The Gene Lewis Emerald. Shipwreck: Atocha 1622. Recovered in 1985. 32mm L, 23.89 Carats, Grade 1AA. Estimate $250,000 – $400,000. Photo Guernsey's.

The emeralds aboard the Atocha were excavated from the Muzo mine in Colombia, which still retains its fame for producing gems of the highest quality and setting the world standard for this precious gem. This impressive emerald of impeccable size originated from the Banco Tequendama part of the mine, and records further varify that the gem was part of the largest recovery of emeralds since the beginning of the 17th century. In contrast to modern emeralds, stones such as this have never been oiled, heated, or polished. (In fact it is their rough state which actually enhances their value.) Rough emeralds naturally form in veins and are six-sided. The Atocha was estimated to have been carrying 60-70lbs of emeralds when it sank in 1622. As of today, only about 10% of the original emerald cargo has been re-discovered. Since the emeralds on the Atocha were intended for King Phillip IV, the owner of this rare gem "becomes the direct and first inheritor of King Philip IV by right of documentation authorized by United States Admiralty Law Court." (Manuel J. Marcial, President of Marcial de Gomar Emeralds International) 

Guernsey's. The Mel & Deo Fisher Collection - August 5 

Atocha Emerald Ring. Shipwreck: Atocha 1622. Recovered in 1985. Ring Size: 5.5, Emerald: 2.5 Carats. Estimate $65,000 – $80,000. Photo Guernsey's.

This elegant and delicate ring speaks for itself. A truly unique solitaire design recovered from the site of the shipwrecked Nuestra Se_ora de Atocha in 1994. The ring size is 5.5. The emerald is a brilliant green with a slight chip and weighs approximately 2.5 carats. The gemstone originated from Colombia's famed Muzo mine, which is known for its bounty and constant production of the highest-quality emeralds on the world market. It is set in a high-karat gold ring which was typical of the wealthier class during the early 17th century. This beautiful artifact is the property of Taffi Fisher, Mel's only daughter and youngest child. 

Guernsey's. The Mel & Deo Fisher Collection - August 5 

Emerald Cross. Shipwreck: 1715 Fleet, Recovered in 2003. Estimate $100,000 – $125,000. Photo Guernsey's.

Dimensions: 11.4cm L x 4cm W

This Gold and Emerald Cross was found inside of an ornate gold box that was sealed shut due to its centuries under water. Along with this magnificent Cross was a five-foot long chain and two spectacular emerald rings. Discovered on the site known as the "cabin wreck" while exploring the 1715 Fleet, the Cross may well have been meant as a gift to Elizabeth Farnese, Duchess of Palma, from King Philip V of Spain. After his previous wife died in 1714, Philip began to woo Elizabeth. She eventually consented, but would not consumate the marriage until she recieved her weight in gold and jewels . Already behind schedule, the 1715 Fleet was forced to delay even further so that fine jewlery and other wedding gifts could be delivered to the ships headed back to Europe. Due to turbulent weather, unfortunately, the ships carrying many of the new Queen's jewels sunk well before they reached European soil.  

Guernsey's. The Mel & Deo Fisher Collection - August 5 

Square Emerald Ring. Shipwreck: Atocha 1622. Recovered in 1986. Estimate $45,000 – $65,000. Photo Guernsey's.

With its emerald hailing from the famous Muzo mine in Colombia, a ring such as this was a sign of affluence. The number and variety of rings that can be seen from this era painted in portaits or even listed on a ship's manifest emphasized the Spaniard's passion for accentuating the hands and visibily displaying one's level of wealth. Whereas modern gemstone rings are set with open backs to reflect light and enhance the appearance of a stone, here a closed back was utilized and does not in any way detract from the natural beauty of this precious gem. This beautiful 22K gold ring was recovered from the Nuestra Senora de Atocha in 1986 and gifted to Taffi Fisher, Mel Fisher's only daughter. The ring features a vibrant square- cut natural emerald in a bezel setting, weighing approximately 2 carats.  

Guernsey's. The Mel & Deo Fisher Collection - August 5 

Welbeck Abbey.

