No brand

  • Banner

Ring – Ruby & Diamond Cocktail Ring


A cocktail¹ ring, featuring baguette-cut diamonds and small rubies, styled as a knotted bow and flowerhead with the pattern enhanced by the use of yellow, white and rose gold-coloured settings. American, circa 1930-1950.

Tax included
There are not enough products in stock

  • Secure Payments Secure Payments
  • Fast delivery Fast delivery
  • Return policy (14 days for most items) Return policy (14 days for most items)
  • Insure your jewellery Insure your jewellery

Ring – Ruby & Diamond Cocktail Ring

A cocktail¹ ring, featuring baguette-cut diamonds and small rubies, styled as a knotted bow and flowerhead with the pattern enhanced by the use of yellow, white and rose gold-coloured settings. American, circa 1930-1950.


Assessment of the Gemstones.

Averages stated where applicable.


Diamonds (six).

Cut: baguette-cut.

Graduated measurement: 2.50mm x 2.40mm to 4.40mm x 3.45mm.

Estimated total weight: 0.65ctas.

Colour: G/H.

Clarity:  VS-I1 (mixture).


Rubies³ (seven).

Cut: round mixed-cut.

Measuring: 2.35mm.

Estimated total weight: 0.45cts.


Details of the Setting.

Unhallmarked: tested and valued as 14ct gold.

Stamped: ‘14k’.

Finger size: Q.

Weight: 14.40g.

Condition: overall good (one diamond displays chip).






¹. “The cocktail style actually began in the late 1930s, with early examples still showing basic geometric and abstract designs. By the end of the 1930s the sleek streamlined geometry was being filled out into bulkier forms, sculpted into softer more curvaceous shapes. This led to characteristic sweeps of rose pink gold, yellow gold, and transparent semi-precious stones, sometimes represented with large step-cut stones, used in innovative and designs and unusual, even shocking colour combinations” (Vivian Becker, ‘Antique and Twentieth Century Jewellery: A Guide for Collectors’, 1980).


². Baguette (from the French word ‘baguette’, diminutive of ‘bague’, meaning ‘ring’). Until the seventeenth century ‘bague’ stood for any type of small jewel; consequentially baguette meant small jewel (‘petit bijou sans valeur’). In the fifteenth century such stones were known as ‘hogback’ (French, ‘dos d’âne), and were in effect rectangular table-cuts, used in combination as ornamental gemstones to create patterns, initials or parts of larger jewelled iconography.  Nowadays, the term is used to describe a long narrow gemstone and in particular a diamond. The facet design is a rectangular step-cuts, using as few as four brakes on the crown and eight on the pavilion with no girdle facet, but more often using at least twice as many facets. “Step-cuts are often made from octahedra that are elongated in one direction. The number of steps is unimportant, but to avoid ‘windows’ (the leakage of light through the pavilion), the pavilion the facets should be cut at greater than the critical angle of 24°. This is sometimes difficult, if not impossible, particularly with the end pavilion facet of an elongated octahedron crystal. As the pavilion of a step or square cut stone is deeper than that of a brilliant cut stone, the crown should be shallower, in order to make the overall depth about the same as the equivalent brilliant. A rule of thumb is that the width of the bottom pavilion facets should together be about equal to the width of the table” (Eric Bruton, ‘Diamonds’, 2nd edition, 1978). The modern era has seen wide use of baguette-cut diamonds, particularly since the 1920s when electrically powered diamond sawing became commercial practice. The prevailing fashion for geometric shapes, flatten sculptural elements, and a mechanised look suited the baguette-cut. Even the strong contrasting flash of light and sudden darkness seen in baguettes fitted in well with the aesthetic, making them an ideal choice as complimentary diamonds in larger modern jewels.


