-06-26T08:02:07.000000Z","https://www.phillips.com/article/59805826/the-new-look-of-haute-joaillerie-harry-winston-diamond-auction-hong-kong-zh",3,853,3048,59805826,"https://flockler.com/thumbs/sites/889/631_003-9a4b73db-506d-4164-ae55-4e1d3e1d02cd_s600x0.jpg","Phillips contributor Vivienne Becker investigates how one of the most iconic eras in fashion changed jewelry, particularly diamond jewelry, forever. ","The 'New Look' of Haute Joaillerie ","

Lot 631: Harry Winston. A Fine and Classic Diamond Ring, Circa 1953.
\nEstimate: HK$6,800,000-8,800,000.
\nJewels & Jadeite, Hong Kong.

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中文閱讀

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The 1950s: one of history’s great diamond eras, the decade when diamonds became a girl’s best friend, when they proclaimed the majesty of the newly‐crowned young British monarch, Queen Elizabeth II, and when Harry Winston, the New York jeweler to the stars, was crowned reigning King of Diamonds. And the decade when De Beers told the world that a Diamond is Forever.

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Bathed in the glow of post‐war optimism, promising peace and prosperity, the 1950s held out the allure of New Riches, as Harpers’ Bazaar U.S. suggested in a 1956 issue, featuring a Cartier bracelet on the front cover. Jewels, and especially the diamond, with its celebratory, light and dream‐filled life captured the zeitgeist, answering the longing for luxury, after years of hardship and deprivation, and at the same time offering security and longevity. Even more, the diamond, ravishingly rare and refined, with its air of regal splendor, was the perfect expression of the elegant, formal sophisticated femininity that pervaded the decade: the celebration of femininity after women’s wartime masculine roles that was at the heart of the 1950s Golden Age of Couture, fuelling the genius of designers including Christian Dior, Balmain, Balenciaga and Jacques Fath.

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An advertisement featuring a diamond necklace and ring by Harry Winston, Harper’s Bazaar, April 1952.

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So that the stars were aligned, as all factors came together, seamlessly, to create the distinctive, dynamic, timelessly modern designs that epitomize 1950s diamond jewelry: all‐white, all‐diamond abstract, stylized compositions that played with shapes and cuts of stones to create fluid but strong silhouettes, a dazzling play of light and texture, and mesmerizing, mellifluous movement. Diamonds were twisted and looped into swirls and twirls, scrolls and volutes, into streams, cascades and tumbling torrents of light and luminosity. It is a style of soignée sophistication, of Hollywood glamour and grandeur, touched with a dash of audacity; a style poised harmoniously between stillness and exuberance. A style of contemporary yet enduring classicism that resonates today, carrying with it, as it does, the scent of the great mid‐century fashion leaders and powerbrokers: Babe Paley, Mona Bismarck, Pauline de Rothschild, Diana Vreeland – for whom jewelry was the ultimate expression of individual style.

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Lot 630: Harry Winston. A Classic Pair of Diamond Cluster Ear Clips. Estimate: HK$1,350,000-1,850,000.

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There had been an all‐white jewelry vogue in the Silver Screen years of the late 20s and 30s, but this was very different. First, the 1950s vogue was all and only about diamonds, and second, most significantly, it shifted the focus entirely onto the stones, removing as much metalwork and setting as possible, allowing the stones to construct silhouette, scale, shape, form and movement, turning features of 1940s cocktail style into something altogether more refined, sophisticated, lighter, more fluid and above all more feminine. It was a style made possible by improved technical virtuosity of diamond‐cutting, and the mixing of different cuts, contrasting round stones with baguette cuts or with the pear‐shaped or marquise cuts that truly define 1950s jewelry.

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As Paris recaptured its status as the center of art and luxury, visitors were drawn there, to both Haute Couture and Haute Joaillerie. The great heritage master jewelers of the Place Vendome, Cartier, Van Cleef & Arpels, Boucheron and Mellerio, all excelled in coaxing diamonds into the thrilling new look. Van Cleef & Arpels – founded by Charles Van Cleef, a diamond cutter ‐ was particularly skilled at adapting their signature ribbons, flowers, leaves and feathers to the new highly-energized stylization of form, turning bows into cartwheeling rosettes, tying flowers into bouquets of stylized blooms, with pear‐shaped diamond petals and curving baguette‐diamond stems, and conjuring spectacular necklaces from curls, furls and entwined diamond ribbons, especially for the Egyptian royal family.