NORTH NOTTINGHAMSHIRE.- The Red Tapestry Drawing Room, the Gothic Hall, the Print Corridor and other grand State Rooms at Welbeck Abbey on the Welbeck Estate, ancestral home of the Dukes of Portland, are opening their doors to the public this August. 

Welbeck Abbey contains one of the World’s largest privately-owned collections of British portraits in what remains a private, family home. Works on show will include pieces by Sir Peter Lely, John Wootton and Sir Joshua Reynolds as well as jewellery, furniture, ceramics, silver and textiles. Built over several centuries by the Dukes of Portland, The Portland Collection (http://www.harleygallery.co.uk/portland-collection/) is internationally significant. 

The ninety-minute tours must be booked in advance and are limited to twenty people, twice daily. Running from 3-30 August, for the first time, the house will also open at weekends. (http://www.harleygallery.co.uk/event/welbeck-abbey/). The Welbeck Estate covers some 15,000 acres, with Welbeck Abbey at its heart, and is nestled between Sherwood Forest and Clumber Park in north Nottinghamshire. The Abbey’s reception rooms have been host to royalty, aristocracy and statesmen over the centuries. Selected tour highlights include: 

Entrance Hall: Edward Harley made a wager that he had an oak in Welbeck park so large that a hole cut through it would be big enough to ride a horse and carriage through. The Greendale Oak cabinet is made from the wood that was cut from the oak to win the bet, and has inlaid images of the horse and carriage riding through the oak. 

The Gothic Hall: Contains the Countess of Oxford’s soaring plasterwork ceiling which was commissioned by the Countess of Oxford in 1751, and portraits including one of Bess of Hardwick’s (founder of the dynasty) granddaughter, Arbella. 

The Red Tapestry Drawing Room: The tapestries that line the walls were found in storage in 1879 by the 6th Duke of Portland. The tapestries, woven at the Gobelins factory in France in around 1780, were found packed in tin trunks with peppercorns to keep moths at bay. 

Part of the Gobelin Tapestries in the Red Drawing Room. © The Portland Collection.

The Print Corridor: this long, curved corridor is a densely hung space containing dozens of portraits including works by Sir Godfrey Kneller, Caspar Netscher and Thomas Hudson. 

The Print Corridor © The Portland Collection.

Welbeck is one of the great, traditional landed estates and holds Welbeck Abbey at its heart, a stately home which dates back to 1153 when it was founded as a monastery. The estate is set in the rolling countryside of ‘The Dukeries’ in Nottinghamshire, an area of great natural beauty, so called because it contained four ducal seats: Welbeck Abbey - principal seat of the Dukes of Portland, Clumber House, Thoresby Hall and Worksop Manor. 

Welbeck Abbey has been home to the Cavendish-Bentinck family from 1607 to the present. It was acquired by Charles Cavendish, Bess of Hardwick’s third son, in 1607 and over the next four centuries, the family collected artworks, commissioned architecture and combined family names. Unusually, three females in succession inherited the Estate and this line of descent includes marriages with the Dukedom of Newcastle, Earldom of Oxford and the Dukedom of Portland, each bringing additional wealth, status and power to Welbeck. 

Tour visitors will be collected from The Harley Gallery at the entrance to the Welbeck estate and taken by mini bus through the 5th Duke of Portland’s Victorian village, to Welbeck Abbey. No photography is permitted during the tour but a complimentary pamphlet with images of the house is supplied.

Charles Philips, A Tea Party at The Countess of Portland’s, 1732. © The Portland Collection. The Harley Gallery.

Rowland Lockey (?), Elizabeth Hardwick, Countess of Shrewsbury in old age, c. 1592. © The Portland Collection. The Harley Gallery.

After Sir Anthony Van Dyck, William Cavendish, 1st Duke of Newcastle, 17th century. © The Portland Collection. The Harley Gallery.

Sir Godfrey Kneller (?), Lady Margaret Cavendish, Duchess of Newcastle, 1683. © The Portland Collection. The Harley Gallery.

Sir Godfrey Kneller, Lady Henrietta Cavendish-Holles, 1716. © The Portland Collection. The Harley Gallery. 