³. Ruby (from the Latin ‘ruber’, meaning ‘red’) is the name given to chromium bearing corundum, which is the same mineral which gives rise to sapphires. It is composed of the gas oxygen and the light metal aluminium. Ruby has a long historical connection with all cavillations that encountered this marvellous gem. “The legend and lore of Ruby and Sapphire are quaint, like that of most gems. The lucky owner of a fine Ruby was said to be assured of a life lived in peace and concord with all men; neither his land nor his rank could be taken from him, and his house and garden could be saved from damaged by tempests.  According to the Judaeo-Christian view, Ruby, the natal stone of July, is the most precious of the twelve stones God created when he created all creatures, and this Lord of Gems was placed on Aaron's neck by gods command. The high esteem placed on Ruby is further indicated by the names applied to it in Sanskrit. These were ‘ratnaraj’, which may be translated as king of precious stones, and ‘ratnanayaka’, leader of precious stones. The Hindu peoples describe the glowing hues of the ruby as an inextinguishable fire which burned within the stone. Ruby was said to preserve the health of the wearer, for it removed evil thoughts. Although associated with passion it was also thought to control amorous desires and reconcile disputes. The colour of ruby is due to a trace chromic oxide, which enters the crystal structure by a small-scale replacement of some of the aluminium atoms. This is known as isomorphous replacement. The amount, about 1 to 3%, determines the depth of colour, but the presence of iron in the ferric state also modifies the tint. The finest rubies will be strongly fluorescent red. Such stones often contain extremely fine particles which serve to scatter the light on to all the facets” (Robert Webster, ‘Gems. Their Sources, Descriptions and Identification’, fifth edition, 1994). “With ruby, the intensity of the red colour is the primary factor in determining the value. The ideal stone displays an intense, rich crimson without being too light or too dark. The finest rubies display colour similar to that of a red traffic light. There is a tendency for the market to favour stones of the intense red-red colour. Certainly, the highest prices are paid for these. But do not overlook the slightly less intense shades. Such gems have a brightness missing in there more saturate brethren and often look better in the low lighting that one typically wears fine jewellery. Like a beautiful person, rubies come in many shapes, the preference for each which is a matter of personal taste” (Richard Hughes, ‘Ruby & Sapphire, A Collector’s Guide’, 2013).


⁴. A ‘mixed-cut’ a combination of two cutting styles in one gemstone, with the eponymous use being a brilliant-cut crown with a step-cut pavilion and this facet design is be used on any elliptical outline (rounds, ovals, cushions etc.). The brilliant-cut crown typically consists of eight kite-shaped main facets, joined to the girdle by ‘girdle breaks’ (triangular facets, either singularly or in pairs for each main facet) and a further set of eight star-facets (also triangular) which join the table to the main facets. Thus, totalling either 24 to 32 facets plus the table. The facet layout and design allow for a blend of good colour saturation and sparkle; flashes of white angular light with some scintillation and fire (provided the materials has this optical property). A step-cut pavilion consists of three or more tiers of mostly unequal quadrilateral facets converging at a keel or culet, and use an uneven number of triangular lower girdle facets joining the girdle. Proportions and angles usually follow the shape of the rough which will produce the maximum weight recovery, so there is rarely any uniformity or systematic principals governing the face design other than this one economic consideration. It is unknown when this method of fashioning became customary, suffice to say that it is has since become one of the most commercially predominant cutting styles of coloured gemstones.

Product Details

Write your review

Ring – Ruby & Diamond Cocktail Ring

Ring – Ruby & Diamond Cocktail Ring

A cocktail¹ ring, featuring baguette-cut diamonds and small rubies, styled as a knotted bow and flowerhead with the pattern enhanced by the use of yellow, white and rose gold-coloured settings. American, circa 1930-1950.

Write your review
8 other products in the same category:

Diamond Half Eternity Ring

Review(s): 0

A half eternity ring, featuring diamonds set in a grain setting. ITEM: RingMETAL: 18ct Yellow GoldDIAMOND WEIGHT: 0.15ct totalDIAMOND COLOUR: F - GDIAMOND CLARITY: VS SIZE: Finger size N

Price £0.00
There are not enough products in stock

Reference: 30001

Brooch – Victorian Panel Brooch

Review(s): 0

An antique 15ct yellow gold brooch designed as a wide panel decorated with a rounded central motif set with five diagonally arranged grain-set rose-cut diamonds along with knurled scrolling wire-work and twisted rope patterns. Secured with a pin and hook clasp. Circa 1887.

Price £215.00
Last items in stock

Fine Splash Bracelet

Review(s): 0

Splash Bracelet from the Splash collection. This beautiful bracelet is created by connecting a series of solid Sterling Silver splash shapes with round shaped links. It comes with a T-bar fastening. It is perfect for all occasions. Length 7.5" Made from the highest quality 925 Sterling Silver. Polished to the highest standard. Comes in a LucyQ logo gift...

Price £100.00
Last items in stock