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Jewellery and precious stones

Set in rings, earrings, bracelets, neck laces, brooches or pins, all the sparkle of these gems is revealed in jewellery and precious stones auctions.
"tiffany’s! Cartier ! Harry winston ! … diamonds are a girl’s best friend," sang marilyn monroe.
And so are emerald, saphirs and rubies. While diamonds are forever, pearl necklaces and strings are also available today in these online sales of jewellery and precious stones, particularly fine pearls, now increasingly rare.
These nacreous balls with their creamy, pinkish iridescence rival with fine stones: purple amethysts, lagoon-blue aquamarines, blood-red garnets, azure tinted moonstones and shimmering opals.
But on drouot, jewellery auctions do not only aim to delight the ladies. Style and finery also come in masculine form, particularly as elegant cufflinks. These male jewellery items transform them (equality dictates!) Into trophy men…

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National award saber from the Manufacture de Versailles, beautiful, sober hussar pattern: Single-branch hilt in gilt brass, adorned in the middle with an oval medallion bearing the signature: "Manufe A VERSAILLES", shuttle-shaped mounts decorated with a quarter-circle fillet around the perimeter, quillon chased with foliage, nicely cut German-style cap, leather-covered, filigree spindle; strong curved blade, engraved and gilded one-third with motifs in the style of those by Cassaignard; wooden scabbard with two large gilded brass fittings, ending in a gadrooned ring, and two splints, leather-covered crevices, two ring-holder studs fixed to the back of the fittings, the chape bears the inscription: "Le Mtre de La Guerre AU C. FALCONETTI LIEUT", iron stinger. This saber has seen a lot of use, as can be seen by the number of blows on the edge of the blade and the dents at the end of the scabbard; length 106 cm. Late Directoire, early Consulate period. Good condition. This saber is listed in Captain BOTTET's book on : La Manufacture de Versailles, Boutet directeur-artiste, J. LEROY Fils éditeur, 1903. "PIÈCE ANNEXE N° 1" (page 62). "ÉTAT DES ARMES DE LUXE DE LA MANUFACTURE DE VERSAILLES LE 29 NIVÔSE AN XII, FAISANT SUITE À CELUI DU 29 VENTÔSE AN IX, QUI FINIT PAR LE N° 149 (F. V. M. A.). Given by the Minister of War: N° 167, a copper saber to citizen Falconetti. Estimated at 90 fr." On one of the plates in the same work, number XXI shows a saber very similar to ours; the text of this plate is on page 55 and reads: "N° XXI. Sabre de récompense nationale décerné au citoyen FLEURIOT par le Directoire exécutif. Gilt bronze mount and fittings; basane-covered spindle. Klingenthal blade. This model is the 90-franc model noted for national awards". (See appendix, condition no. 1). In the Livre d'or de la gendarmerie 1791/1812, in the year 1794, we quote: "À l'attaque des Anglais en Corse du 5 février au 5 mars" is named: "M. FALCONETI (FALCONETTI), lieutenant à la 28e division". After the siege of Toulon, a large number of English ships and frigates surround Corsica. On 17 pluviôse (February 5), two ships and a frigate came within sight of the small port of Centuri, where the people's representative had sent Lieutenant FALCONETI with 21 gendarmes. The English claimed a Genoese ship that had taken refuge in the port. FALCONETI replied: "That there was no Genoese boat in the port, that the one they were asking for was in Saint-Florent, and that it was there, in Calvi or Bastia, that the threatening demands should be made; that, as for him, he had few people, but that if they wanted to send him two boats full of Englishmen, he would show them the way". The English then began to machine-gun the gendarmes and landed two hundred men. Aided by the two PIETRI AGOTINI brothers and the mayor of Centuri, FALCONETI and his gendarmes attacked the English with such impetuosity that they fled, leaving him with one dead and several wounded.