Thomas Hudson, Lady Margaret Cavendish-Holles-Harley, Duchess of Portland, 1744. © The Portland Collection. The Harley Gallery. 

George Romney(?), William Henry Cavendish-Bentinck, 3rd Duke of Portland, c.1762. © The Portland Collection. The Harley Gallery. 

Sir Francis Grant, William Henry Cavendish-Bentinck-Scott, 4th Duke of Portland, 1852. © The Portland Collection. The Harley Gallery. 

Richard Dighton, William John Cavendish-Bentinck-Scott, 5th Duke of Portland, 19th century. © The Portland Collection. The Harley Gallery. 

Philip de Laszlo, Arthur Cavendish-Bentinck, 6th Duke of Portland, 1912. The Portland Collection. © The Harley Gallery. 

George Stubbs, The 3rd Duke of Portland on horseback at Welbeck, 1767. The Portland Collection. © The Harley Gallery. 

George Villiers, 1st Duke of Buckingham, 1640. © The Portland Collection. The Harley Gallery. 

Marcus Gheeraerts the Elder, Queen Elizabeth I, 1578 (?). © The Portland Collection. The Harley Gallery. 

Adam Loofs, Silver plate water fountains, 1681. © The Portland Collection. The Harley Gallery. 

Pearl drop earring with gold mount, worn by Charles I at his execution in 1649. England, c.1616. © The Portland Collection. The Harley Gallery.

The Portland Tiara, Cartier, c. 1902. © The Portland Collection. The Harley Gallery. 

Detail from letter from Princess Elizabeth, Later Queen Elizabeth I to Protector Somerset, c. 1550. © The Portland Collection. The Harley Gallery. 

Emerald seal, engraved with the Prince of Wales’ crest, later Charles I, c.1616. © The Portland Collection. The Harley Gallery.

Detail from Methode et Invention Nouvelles de Dresser les Chevaux, William Cavendish, 1st Duke of Newcastle, 1658. Plate by Abraham van Diepenbeke. © The Portland Collection. The Harley Gallery.

ATHENS.- The exhibition “The amazing inventions of the ancient Greeks” presents functional models of some of the most extraordinary ancient Greek inventions, from the “robot-servant” of Philo and the “hydraulic telegraph” of Aeneas to the “cinema” of Hero, and from the automatic clock of Ctesibius and the astrolabe of Ptolemy to the “analog computer” of Antikythera – a selection of the exhibits of the Museum of Ancient Greek Technology Kostas Kotsanas that operates at Katakolon port and Ancient Olympia, which were constructed after a long and extensive study of ancient Greek, Latin and Arabic literature, information from vase painting and the few relevant archaeological finds. 

The astrolabe of Ptolemy.

This exhibition aims to demonstrate that the technology of the ancient Greeks, just before the end of the ancient Greek world, was shockingly similar to the beginning of our modern technology. An important cultural initiative, which promotes Greece internationally as the foundation of Western civilization. 

The “cinema” of Hero.

«Τhe bolts and nuts, gears and rules, pulleys and belts, sprockets and roller chains, pistons and cylinders, springs, hydraulic controllers and valves, programming devices and auto-pilots (all parts of the engine of a modern car) are just some of the inventions of the ancient Greeks which were the foundations of their complex technology», says Kostas Kotsanas, creator of the exhibition. «These unique legacies continue to constitute today the building blocks of our modern technology, the development of which would be doubtful without the free and undemanding adoption of this ancient know-how. Humanity simply needed to mature another millennium in order to "recover" this remarkable forgotten technology. The exploration of this age, when no claim to ownership of peak technology was made, demonstrates how much more (than we think) modern western technological civilisation owes to the Greeks». 

The exhibition is on view at the Museum Herakleidon from the 1st of August through January 10th 2016

The “analog computer” of Antikythera.

The automatic clock of Ctesibius.

The “robot-servant” of Philo.

Gold Chalice,  Shipwreck: Margarita 1622. Recovered in 2008. Estimate $400,000 – $500,000. Photo Guernsey's.

16cm W.

