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Lot 10
AN AMETHYST SINGLE STONE SET 9 CARAT GOLD DRESS RING the oval mixed cut amethyst approx. 10mm x 8mm, claw set hallmarked 9 carat gold shank, ring size S, gross weight 5.5 grams Condition Report : Condition: good, no obvious damage or repair Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 20
AN AMETHYST SINGLE STONE 9 CARAT GOLD DRESS RING the rectangular mixed cut amethyst approx. 16mm x 13mm, four claw set to plain polished yellow shank, unmarked, assessed as 9 carat gold, ring size O, gross weight approx. 6.0 grams Condition Report : Condition: twisted shank Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 7
A 9 CARAT GOLD AMETHYST SET BRACELET seven oval openwork links with scroll and flower head decoration, each set to centre with an oval mixed cut amethyst measuring approx. 9mm x 7mm average each, tongue snap clasp, complete with safety chain, measuring approx. 7 inches long Condition Report : Condition: very good, no sign of damage or repair Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 62
the collar with a central row of six rubover set octagonal faceted amethysts, 18 x 15mm, separated by decorated bars, attached to a double curb chain, length 43cm, unhallmarked yellow metal, stamped '14k', weight 53.7g, together with a ring set with a central claw set oval faceted amethyst, estimated approximate weight 1.50ct, flanked by two eight cut diamonds either side, size Q½, unmarked yellow and white metal, tested as 18ct gold, weight 4.2g (2)
Lot 64
the first, an oval brooch with an oval faceted amethyst set within a beaded border, pin and hook fitting, dimensions, 2.5 x 2.2cm, unmarked yellow metal tested as 9ct gold; the second, a pair of earpendants set with three claw set graduating oval faceted amethysts, hook fittings, length, 2.8cm, unmarked yellow metal, tested as 9ct gold; the third, a lozenge shaped amethyst and seed pearl pendant, bale fitting, length including bale 4.1cm, unhallmarked yellow metal stamped '9CT', gross weight 9.4g (3)
Lot 66
the central section with an oval cabochon amethyst of approximately 12 x 10mm, surrounded by a ring of seed pearls with brilliant cut diamond accents, topped with a seed pearl set bow and supporting two articulated diamond set knife edged bars with pear shaped pearl terminals, overall length, 5.5cm, suspended from a trace link chain, length, 42cm, unhallmarked, stamped '375', weight 7.9g
Lot 69
central cushion faceted amethyst rubover set to a cushion curved border composed of one row of eight cut diamonds and two rows of round faceted sapphires (one lacking), all grain set, head diameter 15mm, plain tapered shoulders, 'D' shaped shank, size Q, Birmingham hallmarks for 9ct gold, weight 6.3g
Lot 72
central claw set oval faceted amethyst of rich purple, surrounded by a border of twelve round brilliant cut diamonds, estimated total approximate weight 1.10ct, head dimensions 18 x 16mm, pierced fleur-de-lys shoulders and reeded shank, size O½, unmarked white metal, tested as 18ct gold, weight 9.1g
Lot 162
each hook wire fitting headed with a crimp set 5mm round faceted peridot, supporting a lyre shaped drop section, the wire work neck topped with a round brilliant cut diamond and further crimp set with a small pearl, the bulb set with an oval faceted amethyst, overall length from the head, 3cm, silver gilt, weight 2.9gFootnote: At the close of the 19th century, women began actively looking for better rights, in particular to have their voices heard in government. The Suffragettes were a group of women campaigning and protesting for the right to vote. Many women proudly wore jewellery expressing their support for the movement, though, for fear of persecution, the jewels incorporated a 'secret code'. The pieces are instantly recognisable now as they were decorated with green, white, and violet stones. The first letter of each colour, G, W, V reflected the Suffragette’s demand to "Give Women the Vote". This example is a modern interpretation of one of these historic jewels.
Lot 269
Y A circular Italian specimen marble and scagliola table top, Rome, circa 1830, attributed to the workshop of Giacomo Raffaelli in the Via Del Babuino, The specimen marble top, with precious hardstones (including blue john, amethyst, malachite, and lapis lazuli, agate, Kushkuldin jasper, Revna jasper from the Ural mountains, Egyptian jasper, Lumachella from Abruzzo and Labradorite ) inset into a scagliola base simulating giallo antico, with a border of concentric bands simulating verde antico, white marble and rosso antico, the whole mounted on a metal disk, with a modern base of tulipwood, overall height 80cm, 95cm diameterThis very unusual top, with its combination of scagliola and hardstone, was almost certainly made in the Via del Babuino workshop of Giacomo Raffaelli (February 2, 1753 - October 11, 1836), perhaps the greatest of Roman mosaicists. Anna Maria Massinelli's book "Giacomo Raffaelli Maestro di stile e di mosaico" notes that Raffaelli was conscious of the artistic and commercial potential of creating works in scagliola. In this connection, he writes to his son in a letter from Milan dated 11th April 1804: "I beg you to learn well the technique of making scagliola, as I think we could do business with it here in Milan, and learn how to make all the different colours". Massinelli has identified various table tops in scagliola created by Raffaelli, which are inspired by his designs for micro mosaic table tops. However, the present table top appears to draw its inspiration from the unusual marble and hard stone table tops created by Giacomo Raffaelli. An example is a table top that dates to circa 1810 in the State Hermitage Museum Figure..., St Petersburg. Here we see a formal arrangement of similar types of hard stones, which are cut into various geometric shapes and inset into a white marble base. The oval and octagonal forms remind us that Raffaelli also made snuffboxes; in our table top we also see him use these shapes some of which were probably originally intended for use in making boxes that then either became surplus to requirement or had been slightly damaged and were subsequently incorporated into a table top. A work by Raffaelli which is even more closely related to ours, was made in circa 1826. Here we see another inventive and less formal design by Raffaelli whereby the specimens appear to be strewn across the table as if they were pebbles on a beach. Like our top, these stones are inset into a coloured marble background, in this instance, "breccia corallina". Apart from the inspired and original designs that Raffaelli created, what also sets his work apart was the use of exceptional and distinctive specimens, whether they came from ancient Roman ruins or from contemporary sources. We know from his letters to suppliers such as Ciccio Vittolomeo that Raffaelli took enormous trouble to obtain the most beautiful specimens. His collection was also extensive as is born out by the two hundred or so cases containing marble and hard stones that were sent back to Rome from his workshop in Milan in 1821. Although we have not found documentary evidence to confirm our attribution to Raffaelli, we believe that both the design of the top as well as the very distinctive specimens suggest that this work was created in his workshop of Via del Babuino.Condition Report: Inlays all present, one or two with cracking though this is possibly the nature of the stones and may be old breaks.There are some small chips and losses to the edge of the scagliola top, as well as some areas of subtly repaired/filled cracking.One larger area of repair to the scagliola (circa 20cm in length along the edge), though again it appears sympathetically executed.The modern base is in perfectly presentable condition.Condition Report Disclaimer
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