Each designed as two half-hoop rows of drop-shaped ruby cabochons, between rose-cut diamond spacers, to a graduated cluster of ruby cabochons, suspended from a t-shaped baguette diamond and graduated rose-cut...
Each designed as two half-hoop rows of drop-shaped ruby cabochons, between rose-cut diamond spacers, to a graduated cluster of ruby cabochons, suspended from a t-shaped baguette diamond and graduated rose-cut diamond surmount, circa 1925, post and alpha fitting. Unsigned, mounted in platinum.
Accompanied by a certificate from the SSEF No. 69636 stating that the 66 rubies are of Burmese origin and show no indications of heating. Approximately 45.00 carats total ruby weight.
Note: This design is quintessentially late 1920s, a few houses made series in this spirit and there is a very similar pair signed Drayson cited in Daniela Mascetti and David Bennet's book 'Understanding Jewellery'. The Drayson family had been in the jewellery industry since at least the middle of the 19th Century, already involved in a court case in 1853, and regularly appearing alongside the most famous names in the jewellery world for buying the most expensive lots at auction from 1867 (on the occasion of the sale of the famous Esterhazy Jewels from which they purchased a musical box with a bird, set with diamonds) onwards, they were located on Brewer Street in London and seemed to be both stone dealers and jewellery sellers (essentially - what we call jewellery dealers). The Art Deco jewels we associate with the name now were the doing of Keith Drayson, who had been involved with Captain William Ogden (a well known London Jeweller on King street in Saint James') and had rooms in his company in 1933, but in 1935 opened 'Drayson Fine Jewels' retail store at 179 New Bond Street (announcements of this event appear from April 1935) displaying exclusive designs in both new and vintage jewellery. He had impeccable taste it seems as the Drayson signed jewels we have had from the 1930s and 1940s have been truly wonderful examples of the transformable and geometric trends in the vogue during the period. We have had pieces made both in England and from Paris, suggesting they sourced from the best of both.