Discovered in 2008, this ornate, two-handled vessel amounted to the most valuable discovery from the Santa Margarita shipwreck in more than two decades. This five-inch high chalice -- also referred to as a bernegal -- is made of solid gold and was featured in the December 2010 issue of The Robb Report. Although the ship's wreck site was discovered in the 1980s by Mel Fisher and his team, in 2006, Keith Webb of Blue Water Ventures had secured the rights to the area. Since its discovery, the chalice has undergone conservation efforts lead by marine archaeologists, who also removed a layer of white, calcareous concretion -- no doubt the result of having been imbedded in the ocean floor for nearly four centuries. The rim of this gold chalice is etched with scrollwork, images of animals, and there is a crest in the center of the cup that remains in pristine condition. Although experts have not linked the crest to any of the ship's passengers, there is a helm above the engraving that could signify its owner as having been a Duke or a Baron. The gold shines radiantly with a deep hue and is of a high karat weight. A portion of a tax stamp is visible on the edge of the base, and another is present on the bottom of the cup. The base is threaded onto the bottom of the chalice and it turns as if it were made yesterday.  

Guernsey's. The Mel & Deo Fisher Collection - August 5 

Gold Spoon,  Shipwreck: Atocha 1622. Recovered in 1986. Estimate $160,000 – $180,000. Photo Guernsey's.

11.4cm L x 4cm W

This elaborate gold and black enamel spoon of Peruvian and Spanish origin is one of the most beautiful artifacts rescued from the Atocha. The bowl and neck of the 22k gold spoon is decorated with scrolling flora and birds. Nature designs were popular in Peru and Europe at the time; however, the serene masculine face flanked by condors, a symbol of royalty among the Inca people, decorating the end of the spoon's neck is unusual. Decorative heads similar to that of this spoon have been found on silver ewers (pitchers) also found with the ship. During the 17th century, however, it was rare for an object to be decorated with a face; if it was, the face would likely be a woman's or grotesque resembling a gargoyle. Intricate gold spoons like this one were often reserved for ceremonial purposes, such as dispensing holy water and consecrated wine, or to distribute commodities of great value like sugar or salt. The stem portion of the spoon is very short; it was not until the end of the 16th century that the stem was lengthened to allow ease of use with the new fashionable ruffled collar. This artifact is from Deo Fisher's personal estate.  

Guernsey's. The Mel & Deo Fisher Collection - August 5 

Gold Filigree Pyx, Shipwreck: 1715 Fleet, Recovered in 1989. Estimate $160,000 – $180,000. Photo Guernsey's.

73 grams- 7cm x 8.9cm

22K gold frame with ornate filigree. Believed to be manufactured in Spain, the frame features two doors that can be latched shut, functioning hinges, and a beautifully-crafted bail that would allow the piece to be hung from a chain. After the back insert of the frame was found last year, further research suggests that the frame is actually part of a pyx, or rather a small container used to hold the Eucharist in Catholic and Anglican Churches. 

Guernsey's. The Mel & Deo Fisher Collection - August 5 

Gold Reliquary Pendant, Shipwreck: Margarita 1622. Recovered in 2009. Estimate $40,000 – $60,000. Photo Guernsey's.

This reliquary or relicario, a small devotional talisman, may have belonged to a passanger on the Santa Margarita. Reliquaries were used quite often in the New World. Passengers on ships heading to the America's were forced to pack lightly; wearing a small reliquary locket with a religious image, a saint's relic,or a small momento from a loved one, in order to feel connected to one's faith and home was not unusual. "The miniature painting style of relicario is the type that was recovered from the Santa Margarita, and while we cannot make out what the original painting would have been the gold foil of the nimbus or 'halo' that once surrounded the figures is still there. As a class these miniatures were so finely painted that often the artist used a single horse hair as a brush. In the New World soldiers and travelers wore them as protection and missionaries used them to help explain religious stories and gave them as special presents to converts. Over time these reliquaries became a fashionable item of jewelry for the wealthy Spanish as it displayed their individual piety for all the world to see. They also represented an accepted evasion to the Crowns sumptuary laws which forbade the wearing of ostentatious jewelry." (James Sinclair)

Guernsey's. The Mel & Deo Fisher Collection - August 5 

Two Pearls, Shipwreck: Margarita 1622. Recovered in 2007. Weight: 16.62 & 16.52. Estimate $300,000 – $400,000. Photo Guernsey's.

