Gold, Citrine and Diamond Ring, Paul Flato, Circa 1940

The emerald-cut citrine weighing approximately 84.00 carats, flanked by old European-cut diamonds weighing approximately 1.65 carats, size 6¼, unsigned.  With fitted box signed Flato, New York, Los Angeles.

Very good condition; bearing a nice heft, approximately 25.3 dwts. The gold with light surface wear and bearing a soft patina. The citirine is a rich, slightly brownish orange; light scratching and abrading. Set with 12 diamonds, approximately H-I color, VS-SI clarity.
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.

Paul Flato launched his career in 1920s New York where he gained fame creating ingenious designs for well-heeled clients such the Rockefellers, the Vanderbilts, and Doris Duke.  He prided himself on producing "conversation pieces" which, as touted in a self-penned advertisement for his 57th Street store, were "sometimes wicked, always sophisticated [and] invariably smart."

It wasn't long before Flato's work caught the eye of Hollywood where he became the favored jeweler among the silver screen's leading ladies.  His bold, dramatic pieces were the perfect complement to the glamorous costumes of the 1940s, their whimsical quality underscoring the levity of post-Depression era romantic comedies.  In one such film, That Uncertain Feeling (1941), a strikingly similar bracelet to the one offered here was worn to great effect by Merle Oberon.  Flato devotees such as Katharine Hepburn, Marlene Dietrich, and Jean Harlow wore his pieces on-and-off the screen, with Flato, never one to shy away from publicity, frequently appearing alongside his pet clients in the glossies.

Flato's genius was an extension of a mercurial personality, his professional and home life punctuated by great highs and lows.  Arguably the greatest jeweler of his time, Flato's career was left relatively unexamined until the recent publication of Paul Flato: Jeweler to the Stars.  In this comprehensive, beautifully illustrated book, Elizabeth Irvine Bray has introduced this fascinating and talented individual to a new generation of collectors.