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Auction 28 May 2:30pm HKT
\nMandarin Oriental Hong Kong
\n5 Connaught Road, Central, Hong Kong (map)
\n
\nPublic Viewing 24-27 May
\nThursday 10am-6pm
\nFriday 10am-6pm
\nSaturday 10am-7pm
\nSunday 10am-6pm

\n","auctionDetailsSmall","Hong Kong Auction 28 May 2018","extraInfo","Terry Chu
\nHead of Jewellery, Asia, Senior Director
\n+852 2318 2038","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[197,198,199,200,201,202,203,204,205,206,207,208,209,210,211,212,213,214,215,216,217,218,219,220,221,222,223,224,225,226,227,228,229,230,231,232,233,234,235,236,237,238,239,240,241,242,243,244,245,246,247,248,249,250,251,252,253,254,255,256,257,258,259,260,261,262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348,349,350,351],"articles",[162,163],"departments",[155],"auctionCurrency",{"_152":70,"_153":154},"totalLotCount",155,"auctionMobilityAuctionRowId","1-OJ9HH","auctionUrl","https://www.phillips.com/auction/HK060118","currencyCode","currencySign","HK$",{"_156":157,"_158":159,"_160":161},"departmentId",4,"departmentName","Jewelry","departmentDisplayName","Jewels",{"_164":188,"_166":161,"_167":189,"_16":190,"_170":191,"_172":192,"_174":175,"_176":177,"_178":193,"_180":177,"_182":194,"_184":195,"_186":196},{"_164":165,"_166":161,"_167":168,"_16":169,"_170":171,"_172":173,"_174":175,"_176":177,"_178":179,"_180":181,"_182":183,"_184":185,"_186":187},"coverUrl","https://flockler.com/thumbs/sites/889/p10_001-04157222-bc2a-4869-855d-7052bc2a277a_s600x0.jpg","section","summary","Evoking the Golden Age of Hollywood—discover the jewels collection of Betty Warner Sheinbaum, heiress to the Warner Bros. motion picture dynasty.","A Hollywood Jewel Box from the Collection of Betty Warner Sheinbaum","body","

Betty and Stanley in their Los Angeles home circa 2000

\n\n

This spring in Hong Kong, we present a collection of jewels belonging to Betty Warner Sheinbaum, heiress to one of the most successful motion picture and television dynasties in the world, Warner Bros. Betty was born the youngest daughter of Harry and Rea Warner in New York City in 1920. In 1923, Warner Bros. Pictures, Inc. was officially established as one of the first movie studios in the world and Harry, the first President of the company, moved his family to Los Angeles. There, Betty was immersed in the glamour of the Hollywood motion pictures scene, mingling with famed Hollywood actors, directors and producers on the sets of Warner Bros. studios and attending star-studded events. At age 19, Betty married her first husband, the screenwriter and producer Milton Sperling, with whom she had four children.

\n\n

While considered Hollywood royalty, Betty was a modest person who led her life with a distinctive sense of independence and purpose — she was highly educated, an accomplished artist, a voracious collector of contemporary art and a political activist alongside her second husband Stanley Sheinbaum. Together, the Sheinbaums dedicated themselves to human rights, social justice, education, politics and world affairs, leaving behind a legacy of both significant patronage to art and positive political change.

\n\n

\n\n

Three tour buses in front of the Warner Bros. studios, Hollywood, California, 1946.

\n\n

Betty Warner Sheinbaum's collection of jewels evokes a sense of the "Goldenage of Hollywood." As Penny Proddow, Debra Healy and Marion Fasel explain in their book Hollywood Jewels, every decade in Hollywood brought with it a renewal of popular actresses, technologies and, of course, fashions and styles. There was a constant evolution in the relationship shared between films, movie stars and jewelry. The jewels in this collection represent the changing landscape of styles that took place on and off-screen from the early 20th century until the 1950s.

\n\n

In the mid-1920s and 1930s, Warner Bros. introduced and developed the use of sound in motion pictures. This advancement brought a strong emphasis on adorning Hollywood's great actresses with impressive jewels in order to enhance their on-screen appeal. Incredible jewelry became a staple of screen actresses' wardrobes, with jewels lent by the famed jewelry houses of New York and Paris. This technological evolution coincided with the 1925 Exposition Internationales des Arts Decoratifs where Mauboussin unveiled the ubiquitous wide bracelet. The wide bracelet soon became a symbol of Hollywood glamour, with diverse versions stacked to adorn the wrists of the screen's most famous actresses, mounted with precious stones set against fancy-cut diamonds.