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Harry Winston advertisement featuring a magnificent emerald-cut diamond in 1977.

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During the War, both Cartier and Van Cleef & Arpels had strengthened their business in the United States, absorbing fresh and dynamic influences, and catering to the great 50s socialites and their glittering lifestyles. It was America that delivered one of the most pivotal influences and characters of the decade: Harry Winston (1896‐1978). An unstoppable force in the diamond industry, Winston combined entrepreneurial instincts with courage, panache and an exceptional affinity for gemstones; he was able to see into the heart of a diamond, to understand its full potential, to discover its innermost secrets. This was, in fact, how he built his first business ‐ buying antique and estate jewelry and re‐cutting the diamonds to improve their quality, often re‐setting them, making them modern. So successful was he that in 1932 he established his first retail business, in New York, Harry Winston, Inc. and from this time he began acquiring some of the world’s most famous and historic diamonds, amongst them the Jonker, Star of the East (from heiress and jewel‐addict Evalyn Walsh McLean) and most celebrated of all, the magical, deep blue Golconda diamond, The Hope.

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The Hope took center stage in Winston’s Court of Jewels: a touring exhibition that traveled across America, Europe and Cuba, from 1949‐53, raising money for charity and at the same time, as Winston was determined to do, also raising the profile of the divine diamond, educating the public, sharing the joy of gems. By the 1950s Winston had also developed his signature style that revolved around his technique of ‘clustering’ the stones, with minimal metal mounts, allowing the settings to evaporate and allowing the diamonds to shine supreme. Winston is famous for saying that if he could, he would attach the diamonds directly to a woman’s skin, and his revolutionary ‘floating’ diamonds came close to achieving that goal.

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Lot 605: Harry Winston. A Very Fine Pair of Emerald and Diamond Ear Clips. Estimate: HK$2,800,000-3,500,000.

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Just as the great post‐war couturiers, especially Dior, took an architectural approach to the design and construction of their creations, so Winston instigated a new form of gem‐architecture, taking the prevailing focus on the stone and away from settings to another level entirely. Legend has it that one Christmas night in the late 1940s, Winston returned home and was struck by the beauty of snow glistening on the holly wreath on his front door. He examined the connections of the leaves and the shape they made, and made up his mind to replicate the wreath’s construction by arranging his beloved diamonds, of different cuts, at different angles and on different levels and moving the metal mounts completely to the back of the jewel, creating an uninterrupted rhythmic flow of light, a dynamic interplay of facets, planes and angles in order to focus attention solely on the beauty, life, fire and brilliance of the diamonds. This clustering, particularly of pear‐shaped and marquise‐cut diamonds – Winston’s specialty – worked supremely well for fashionable brooches, typically a seemingly random but rhythmic foliate arrangement, or a highly stylized floral design, with pear‐shaped petals framing an important emerald cut diamond or colored stone ‐ and also for earrings– much loved by the Duchess of Windsor, one of Winston’s many famous clients. Winston’s earrings framed the face perfectly, highlighting the eyes, often climbing up and along the ear, adding movement and a touch of modernity. The same clustering technique also led to Winston’s famous ‘wreath’ necklaces, often ‘V’ shaped, a deceptive style that endured for decades and remains today as an all‐time modern classic.

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Necklaces were key to the formality and glamour of sumptuous evening gowns and were always paired with earrings, considered essential finishing touches to any outfit and immaculately coiffed hair. While for daytime, brooches were worn, on the lapels or shoulders of the new tight‐waisted, voluptuously shaped Bar jackets of Dior’s New Look. For evening, brooches could also be worn in unexpected places, in clusters at the hip, or in the hair; Jackie Kennedy loved to wear Van Cleef &Arpels’ Flamme and Wheatsheaf brooches in her perfectly groomed coiffures.

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Lot 631: Harry Winston. A Fine and Classic Diamond Ring, Circa 1953. Estimate: HK$6,800,000-8,800,000.

