Of sculptural design set with a pear-shaped diamond weighing approximately 1.70 carats, and a pear-shaped emerald weighing approximately 2.00 carats, flanked by old European-cut diamonds weighing approximately .40 carat, size 4.

Emerald of medium slightly bluish green of moderate saturation, heavily included. Pear-shaped diamond approximately J to K color, VS clarity. There is a small break to the metal bezel around the stone. The smaller old European-cut diamonds are approximately I toJ color, SI to I clarity, and one is cracked. Metal with surface scratches due to wear. With inner sizing band. In good condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion. Illustrations in the catalogue may not be actual size. Prospective purchasers are reminded that, unless the catalogue description specifically states that a stone is natural, we have assumed that some form of treatment may have been used and that such treatment may not be permanent. Our presale estimates reflect this assumption.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The Paris Exposition Internationale des Arts Decoratifs et Industriels Modernes in 1925 distinguished traditional design from the modern which became known as Art Deco.  Amongst the distinctive traits of this new genre were the symmetry and geometric shapes drawn from Cubism and the use of intense and contrasting colors taken from Fauvism.  The 1920's has been called the age of speed, with the motor car and the airplane promising a level of mobility that was to transform profoundly life around the globe.  In 1929, a group of French jewelry artists founded the Union des Artistes Modernes.  Determined that jewels should reflect modern life, the UAM held their first salon in 1930 and the trends emanating from that Salon also were reflected in American jewels of that period.  Art Moderne designs broke all ties with what had heretofore constituted tradition.  It did away with unnecessary ornament, and exemplified by the bracelet and ring offered here, was streamlined, with an aerodynamic concept of motion, sharp angles replaced with simple curves and long horizontal lines.  It was also short-lived.  By 1937, the move was toward austerity.  The tension, fear and uncertainty that characterized the late thirties and the war years precipitated a return to a sense of order and tradition represented by classicism and naturalism.