\n\n

\n
Incredible jewelry became a staple of screen actresses' wardrobes, with jewels lent by the famed jewelry houses of New York and Paris.
\n

\n\n

\n\n

An Art Deco Ruby and Diamond Bracelet, 1930s

\n\n

Lot 549 is a good example of this popular style of bracelet comprising an Art Deco diamond bracelet set with three oval cabochon rubies against a background of staggered baguette cut diamonds. As Hollywood's films and actresses increasingly influenced the fashions of the world, fine New York jewelers such as Trabert & Hoefer Mauboussin and Paul Flato opened branches in Hollywood.

\n\n

Many of the jewels owned personally by actresses also began making their way into film, with jewelers offering screen credits in exchange for their exclusive designs. It is said that Marlene Dietrich was so attached to her own suite of cabochon emerald and diamond jewels made for her by Mauboussin that she wore them in several of her movies. In fact, the cabochon itself, a cut previously thought of as unfashionable, was elevated to a Hollywood bestseller by actresses who recognized the allure of a curved, colored stone on camera. The cabochon became the mark of the extravagant fashionable woman. Faceted stones were swapped for cabochon emeralds, and star rubies and sapphires, such as Lot 537, a 1930s cabochon Burmese ruby ring flanked by crescent-shaped diamonds and rubies.

\n\n

\n\n

An Art Deco Star Ruby and Diamond Ring, Circa 1930

\n\n

In the 1940s, Hollywood actresses turned their attention to jewelry designs that later came to be known as 'Retro'. The style drew on the 'daytime' jewelry designs of the 1930s but emerged in wartime with a bolder, albeit austere look, enabling the wearer to transition from day to night in a style that came to be known as 'one jewel dressing'. Rings, cuffs and brooches worked in polished gold were generously adorned with large-scale gemstones such as citrines and aquamarines.

\n\n

\n\n

\n\n

A Retro Citrine, Ruby and Diamond Brooch, 1940s; Pair of Retro Sapphire and Diamond Clip Brooches, together with Bangle Fitting, 1940s

\n\n

Lot 535, a Retro Brooch, is a fine example of this style of brooch centring a rectangular citrine of approximately 55.00 carats. A type of cuff bracelet also emerged, consisting of removable clip brooches to give the wearer versatility. Lot 536 is an example of this comprising two attractive sapphire and diamond 'comet' clip brooches, which can be worn on a cuff bangle fitting. The 1950s ushered the return of glamour to the jewels of Hollywood with the advent of technicolor cinematics. Platinum, diamonds and pearls returned to the screen as the building blocks of wardrobing for Hollywood's leading ladies. Multi-strand pearls and three dimensional-diamond and colored stone brooches dominated scenes. Jewelers like Van Cleef & Arpels were commissioned to produce exceptional jewels for actresses like Grace Kelly and Marlene Dietrich to wear both on and off-screen.

\n\n

It is our pleasure to offer the present collection of jewels as both a testament to the changing face of Hollywood and its jewels, as well as part of the legacy of one of Hollywood's most notable families.

\n","publishDate","2018-05-18T17:37:35.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/32472583/sheinbaum-jewels","displayOrder",1,"auctionEditorialID",333,"editorialID",358,"flocklerID",32472583,"https://flockler.com/thumbs/sites/889/gemgeneve-kashmir-sapphires-pearls_preview-e6f86c06-7f79-4a9a-8139-a9bd40dd1c8a_s600x0.jpg","On the heels of the first GemGenève showcase this May in Geneva, Phillips' Sarah O'Brien caught up with jewels historian and curator Vivienne Becker.","Vivienne Becker Talks Jewels, Contemporary Designers and the Inaugural GemGenève","

Kashmir sapphires and pearls. Image courtesy of GemGenève

\n\n

Sarah O'Brien: GemGenève, a new jewellery and gem fair, was held for the first time in Geneva earlier this month. Can you tell us about the founders and their goals for the show?