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The thread connecting Haute Joaillerie and Haute Couture was pulled tighter during the 1950s – each drawing ideas and inspirations from the other, as couturiers accessorized their creations with exceptional jewelry for Salon shows, emphasizing jewelry as an indispensable part of the total look – a new concept in this decade. Van Cleef & Arpels collaborated with Balenciaga, and the hugely talented designer Pierre Sterlé worked with Jacques Fath. Sterlé is known for his quintessential 1950s diamond jewels, characterized by the inspired use of baguette diamonds to generate a sense of movement, tracing luscious, fluid ribbon‐like lines, often entwined with streams of round diamonds, or cascades of diamond light tumbling out of loops or scrolls. That connecting thread between fashion and jewels was undoubtedly the focus on femininity that dominated 50s style and lifestyle, but it was the diamond itself, emblem of invincibility and enlightenment, that illuminated and defined 1950s jewelry, lighting the way forward into a new age of female empowerment and adornment.

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\n","2020-06-24T17:54:35.000000Z","https://www.phillips.com/article/59736131/the-new-look-of-haute-joaillerie-harry-winston-diamond-auction-hong-kong",2,846,3044,59736131,"https://flockler.com/thumbs/sites/889/624_004-647382ea-d8bd-4a7f-91b1-d5f39e43804b_s600x0.jpg","祖母綠自遠古時代經已是永生和信仰的象徵，不但在許多傳說神話中佔一席位，在寶石界裡也是最貴重的三大寶石之一，與紅藍寶平分秋色。","隨身護符：祖母綠","

拍品624：21.52克拉「哥倫比亞」天然祖母綠配鑽石戒指，祖母綠未經淨度處理
\n估價7,500,000 - 9,500,000港元
\n珍貴珠寶及翡翠, 香港

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據說羅馬帝皇尼祿就有一副專屬的祖母綠眼鏡，用來觀看他最喜愛的角斗士競賽。古羅馬學者老普林尼亦曾以「沒有更綠的綠」來形容祖母綠，並指出只有這種寶石不至令眼睛疲勞，達到舒緩功效。世上最早出現的祖母綠產地被稱為「埃及艷后之礦」，足以見證此寶石在埃及皇后克利奧帕特拉心目中的地位。此礦區的實際地理位置一度在歷史上消失，直到1818年才重新被發現。祖母綠在印度被視為帶有治療和神聖功效之寶石，因此印度君王會將祖母綠當成護身符佩戴或將經文刻在祖母綠上。

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在礦石世界中，祖母綠是柱石家族的一員，綠色來自於晶體內的鉻和釩。但這兩種令祖母綠透現艷麗色彩的原素同時亦會導致寶石的分子結構出現裂縫，常常影響到祖母綠的淨度。由此可推斷，祖母綠要同時擁有濃郁飽和的色彩和相對高的淨度，本身存在一定的矛盾，絶非易事。如此精確的平衡點，只有大自然才能拿捏得到。

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位處南美洲的熱帶國家哥倫比亞一直以來都是寶石級祖母綠的重要產地。在資深藏家和寶石愛好者心目中，哥倫比亞擁有無可取代的超然地位。

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在西班牙帝國將部分南美國家收歸為殖民地之前，哥倫比亞所產的祖母綠幾千年來受阿茲台克文明、印加人、穆伊斯卡人，以及其他土著部落所歌頌和膜拜，被視為神來之物。原住民開採出來的祖母綠會被鑲嵌在黃金器物和珠寶上，極盡奢華。十五世紀的西班牙帝國逐漸收到消息，得知世上竟然存在晶體如此透亮，火彩如此誘人的綠色寶石，遂派出強大的船隊，尋找這些傳說中的綠色寶石。這個探索之旅最終花上幾十年的時間，經歷了無數的戰役，才成功取得礦藏在哥倫比亞的確實位置。大量開採出來的祖母綠來不及在當地分割，便連同原石礦物放滿了一艘又一艘的大船，直接被運回西班牙宮廷，再轉售予其他歐洲皇室。這也是歐洲君王貴族首次得以接觸哥倫比亞祖母綠的原由。在此之後，哥倫比亞的祖母綠不但陸續出現在文藝復興時期的珠寶，也成為王侯「珍奇屋」內的藏品，更被珍藏於莫臥兒及奧斯曼帝國，以及波斯帝王的寶庫內。俄羅斯羅曼諾夫王朝、法國拿坡崙，以及英國皇室的珠寶中亦少不了哥倫比亞祖母綠的身影。

