Modelled as a ballerina portraying a butterfly, the wings set with a cushion-shaped fancy brown-yellow diamond weighing 26.27 carats and three diamond plaques of champagne hue together weighing approximately 47.70 carats, embellished by variously-shaped diamonds and coloured diamonds together weighing approximately 97.95 carats, the body of the ballerina set with two marquise-shaped diamonds together weighing approximately 1.85 carats, a pear- and a shield-shaped diamond weighing 2.52 and 1.04 carats respectively, highlighted by three conch pearls together weighing approximately 10.75 carats, mounted in titanium and 18 karat white gold, signed.

Colour and Clarity: According to GIA reports, the cushion diamond set on the wing is natural, of Fancy Brown-Yellow colour, VS1 clarity. The pear-shaped and shield-shaped diamonds set in the middle, both of D colour, VS1 clarity. On top of these three diamonds, the two marquise-shaped diamonds set on the "feet" of the "Ballerina" now weighing approximately 0.99 and 0.89 carat respectively. They were polished down to fit the design and mount. According to old GIA certificates, these two marquise diamonds should be of F and E colours, both VVS2 clarity. Please refer to the GIA reports for details. In our opinion, the brown-yellow diamond shows a noticeable medium champagne brown colour, nice brilliance. Three rough diamond slices are translucent, of medium milky greyish tone with reddish brown streaks, very strong surface lustre. Other tiny coloured diamonds are of medium to intense yellow, brownish yellow and yellowish brown colour, VS to SI clarity. Colourless diamonds are about E to G colours, mostly VS clarity. Three conch pearls are of intense orangy pink and pink colour, with noticeable surface flame pattern and porcelain lustre. Condition: This brooch is a co-design by Cindy Chao and Sarah Jessica Parker. It is also the Black Label Masterpiece created after lengthy two years course. Net proceeds will benefit The New York City Ballet. Titanium and karat white gold mount, very delicate and fine workmanship, overall in excellent 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.

Accompanied by GIA report numbered 2145343963, dated 20 January 2012, stating that the 26.27 carat diamond is natural, Fancy Brown-Yellow colour, VS1 clarity; further accompanied by two GIA reports numbered 17226856 and 2141742291, dated 15 May 2008 and 19 June 2012 respectively, stating the 2.52 and 1.04 carat diamonds are both D colour, VS1 clarity. Also accompanied by a signed box.

Potential bidders who intend to export this lot are advised that certain permits may be required for export. If you are interested in this lot, please contact the Jewellery Department before bidding.

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The delicate movement and grace of a ballerina, when the body synchronizes with the music in a harmonious ballet passe, brings to mind the fluttering of a colorful butterfly's wings. This idea is beautifully interpreted by some of the most important creators of the Art Nouveau movement in jewelry at the end of the 19th and beginning of the 20th centuries, such as Lalique, with his enchanting creations from the magic world of fairies, nymphs and winged sylphs. For example, there is a dog collar plaque where the neck is embraced by a female body with outstretched, colorful plique á jour enamel wings; and a devant de corsage composed of dragonfly wings, half the body of a woman and the claws of a ferocious griffin. Less aggressive is the Broche Libelulle, created by Falguières in 1900. Females, dragonflies and butterflies were important motifs in this movement. In Henri Vever's beautiful pendant Sylvia, the female body was adorned with wings decoratღed in plique á jour enamel and encrusted with diamonds.

In Tsarist Russia it was customary, in the Mariinsky in St Petersburg and the Bolshoi in Moscow, to present gifts when the career of a star dancer had lasted for a new decade. Not only admirers gave gifts: the tsar generally gave a ballerina an imperial eagle in gold or silver, depending on her importance as an artist, set with gemstones; a male dancer received a gold watch. H𝓀owever, there were exceptions, such as in the case of Mathilde Kschessinska. The famous ballerina had a love affair with the future Tsar Nicholas II, and when in 1901 her tenth anniversary approached, she sent a message to him through his cousin, Grand Duke Sergei Mikhailovich, to say that she would like a different type of gift. She received a brooch designed as a diamond serpent encircling a cabochon sapphire. In 1911, for her 20th anniversary, the tsar gave her a diamond eagle with a pink sapphire as a pendant. It was a custom that lasted until the outbreak of the First World War in 1914.

That year also marked Europe's lastℱ social season of the Old World, with glittering events held in every major capital, like the 'Ball of Jewels' held by Princess Jacques de Broglie in her palace in Paris. Seven ballets were staged that eveni💙ng, each one dedicated to a precious gemstone. That night the light sparkling on the surface of the gems created a ballet of colors. The first ballet was led by Princess de la Tour d'Auvergne, resplendent in diamonds.

However, it was not until 1967 that a ballet was dedicated to and named Jewels. The three-act ballet was created and choreographed by George Balanchine, who came from a cultured Russian family and studied at the Imperꦰial School of Ballet in St Petersburg from an early age. In 1924 he was invited by Sergei Diaghilev to work as a choreographer for the Ballets Russes, and he co-founded New York City Ballet with arts patron L꧑incoln Kirstein in 1948.

The idea for Jewels came to Balanchine when, walking on 5th Avenue, he was impressed by the sparkling display of necklaces, brooches and rings in Van Cleef & Arpels' windows. Even though Balanchine said, 'The ballet had nothing to do with jewels. The dancers are just dressed like jewels,' jewels were the inspiration for the piece. The incredible costumes, created by his friend and long-term collaborator at New York City Ballet, Barbara Karinska, were so finely embroidered that on stage they recreated the hue of each gemstone. The first act, Emeralds, is set to Fauré's Pelléas et Mélisande and Shylock; the second, Rubies, is set to Stravinsky's Capriccio for Piano and Orchestra; and the last act, Diamonds, is set to extracts from Tchai♕kovsky's Third Symphony.

The Ballerina Butterfly brooch encapsulates the beauty, flow and grace of ballet. This beautiful creation was born thanks to the collaboration of two artists: one from the world of jewelry, the other a fashion icon from the world of Hollywood. It is not ju𓆉st a work of art but also has a philanthropic purpose: the proceeds of the sale wi💟ll benefit the New York City Ballet by supporting their education program to inspire a new generation of dancers.

Stefano Papi, International Author and Jewellery Historian