\n\n

Vivienne Becker: As a jewellery historian who started by working in "the trade," I'd known of Thomas Faerber and the Faerber Collection for years; the head of a Geneva-based family-business, with an international reputation and connections to the most important public and private collections around the globe, Faerber is revered as one of the industry's leading and most knowledgeable antique jewellery and gemstone dealers. So I jumped at the chance to work with him and his equally renowned Geneva-based colleague, gem and natural pearl merchant, Ronny Totah, on the organisation of a pioneering new gem and jewellery show, GemGenève. It was to be, they explained, a new-generation, new-style show aimed at revealing our jewellery world as it truly is, a close-knit international "family" of impassioned specialists, personalities and characters, gem-hunters, merchants, antique jewellery dealers—all at the top of their game, all dedicated to the pursuit of beauty.

\n\n

The founders also wanted to show Geneva, not only as a watchmaking centre, but the home of the most accomplished High Jewellery ateliers, of long-established traditions of gem and jewellery trading. They wanted GemGenève to be open to both trade and public, to dealers, collectors and connoisseurs, a bold reflection of today's mood of transparency and accessibility. In short, GemGenève was to reveal the heart and soul of the jewellery world, its expertise, authenticity and professionalism.

\n\n

\n\n

Co-Founders Thomas Faerber and Ronny Totah. Image courtesy of GemGenève

\n\n

SO: You played a key role in bringing together the fair's Designer Showcase. What inspired your choices?

\n\n

VB: As part of their mission in founding GemGenève, Thomas and Ronny wanted to nurture the fresh talent that keeps that world alive and dynamic. With that in mind, they invited me to curate a showcase highlighting the work of individual designer-jewellers, either young designers or those working privately and under-the-radar. I couldn't have been more thrilled, as discovering new talent is my daily challenge—it's what I love to do. Some names were already in my mind: for example, Nadia Morgenthaler, who makes exquisitely refined jewels in her own High Jewellery atelier, one of the finest in Geneva; the Russian gem-hunter-turned-jeweller, Alexander Tenzo; and Julia Muggenburg of Belmacz in London. Others I searched out—notably, Emmanuel Tarpin of Paris and the two young creators of Ninotchka jewels from Moscow. I was looking for designer-jewellers with a strong, individualist point of view, well-defined style and sophistication of craftsmanship. I wanted to showcase very different styles, to highlight the breadth of creativity and originality in contemporary jewellery. After much deliberating, and discussions, particularly with Ida Faerber, Thomas’s daughter, we selected nine contemporary designer-jewellers for the Designer Showcase at GemGenève. Joining the names mentioned above were Fabio Salini, a masterful Italian modernist, Hannah Martin, London-based goldsmith known for her powerful androgyny, Sean Gilson, American master goldsmith, with a fresh way with pearls, Cora Sheibani, Swiss-born and London-based, whose graphic style is resolutely design-driven.

\n\n

\n
...a new-generation, new-style show aimed at revealing our jewellery world as it truly is.
\n

\n\n

\n\n

Left: Cora Sheibani Owl Earrings; Right: Emmanuel Tarpin Hortensia Brooch

\n\n

SO: How was this inaugural edition of GemGenève received?

\n\n

VB: GemGenève opened to an enthusiastic VIP crowd on the evening of 9 May and visitors responded positively to the warm, welcoming atmosphere, chic exhibition design, rollcall of elite exhibitors and programme of lectures. The Designer Showcase proved a resounding success, pointing to a growing appetite for jewels that are modern, strong, original and that reach out to a new generation of jewellery lovers. With its considered mix of antique and 20th century jewellery, superlative gemstones, divine diamonds, the finest pearls—both natural and cultured—and the latest in contemporary design, GemGenève became, as the founders had hoped, even more than a lively marketplace but a cultural hub for the exchange of ideas, knowledge and shared passions.

\n\n

\n\n

Image courtesy of GemGenève

\n\n

SO: Do you see any similarities between GemGenève and Phillips' approach to jewellery today?

\n\n

VB: Yes, I can see in GemGenève the same spirit, the same quest for design-driven style and individuality, in both vintage and modern jewellery, and for stimulating cultural exchange that's driving Phillips today. Your recent milestone exhibitions in New York and London, of resolutely modernist jewels by the young, talented British designer-jeweller Lauren Adriana, presented contemporary jewellery as today's sought-after design collectible, as the potential antiques of the future.

\n\n

\n\n

Lauren Adriana XO Cuffs, peridot, tourmalines, spinels, garnets, silver and gold © Lauren Adriana, photographed by Richard Valencia

\n\n

At the same time, just like the Designer Showcase, the exhibition tapped into today's millennial-fuelled mood of experiential luxury, in which clients want to discover a designer or jeweller for themselves, to understand the individual creative vision, to be part of the whole process.

\n\n

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