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哥倫比亞能贏得盛名，皆因它是世上唯一可以開採出體積碩大又品質出眾的祖母綠的地方。東部山脈擁有獨特的地理環璄和條件，孕育出令人驚艷的綠色寶石。頂級的哥倫比亞礦藏色彩濃郁純正，呈中深度草綠色，不帶一丁點灰色調。絶佳的飽和度和顏色之平均分佈也是其優勝之處。

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拍品624：21.52克拉「哥倫比亞」天然祖母綠配鑽石戒指，祖母綠未經淨度處理
\n估價7,500,000 - 9,500,000港元
\n珍貴珠寶及翡翠, 香港

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富藝斯呈獻的這顆祖母綠正正擁有上述的各項優點，閃耀濃郁的色彩，綠中帶有微量的藍，澄淨的晶體完全沒有經過任何的淨度處理。之前提到，鉻和釩會影響祖母綠的淨度，而改善淨度的常見處理方法是往寶石的裂縫注油。這種優化處理十分常見，在業界已被廣泛接受，絶大多數的祖母綠都會「注油」。市場上超過5克拉的「無油」祖母綠越見稀有，這顆天然祖母綠重逾21克拉，更是萬中無一，無比珍貴。加上均勻的切割比例，無疑將此寶石昇華到典藏的等級，高貴氣息令人一見傾心，值得珍藏細味。

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\n","2020-07-02T03:49:49.000000Z","https://www.phillips.com/article/60029882/emerald-muzo-colombia-hong-kong-auction-zh",1,875,3064,60029882,"https://flockler.com/thumbs/sites/889/624_004-3ace6669-6613-4013-ae4c-580c406ff5f8_s600x0.jpg","As a symbol of immortality and faith since ancient times, emeralds are not only steeped in folklore and intrigue but coveted as one of the top three most prized gemstones in the world, alongside rubies and sapphires. ","Healing Talismans: Emeralds","

Lot 624: An Exceptional and Very Rare Emerald and Diamond Ring.
\nEstimate: HK$7,500,000-9,500,000.

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中文閱讀

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While it was said that Emperor Nero would watch gladiators through his emerald spectacles, Roman scholar Pliny described emeralds as ‘nothing greens greener’ and believed that they were the only gemstone that soothes one’s eyes without fatiguing them. The earliest origin for emeralds was known as Cleopatra’s Mines, named after the Egyptian queen who was a patron of the green stone. The exact location of the mine was lost for close to two thousand years and rediscovered in 1818. In India, emeralds are associated with healing and spiritual powers with Moghuls wearing them as talismans and inscribing them with sacred text.

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Emerald is a member of the beryl family and owes its color to traces of chromium and vanadium. However, what contributes to its visual appeal is also the cause for induced stress in the gemstone’s atomic structure, resulting in fractures that commonly affect the clarity. An emerald with an intense color and high clarity is therefore extremely rare. It is a chance occasion when the perfect balance was achieved by Mother Nature in the formation process.

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The tropical country of Colombia in South America has long been the preeminent source of gem-quality emeralds. To this day, Colombia still reigns as the preferred pedigree among discerning collectors and knowledgeable connoisseurs.

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Long before Spanish colonization, Colombian emeralds were revered and worshipped by Aztecs, Incas and Muiscas for thousands of years. The green gemstones were mined by indigenous tribes and lavishly set in gold treasures and jewels. News about the superiority of their crystal, transparency and fire reached the Spanish court in the 15^th century and before long, fleets of Spanish Conquistadors were on a quest to locate these mystical ‘green stones’, a mission that eventually lasted for decades. Upon the discovery of major mining areas in Colombia, emeralds were extensively excavated. Ships and ships of emeralds attached to their primary host rocks were transported back to the Spanish court. This was the point in history when European monarchs were first introduced to Colombian emeralds. From then onwards, these green specimens made their way to jewels and objects of the Renaissance, princely Wunderkammer, as well as treasuries of Moghul, Ottoman and Persian rulers. Opulent jewels set with Colombian emeralds are found in Imperial Napoleonic collections, as well as the Romanov and British Royal collection.

