Henry Thomas Ryall after Richard Ansdell. Fight for the Standard, engraving, published Dixon & Ross 1861, unframed. 93 x 75cm (36 x 29in) Other Notes: This engraving depicts Sergeant Charles Ewart of the Royal North British Dragoons, more commonly known as the Scots Greys, defending the captured eagle of the French 45th Regiment of the Line from a French lancer during the Battle of Waterloo, 18 June 1815. The capture of the eagle is one of the most prized honours of the modern incarnation of the Scots Greys, the Royal Scots Dragoon Guards and in commemoration of this brave action their cap badge shows the eagle and reads 'Waterloo.' The actual captured eagle is now on display in the Royal Scots Dragoon Guards museum, Edinburgh Castle. For his part in the capture of the eagle Ewart was hailed a hero and travelled the country recounting the action and he was commissioned as an ensign in 1816. When he died in 1846, Ewart was buried in Salford but his grave was later paved over and forgotten for many years until uncovered in the 1930s when Ewart was reburied by the Royal Scots Greys (as they were then titled) on the esplanade of Edinburgh Castle in 1938. Today, Sergeant Ewart is perhaps most known amongst the general population for the pub in Edinburgh which bears his name, the Ensign Ewart. It is located next to the Castle esplanade, where a monument marks his burial place. Ansdell's original painting of this subject hangs in the Great Hall of Edinburgh Castle. Condition: Light staining to the left and right margins. Some dampstaining especially to the lower edge. Unframed. Unframed.
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An Arts and Crafts gem-set foliate brooch attributed to Dorrie Nossiter, centred with a circular shaped moonstone within a surround of amethysts and turquoise cabochons, further set with jades, amethysts and light blue stones, probably aquamarines. Set in silver. 6cm high. With a coronation box stamped 'Elizabeth R 1953' to the outside and 'Dorrie Nossiter, Marlborough, Gate Cottage, 1a Elms Mems, Lancaster Gate, London, W2. Phone Ambassador 4282', to the silk lining.
A rare yellow diamond, enamel and yellow gold ring, last quarter 17th century The cushion-shaped old brilliant-cut yellow diamond weighs 3.16 carats and is set within the raised box bezel with engrailed edges above arcading filled with stylised acanthus enamelled white with black details, each shoulder chased with an auricular scroll, formerly enamelled, to the plain hoop, the interior of the plain closed back setting lined with black pitch to heighten the golden tint of the stone. Probably English. Accompanied by report number 2175692368 dated 21st June 2016 from GIA, New York stating that the round-cornered square modified brilliant cut diamond weighs 3.16cts, is a natural, even fancy deep brownish yellow colour with SI2 clarity with strong yellow fluorescence. COMMENTARY BY DIANA SCARISBRICK This fine and rare ring set with a brilliant-cut diamond marks a milestone in gemmological history, resulting from the discovery of the laws of refraction and analytical geometry during the second half of the seventeenth century. Until 1664, when the earliest brilliant-cut diamond, the Wittelsbach, is recorded, diamonds were cut as either point, table or rose-cutsâ„–. This new multi-faceted technique of cutting released so much more fire and light that Robert de Berquen, in Les Merveilles des Indes Orientales (Paris 1669), compared it with "the sun, shining out amongst all other stones". At the same time, the supply of Golconda diamonds from India increased substantially, encouraged principally by the desire of Louis XIV to make his court at Versailles the most splendid in Europe. Across the Channel, by 1695, London had emerged as the centre of the European trade in diamonds due to the gemmological and financial skills of the resident Portuguese Jewish experts. In addition, as far as cutting and polishing were concerned, although the Dutch lapidaries excelled at rose-cut diamonds, the London workshops were acknowledged as the masters of the new brilliant-cut. It is highly significant that the 410 carat Pitt Diamond acquired by the Regent of France was brilliant-cut by Joseph Cope in London 1704-1706. This superiority is confirmed by the auction catalogue of the precious stones of the Chevalier de la Rocque (1745): "celle de l'Angleterre est plus reguliиre, plus nette et plus vive: et par consequйnt plus estimйe" (English cutting is more regular, more precise and more lively and therefore of higher value)І. These words could equally well be applied to this impeccable ring with its wonderful play of light. During this period, before the discovery of the mines in Brazil in 1727, stones of this size were rare and as in most cases jewellers had to make the best of small stones grouped together in clusters, the survival of a solitaire is exceptional. Not only is the faceting apparently English, but also the setting, which differs from late 17th century French mounts which are more elaborately decorated and richly enamelledÑ–. Furthermore, the simplified design in this example accords with the change of fashion, marking the turn of the century towards