In June 2007, Blue Water Ventures in conjunction with Motivation, Inc. (the Fisher family's salvage operation) found a lead box within the Margarita's wreck site that contained thousands of pearls. Following the discovery, a gemologist from the GIA was enlisted to analyze and categorize the pearls so that their history and guidelines for future care could be established. Conclusions drawn from the numerous tests performed do confirm that the pearls are historically important, the nacre condition of these pearls is good given their age and the hundreds of years they spent on the ocean floor. It is believed that the lead box they laid in had in fact protected the pearls from significant damage and erosion. These two pearls in particular are the two largest pieces stemming from the 16,000 pearl discovery aboard the wreck of the Santa Margarita, the sister ship of the Atocha. Attributed to Indian pearl divers off the coast of the Isle of Cubagua near the Venezuelan coast, this particular area was specifically prized for its oysters and their pearls beginning in the sixteenth century. Each of the two pearls in this lot have been graded by the GIA as "AA," which means they have a very high luster, and at least 75% of their respective surfaces are free from defects. Considered to be part of the most unique collection in the world, these pearls hail from a rare species of oyster associated with the Nueva Esparta region where they originated. It is perhaps poignant to note that the word "margarita" in both Greek and Spanish translates as "pearl" in English. The Isle of Margarita which is situated close to Cubagua was given its name by Christopher Columbus to honor the Infanta Margarita of Austria, who was engaged to the heir to the Spanish throne. 

Guernsey's. The Mel & Deo Fisher Collection - August 5 

Important and very rare carved Chinese ChenXiang-wood Libation Cup, 18th century. Estimate $2,000 – $3,000. Photo EDEN Fine Antiques Galleries

Carved in form of deep bowl borne with flared lotus-leafs petal rim, deep carving of over laid stems and branches with group of tigers clambering up the side. The wood patina varies from reddish to dark-brown tones, with strong fragrance of Aloes-wood. 
Dimension: 4-1/4" H x 5-3/4" Diam.

Note: Aloeswood, also referred to ChenXiangMu or eaglewood, diffuses a distinctive fragrance and hence it is highly treasured, especially in China, Japan, and Tibet. The wood is typically only found in small segments of usable material, which are traditionally pieced together to make small scholar's articles. Its aromatic qualities renders it valuable in the manufacture of incense.

EDEN Fine Antiques Galleries.  

A Carved Chinese ChenXiang-Wood (Aloeswood) of Mountain Scenery. Estimate $1,200 – $1,800. Photo EDEN Fine Antiques Galleries

This piece is carved from a single piece of wood and undercut in high relief with a landscape scene. The decoration comprises figures and pavilions amongst pine and wisteria trees in a rocky river landscape. The wood varies from reddish to dark-brown tones. Dimension: 6-1/4" H x 6-1/2" W 

Note: Aloeswood, also referred to ChenXiangMu or eaglewood, diffuses a distinctive fragrance and hence it is highly treasured, especially in China, Japan, and Tibet. The wood is typically only found in small segments of usable material, which are traditionally pieced together to make small scholar's articles. Its aromatic qualities renders it valuable in the manufacture of incense.

EDEN Fine Antiques Galleries.  

Not only the villa itself (in the photo - its rear facade), but also the park with her manor ensembles reminiscent of the Classical period.

Ceremonial Hall recalls the interiors by the end of the XVIII century Robert Adam Lock Syon House. The chandelier is made on the design of the house owner. Photo: René Stoelti

Detail of the living room. The interior is dominated by white color: it is not only part of the styling, but a winning background for antiques. Photo: René Stoelti

Above the fireplace in the main living room - Italian baroque mirror. On the desk in the style of Louis XV - figurines Franz von Stuck and Empire style chandeliers. Photo: René Stoelti

Entrance to the main living room, decorated with neo-classical sculptures of cast iron. In the foreground, a bust of Lucius Verus (a copy of the XVIII century with the Roman original). 