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The reputation of Colombia is well-deserved. It is the only place in the world that offers the potential to recover emeralds of exceptional size and quality. The Cordillera Oriental offers a specific geological environment and provides the conditions necessary for the formation of such extraordinary gems. The finest examples are prized for their intensity and depth of color, a rich grass-green with a medium-dark tone, almost without a trace of grey. Highly transparent, they display an even color distribution and a vivid saturation.

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Lot 624: An Exceptional and Very Rare Emerald and Diamond Ring.
\nEstimate: HK$7,500,000-9,500,000.

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This magnificent Colombian emerald on offer displays a rich and classic bluish-green color typical of its origin. Accompanied by excellent transparency, it is also free from any clarity treatment. It is worth mentioning that clarity treatment for emeralds is a procedure readily accepted by the trade, which often includes filling the fissures and fractures with oil. A ‘no-oil’ Colombian emerald over 5 carats is considered very unusual, this very gemstone of over 20 carats is absolutely remarkable and worthy of special merit. Its timeless elegance is further heightened by a well-proportioned and refined cutting, capturing a modern aura that is truly arresting.

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Karen Suen天然粉紅色海螺珠配粉紅色鑽石及鑽石戒指; 天然粉紅色海螺珠配粉紅色鑽石及鑽石項鏈; 天然粉紅色海螺珠配粉紅色鑽石及鑽石吊耳環一對。

Karen Suen設計的一對天然翡翠雕「富貴自來」配紅寶石及鑽石吊耳環於2019年5月香港的「珍貴珠寶及翡翠」吸引到藏家熱烈競拍。

天然粉紅色海螺珠配粉紅色鑽石及鑽石項鏈, Karen Suen

天然粉紅色海螺珠配粉紅色鑽石及鑽石吊耳環一對, Karen Suen

Karen Suen A Conch Pearl, Pink Diamond and Diamond Ring ; An Elegant Conch Pearl, Pink Diamond and Diamond Necklace; A Pair of Conch Pearl, Pink Diamond and Diamond Pendent Earrings.

Karen Suen A Pair of Carved Jadeite Plaque, Ruby and Diamond Pendent Earrings.

Karen Suen An Elegant Conch Pearl, Pink Diamond and Diamond Necklace.

Karen Suen A Pair of Conch Pearl, Pink Diamond and Diamond Earrings.

「Alhambra」系列據說啟發自西班牙格拉納達阿爾罕布宮的扇形拱門。

「Alhambra」珠寶之雛形是來自「La Boutique」系列的一部分。

綠玉髓「Alhambra」項鏈，梵克雅寶。估價: 40,000 – 65,000港元。

寶石「Lucky Alhambra」項鏈， 梵克雅寶。估價: 80,000 -120,000港元。

鑽石「Alhambra」項鏈， 梵克雅寶， 約1992年。估價: 150,000 – 220,000港元。

The collection was inspired in part by the Moorish architecture of the Alhambra palace in Granada, Spain.

The motif was introduced as part of the La Boutique collection.

Van Cleef & Arpels A Green Chalcedony ‘Alhambra’ Necklace. Estimate: HKD40,000-65,000.

Van Cleef & Arpels A Gem-set ‘Lucky Alhambra’ Necklace. Estimate: HKD80,000-120,000.

Van Cleef & Arpels A Diamond ‘Alhambra’ Necklace, Circa 1992. Estimate: HKD150,000-220,000.

拍品 614, 20.25克拉IF鮮彩黃色鑽石配鑽石戒指\n估價8,800,000-12,000,000港元

拍品 614, 20.25克拉IF鮮彩黃色鑽石配鑽石戒指\n估價8,800,000-12,000,000港元

拍品 614, 20.25克拉IF鮮彩黃色鑽石配鑽石戒指\n估價8,800,000-12,000,000港元

Lot 614: An Impressive Fancy Vivid Yellow Diamond and Diamond Ring.\nEstimate: HK$8,800,000-12,000,000.

Lot 614: An Impressive Fancy Vivid Yellow Diamond and Diamond Ring.\nEstimate: HK$8,800,000-12,000,000.

Lot 614: An Impressive Fancy Vivid Yellow Diamond and Diamond Ring.\nEstimate: HK$8,800,000-12,000,000.

