Adin

Dating to circa 1910, this Belle Époque engagement ring is designed around two old brilliant cut diamonds weighing approximately 0.90 carat in total. Their softly individual character is complemented by a smaller central diamond and rose cut accents set within flowing, leaf-shaped shoulders. The openwork design gives the ring an elegant lightness on the hand.

This Belgian platinum Art Deco style ring, dating from around 1950, has a striking architectural presence. Two old European cut diamonds anchor the stepped, geometric composition, while four smaller diamonds sharpen its symmetry and sense of movement. With approximately 1.92 carats in total, the design feels bold yet disciplined, carrying the confidence of Art Deco into the early post war years. A ring with real character, made for someone drawn to strong lines rather than quiet convention.

Dating from around 1915, this Edwardian diamond ring combines the warmth of yellow gold with a delicate platinum-set openwork panel. An old European cut diamond forms the centre, surrounded by 64 rose cut diamonds and senailles arranged across the lace-like geometric design. Fine millegrain edges heighten the airy effect, while the pierced shoulders and small diamond accents lend the ring an elegant lightness typical of the period.

This 1950s Art Deco style ring centres on an oval matrix turquoise, its vivid blue-green surface traced with natural dark veining. A delicate border of diamonds follows the stone’s outline, while further diamonds are set into the raised basket edge and shoulders, giving the platinum mount lightness and sparkle from every angle. The openwork gallery adds an elegant architectural quality characteristic of mid-century interpretations of Art Deco design.

This late Victorian gold snake ring, dating to around 1900, coils across the finger in a richly sculptural design. One serpent is set with a ruby, the other with a lightly yellow old European cut diamond weighing approximately 0.70 carat, while tiny seed pearls accent their heads. Richly engraved surfaces and flowing gold curves give the ring a character that is at once protective, mysterious and distinctly of its period.

A refined Art Deco engagement ring from around 1930, centred by an old brilliant cut diamond of approximately 0.20 ct. Its geometric white gold head is enlivened by four deep blue lab produced sapphires, set within an openworked design of crisp lines, soft curves and finely pierced detail. Small in scale, yet full of period character, it carries the elegance and optimism of the late Jazz Age.

An Art Deco diamond ring, circa 1930, crafted in platinum with a rounded, architectural ring head. A central old brilliant cut diamond is framed by rows of single cut diamonds, set among curved geometric lines and fine millegrain borders. The openwork construction gives the design lightness, while the layered patterning reflects the elegance and precision of the interbellum period, when symmetry, movement and modernity shaped jewellery with quiet confidence.

Antique 18K yellow gold cameo locket brooch, circa 1870, designed with a finely and professionally carved shell cameo thought to depict Flora, the mythological goddess of flowers and spring, her hair adorned with blossoms. The quality of the carving is especially visible in the clean profile, notably the elegant line of the nose and mouth. The rich Grand Victorian mount is alive with vine leaves, grape clusters and curling tendrils, lending the jewel a Bacchic air of abundance. Opening as a lock ...

A Grand Victorian brooch, circa 1870, designed as a diamond-set leaf within a circular frame. The red gold body, silver details and openwork construction give the jewel both depth and lightness, while the old brilliant cut diamonds, rose cut diamonds and senailles create a lively, irregular shimmer. Naturalistic yet substantial, it reflects the taste of the period for botanical forms with a sense of richness, movement and quiet sentiment.

A playful Victorian brooch from circa 1890, modelled as a stylised bee or fly with finely engraved red gold wings and silver-set accents. Its body is bright with rubies, rose cut diamonds and glinting diamond highlights, while a blue sapphire forms the centre of the thorax. There is something delightfully mischievous about wearing such a tiny jewelled creature on a lapel or shoulder, as if it had just settled there for a moment.

A personal jewel in every sense, this Victorian gold ring, circa 1870, centres on a pearl-set letter E resting among a lively mosaic of turquoise cabochons. The oval domed front has a charming, almost talismanic presence, while the ornate shoulders add the warmth and richness so loved in Grand Victorian jewellery. Small in scale but full of sentiment, the initial need not be your own; it may just as tenderly recall a beloved name, still carrying its quiet affection after more than a century.

Made around 1950, these Vintage Fifties platinum earclips carry a clear Art Deco echo in their arched, geometric form and crisp symmetry. Each clip centres three seed pearls, softly luminous against a border of single cut diamonds, while the polished side panels give the design a slightly architectural lift. Compact yet finely detailed, they have that poised post-war elegance where restraint, brightness and structure meet rather naturally.

These possible Spanish, or broader Iberian, gold long drop earrings have the kind of mystery that makes antique jewellery so compelling. Their exact date remains elusive: they may have been made as early as the late eighteenth century, yet details could also point to the nineteenth century, or even the very early twentieth. Four large natural citrines glow from golden yellow to orange, their warmth gently lifted by small half seed pearls. A striking, sunlit pair with presence, history and charm.

There is a particular pleasure in wearing a jewel like this: small, unexpected and quietly playful, as if a bright little creature has chosen to settle on the fabric for a while. This French late Victorian brooch, circa 1890, brings a touch of movement and mischief to clothing, catching the eye with flashes of diamond light and colour. It is less a formal ornament than a moment of sensory delight, made to be noticed close at hand.

A striking Art Deco platinum diamond brooch, circa 1930, whose disciplined geometry is softened by a remarkably intimate history. Set with over 10 carats of old European, old brilliant and single cut diamonds, it remains with its pouch, handwritten technical card from 1932 and even the black textile strip once used to secure it behind a garment. These surviving details make one feel less like an owner than a passing companion, one whose life runs briefly alongside the jewel’s own story before he ...

This beautifully preserved 19th-century Italian micromosaic suite (formed by hand from minute pieces of coloured glass) comprises a brooch and matching pair of earrings, each finely worked with early Christian symbols on a rich red ground. Doves, the Chi-Rho monogram, Alpha and Omega, grapes and wheat speak of faith, eternity and the Eucharist. The brooch bears a Vatican workshop stamp, linking this Victorian suite to a Roman atelier, the Vatican Mosaic Studio, known for exceptional craftsmanshi ...

Designed as a stylised beetle, this Late Victorian brooch of circa 1880 has a quietly eccentric charm. Its reddish brown tiger’s eye body shows a subtle rose copper sheen as the light moves across it, while seed pearls and red stone eyes add small points of brightness. Made in gilded silver, with time-softened wear to the gilding, it reflects the 19th-century delight in nature, exoticism and imaginative jewel design.

A late 18th century Portuguese ring, its elongated silver head densely set with colourless stones traditionally described as Minas Novas, most probably rock crystal, mounted on a yellow gold hoop. The jewel belongs to a distinctive tradition of Portuguese jewellery in which foil-backed colourless stones were used to create a rich, luminous effect reminiscent of diamond-set jewellery.

This late Victorian to early Art Nouveau triple snake ring, made around 1900, coils in richly textured 18K yellow gold. Its three serpent heads carry, in turn, a diamond, a ruby and a sapphire, giving the jewel a lively play of colour and symbolism. The openwork design and sinuous movement place it firmly within the transitional taste around 1900, where Victorian ornament begins to soften towards Art Nouveau.

Dating from around 1650, this Renaissance to Baroque ring is a rare survival of early diamond jewellery. Its restrained gold and silver construction holds six table cut diamonds and one rose cut diamond, their quiet brilliance enhanced by the historic foil backed setting. Probably of Belgian origin, the ring is valued here less for ornament than for the early stones that help place it so convincingly in the 17th century.