Hallway greenhouse carved stone fireplace adorns the early Baroque era. Photo: René Stoelti

Detail of the greenhouse. In the center - the end of the XVIII century fireplace decorated with artificial marble. Grizaylnye panels on the walls depict allegories of the seasons. Photo: René Stoelti

In the Empire-style console table - two terracotta urns beginning of the XIX century. On the wall - inserted into the frame fragment of wallpaper paper of the XVIII century. Photo: René Stoelti

In front of the Far East against the background of the screen are lacquered cabinet in the style chinoiserie (middle of the XVIII century) and two Empire style floor lamp in the form of Egyptian statues. Photo: René Stoelti

Detail of the kitchen at the conservatory. On the table - Delft vases tyulipery the background wall - Rocaille chair of the Swedish operation of the XVIII century. Photo: René Stoelti

Text: Barbara Stoelti

Bergdorf Goodman Archives. Coctail & Evening Dresses: Balenciaga

Tasaki's signature Danger ring in Sakura gold with six Akoya pearls.

Suzanne Syz Picture Perfect ring in white gold and titanium, set with a Colombian emerald, diamonds and pearls. Courtesy of Suzanne Syz. 

Suzanne Syz Lady Hamilton earrings in white gold and titanium set with Ceylan sapphires, domed crown diamonds and pearls. Courtesy of Suzanne Syz. 

Pink and green tourmalines surround freshwater baroque pearls in this award-winning 18ct yellow gold Venus bracelet by Paula Crevoshay. 

Melanie Georgacopoulos Flow ring, set with a 10mm freshwater pearl in yellow gold. 

Holly Dyment Pearl Black ring in black enamel with a marquise-cut diamond and two round-cut diamonds arched over a central pearl. 

Cartier Paris Nouvelle Vague ring in pink gold with morganite, spinels and cultured freshwater pearls. 

Cartier Paris Nouvelle Vague necklace in pink gold with morganite, cultured pearls and spinels.

(by courtesy of TheJewelleryEditor) 

Bodil Binner. Mademoiselle Sade (2007) : 61 Tahiti cultured pearls ( 11 to 15.5 mm in diameter) shaft of gold-plated silver studded with a total of 19.24 carats baguette and brilliant cut colorless diamonds and 60 cm long human hair. Sponsor : Vets alphi Diamonds.

Bodil Binner. Mademoiselle Vénus (2011 ) : pearl beige mink, 8.24 carat champagne colored diamonds , 15 round and three drop-shaped Fidji cultured pearls (diameter sizes from 9 to 14.75 mm ), 18 carat sustainable gold from Oro Verde mine and suede. Sponsor : Kopenhagen Fur and Windiam

The Queen of Atlantis necklace from Autores Oceania Collection (2009) ; 18 karat white gold with South Sea pearls , South Sea keshi pearls , Tahitian keshi pearls , 22.34 carat sapphire, apatite, 9.74 carat tsavorites , 50.08 carat Paraiba tourmalines , 13.26 carat aquamarine and 23.31 carat diamonds.

The design award winning necklace can be split up into several smaller jewelry ; a brooch , a pendant , a single baroque necklace and small charms which can either be used as pendant or as hair ornaments

The Winter Empress unique pendant from Autores " Fire & Ice" collection (2011 ) ; 18 karat white gold with a 19 mm large whitish - pink cultured South Sea pearl , diamond discs and diamonds. 6.62 carat colorless diamonds , 1.05 carat blue diamond and 7.09 carat gray diamonds.

Elverdrøm. Diadem of 18 carat white gold and oxidized silver with seven Tahitian cultured pearls , 117 diamonds (total 0.88 carats ) , and chiffon ribbons with 12 gray drop shaped freshwater cultured pearls.

Elverdrøm. Collier with gray cultured freshwater pearls woven pattern lock of oxidized silver with 17 diamonds (total 0.12 carats ) and chiffon ribbons with 12 freshwater cultured pearls