Estim. 15,000 - 18,000 EUR

Directoire general's sword that belonged to General Pille, model before or derived from that of Year VI (20 Thermidor, Year VI), made by a Parisian supplier, perhaps Juste in Paris. Chased and gilded brass hilt, quiver-shaped cross guard with arrows, bow on the front and finial at the body knot, small shield-shaped keyboard chased with a rooster, ring under the fusee entirely chased with oak leaves, circular pommel decorated with foliage and ovals and finished with an acanthus leaf knob, fluted ebony spindle, decorated on the front with a large staff thunderbolt on a gilded brass shuttle; straight blade with diamond-shaped cross-section, two grooves on each side, engraved and gilded one-third of the way up, ending in an accolade point; leather scabbard with three brass fittings, gilded, engraved with foliage, oak leaves and laurels, intermediate fitting engraved with a staff thunderbolt, the chape bears a button in the shape of Minerva's head, brass sting, very cut; length 93 cm. (Blade showing oxidation; leather slightly split on one side). Circa 1795/1800. Good condition. This sword belonged to General PILLE, and comes from the same family as his saber of the general model given by the Directoire exécutif, marked: "DONNÉ PAR LE MINISTRE DE LA GUERRE", as well as his sword of the general model vendémiaire an XII, sold at Hôtel Drouot, June 3, 1992, Maître Dominique RIBEYRE, n° 42 and 43. An identical sword was presented at an exhibition at the Château de la Malmaison in 2000: Marengo and a political victory, catalog no. 64, page 83, where it was reproduced. PILLE Louis, Antoine, Comte, general born in Soissons on July 14, 1749, died there on October 7, 1828. He began his military career in 1767; became battalion commander in the Dijon national guard in 1789; lieutenant-colonel commanding the 1st Côte d'Or battalion on August 30, 1791; adjutant general lieutenant-colonel on August 19, 1792; returned to the Armée du Nord in February 1793; served in the Maastricht bombardment at the end of February 1793; at Neerwinden on March 18, 1793; wounded by a shot to the head on March 22, 1793; handed over to the Austrians by DEMOURIEZ on April 2 and detained in the Maastricht citadel; exchanged, he returned to France on May 23, 1793; brigadier general employed by the Minister of War on December 2, 1793; major general on November 13, 1795; commander of the 19th military division on February 27, 1798; appointed under HÉDOUVILLE to command the 1st and 16th military divisions on February 5, 1799; commander of the 16th military division alone when the headquarters of the 1st were transferred to Paris on January 21, 1801... Chevalier de l'Empire, March 18, 1809; placed on leave of absence, May 1, 1814; Chevalier de Saint-Louis, Commander of the Legion of Honor, November 1, 1814; Inspector General of Infantry, retired, September 4, 1815; Count, September 23, 1815. General PILLE's name is inscribed on the west side of the Arc de Triomphe de l'Étoile.

Estim. 7,000 - 10,000 EUR

FRANCISCO DE PAULA DÍAZ Y CARREÑO (Seville, 1836 - Madrid, 1903). "Portrait of Isabel II, 1853. Oil on canvas. Presents label on the back of the Board of Seizure and protection of artistic heritage. Provenance: General Narváez. Signed and dated in the lower right area. Measurements: 63 x 53,5 cm; 73 x 62,5 cm (frame). This work follows the official model of Queen Isabel II, established by Federico de Madrazo y Kuntz. The piece is inspired by Madrazo's version in the Spanish Embassy in Rome, although in this case only her bust is visible. The original piece shows a young Elizabeth II in her twenties dressed in a luxurious blue satin court dress adorned with lace ruffles and pearls. The queen, with her hair in two bandeaus over her face and gathered at the nape of her neck, wears a spectacular pear-shaped crown of diamonds and pearls from which is pinned a delicate lace veil. The neckline, wide and generous, allows her shoulders to be seen and is adorned with a splendid pearl necklace. The gallantry and solemnity that the protagonist manages to transmit, together with the delicate details of the painting made this piece by Madrazo, one of the most reproduced and copied, thus achieving great fame and dissemination. Francisco de Paula Díaz studied law between 1852 and 1859. During that time, Díaz Carreño combined his law studies with drawing and painting at the Escuela Superior de Pintura, Escultura y Grabado on Alcalá Street. He was in the private studio of Federico de Madrazo during those years of apprenticeship and participated with a painting in the first National Exhibition of Fine Arts in 1856, while still a 19-year-old student. In the catalog of the Exhibition, Díaz was recognized as a disciple of Federico. Díaz Carreño did not participate in the next two national exhibitions of 1858 and 1860, although he continued his artistic studies until 1861. He moved to Rome, due to the concession by Isabel II of a scholarship to study there for two years. On his return to Madrid in 1864. After the death of his father he lost part of his well-to-do social position and was forced to increase his income by selling small genre paintings and copies of old masters made in the Prado Museum. Another source of income was his drawings, watercolors and scientific lithographs, and it is possible that in Federico de Madrazo's workshop he participated in the execution of some of the replicas of the official portraits made by the latter. It has a label on the back from the Junta de Incautación y protección del patrimonio artístico (Board for the seizure and protection of artistic heritage). Provenance: General Narváez.

Estim. 5,000 - 6,000 EUR