minimally enamelled and less massive settings; thus, not detracting from the splendour of the gem but showing it off to best advantage. Since grander social events were now taking place at night due to improvement in candle lighting, the effect of this diamond displayed on the finger of a high ranking lady or gentleman would have been extraordinary, eclipsing all other stones. © DIANA SCARISBRICK: August 2016 1. Tillander, H., Diamond Cuts in Historic Jewellery , 1995 p.155 2 Gersaint, E F, Catalogue Raisonnй des differens effets curieux et rare contenus dans le cabinet de feu M le Chevalier de la Roque , Paris 1745 3 Scarisbrick, D, Rings, Symbols of Wealth, Power and Affection, 1993, pp92-93, and p98 DIANA SCARISBRICK, MA, FSA Diana Scarisbrick is a world-renowned art historian specializing in the history of jewellery and engraved gems Her extensive research covers jewels from the Renaissance to the present day and she has contributed to numerous exhibitions, catalogues and art journals worldwide She is Research Associate at the Beazley Archive, Institute for Classical and Byzantine Studies, Oxford University, and was elected Fellow of the Society of Antiquaries in 1987
A pair of Victorian natural pearl and diamond drop earrings, the small button-shaped pearls suspend diamond bows and a drop-shaped natural pearl within a diamond-set pear-shaped wreath. In silver and gold. 5.2cm long. Case by Austin & Williams. Accompanied by report number 5776-6595 dated 8th August 2016 from GCS, London stating that the four light grey and cream pearls measure approximately 6.2 x 5.5 x 4.8mm, 5.5 - 5.6 x 5.7mm, 7.8 - 7.9 x 12.4mm and 7.3 - 7.8 x 12.2mm and are natural saltwater pearls with no indications of treatment. The cream coloured drop-shaped pearl is fully drilled.
A cushion-shaped colour change sapphire and diamond ring, set with graduated circular and baguette-shaped shoulder diamonds in platinum. Size J. Accompanied by report number 5776-6737 dated 1st September 2016 from GCS, London stating that the cushion-cut sapphire weighs approximately 14.50cts and is a natural colour-change sapphire with no indications of heating, and is purplish blue in daylight and purple in incandescent light. Origin: Sri Lanka.
A gentleman's boxed Breitling Antares Automatic Wristwatch, blue dial (signed) with mostly baton markers and the date aperture at the 3 o'clock position, rotating bezel and the steel strap with hinged clasp, the back of the case individually numbered B10048, with spare links and accompanying booklets etc., case No. 18735, originally supplied by Mappin & Webb Limited, 65 Brompton Road, Knightsbridge, London in March 1995 CONDITION REPORT: This was originally supplied by Mappin & Webb Limited, Knightsbrige, London in March 1995, it has paperwork and original box although the internal box is scuffed with prevalent areas of the outer surface now disappearing, (two images), the outer box is in good condition and the watch itself appears to be in very good overall general order with only light surface scratches of the steel case and strap, we can report that this watch appears to be in very good condition indeed for the year of sale.
A gentleman's steel Rolex Datejust automatic Oyster Perpetual Wristwatch, 36mm, model no. 116234, the silver dial signed and with diamond hour markers, the date appature at the 3 o' clock position, with white gold bezel and Oyster bracelet, sold with insurance valuation dated June 2016 (Martin & Co. Cheltenham) for £6,600, light scratches to steel otherwise appears in very good condition and good working order (not tested, no box or original paperwork), serial number J8777OY3
A late 18th Century mahogany Linen Press, the dentil cornice above a fluted frieze headed with roundel's, further over two panelled doors enclosing original slides and two half width and two full width graduated drawers with brass swan neck handles, raised on bracket feet (generally in an untouched condition and in need of light restoration), 129cm wide x 58cm deep x 176cm high
French brass two train mantel clock garniture, the movement with outside countwheel striking on a bell, the 3.75" ornate chapter ring inscribed Comptoir General, 9 Bd Poissenniere, Paris, Matson H. Riondet on an enamel plaque to the centre, with Roman cartouche enamel numerals, within a stepped case with applied decorative mounts and surmounted by a an ornate foliate finial, 17" high; also with a pair of associated five light candelabra, 21" high (pendulum and key)
Omega - a vintage 1960s gentleman's Omega Geneve Dynamic wrist watch, blue dial, silver baton markers, minute track, light blue centre seconds hand,manual wind movement,case marked tool 107 water proof, stainless steel case, blue leather strap, omega buckle, red plastic box with lined interior
Photography - an Olympus OM-4 35mm camera; an Olympus OM-2 35mm camera; a Tamron zoom lens, cased; an Olympus OM-10; a miniature Japanese Mycro camera, leather cased; others, Tri-Solikon, No. E-1221; Pentacon electric; teleconverter 2x; Vitivar automatic extension; a Practica PLC3 with Paragon 1:6.3 400mm lens No.16485; light meters; filters; other accessories; quantity
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