17世紀畫家彼得．保羅．魯本的《朱諾和阿格斯》，背景裡有孔雀。\n

法國水彩畫家愛德華．特拉維斯 (1809 – 1876) 的作品，圖中的情侶在公園中觀看孔雀。

Juno and Argus by Peter Paul Rubens from the 17th century, featuring a peacock in the background.

Work by French watercolorist Edouard Travies (1809 – 1876) depicting lovers watching a peacock in a park.

1952年4月號《哈潑時尚》雜誌內的海瑞溫斯頓鑽石項鏈及戒指廣告。

拍品630: 鑽石耳環一對，海瑞温斯頓，鑽石共重21.63克拉, D-G /VVS1-VS2。\n估價1,350,000-1,850,000港元

海瑞溫斯頓於1977年的廣告選用祖母綠方形切割的鑽石為主角。

拍品 605: 鑽石耳環一對，海瑞温斯頓，鑽石共重21.63克拉, D-G /VVS1-VS2。\n估價2,800,000-3,500,000港元

拍品631: 12.55克拉 D/IF Type lla 鑽石戒指，海瑞温斯頓，約1953年。\n估價6,800,000-8,800,000港元

An advertisement featuring a diamond necklace and ring by Harry Winston, Harper’s Bazaar, April 1952.

Lot 630: Harry Winston. A Classic Pair of Diamond Cluster Ear Clips. Estimate: HK$1,350,000-1,850,000.

Harry Winston advertisement featuring a magnificent emerald-cut diamond in 1977.

Lot 605: Harry Winston. A Very Fine Pair of Emerald and Diamond Ear Clips. Estimate: HK$2,800,000-3,500,000.

Lot 631: Harry Winston. A Fine and Classic Diamond Ring, Circa 1953. Estimate: HK$6,800,000-8,800,000.

拍品624：21.52克拉「哥倫比亞」天然祖母綠配鑽石戒指，祖母綠未經淨度處理\n估價7,500,000 - 9,500,000港元\n珍貴珠寶及翡翠, 香港

Lot 624: An Exceptional and Very Rare Emerald and Diamond Ring.\nEstimate: HK$7,500,000-9,500,000.

寶石「Lucky Alhambra」項鏈，梵克雅寶。估價: 80,000 -120,000港元。

鑽石「Alhambra」項鏈，梵克雅寶，約1992年。估價: 150,000 – 220,000港元。

拍品 614, 20.25克拉IF鮮彩黃色鑽石配鑽石戒指
\n估價8,800,000-12,000,000港元

拍品 614, 20.25克拉IF鮮彩黃色鑽石配鑽石戒指
\n估價8,800,000-12,000,000港元

拍品 614, 20.25克拉IF鮮彩黃色鑽石配鑽石戒指
\n估價8,800,000-12,000,000港元

Lot 614: An Impressive Fancy Vivid Yellow Diamond and Diamond Ring.
\nEstimate: HK$8,800,000-12,000,000.

Lot 614: An Impressive Fancy Vivid Yellow Diamond and Diamond Ring.
\nEstimate: HK$8,800,000-12,000,000.

Lot 614: An Impressive Fancy Vivid Yellow Diamond and Diamond Ring.
\nEstimate: HK$8,800,000-12,000,000.

17世紀畫家彼得．保羅．魯本的《朱諾和阿格斯》，背景裡有孔雀。
\n

Juno and Argus by Peter Paul Rubens from the 17^th century, featuring a peacock in the background.

拍品630: 鑽石耳環一對，海瑞温斯頓，鑽石共重21.63克拉, D-G /VVS1-VS2。
\n估價1,350,000-1,850,000港元

拍品 605: 鑽石耳環一對，海瑞温斯頓，鑽石共重21.63克拉, D-G /VVS1-VS2。
\n估價2,800,000-3,500,000港元

拍品631: 12.55克拉 D/IF Type lla 鑽石戒指，海瑞温斯頓，約1953年。
\n估價6,800,000-8,800,000港元

拍品624：21.52克拉「哥倫比亞」天然祖母綠配鑽石戒指，祖母綠未經淨度處理
\n估價7,500,000 - 9,500,000港元
\n珍貴珠寶及翡翠, 香港

Lot 624: An Exceptional and Very Rare Emerald and Diamond Ring.
\nEstimate: HK$7,500,000-9,500,000.