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Lot 26
A small quantity of jewellery items, mostly 19th century, including two blue jasperware spherical bead necklaces, each with spacers; three brooches and one locket all with half pearl borders and one with blue enamel and diamond-set detail; two oval brooches with diamond-set borders; a brooch with an ornate diamond-set entwined border; three early 19th century gold and gem-set foliate spray locket brooches; a George III garnet-set double floral cluster brooch; a spherical rock crystal pendant, a rose-cut diamond-set tie pin; a small gold and citrine seal modelled as a thistle head; a paste-set oval pendant with bow surmount and two items of mourning jewellery containing hair
Lot 671
A pair of late 18th century diamond drop earrings, the flowerheads surmounted with a bow and suspending from cluster upper sections, set overall with graduated old cushion-shaped diamonds in closed-back silver settings, later gold screw-back fittings, 3.5cm high, fitted centre-opening case by Wartski
Lot 52
λ Eight 19th century stick pins, including a pair of Archaeological Revival gold stick pins with white enamel decoration; a pair of gold racquets each with a seed pearl applied to the mesh conjoined by a fine-link trace chain; a bloomed gold ivy leaf applied with cabochon opal detail and seed pearl foliate motifs, two paste examples (one modelled as a stylised flower), a carved coral knot and a carved coral bow
Lot 34
Three gem-set brooches, an amethyst heart pendant to the half-pearl and gold bow surmount, 3.5cm, fitted case by Tessier; a sapphire and half-pearl 15ct gold bar brooch, 4cm wide; a peridot and half pearl 9ct gold openwork bar brooch, 4.2cm wide, fitted case; an oval hardstone cameo brooch, of a maiden in profile with a floral garland adorn her hair, plain gold frame, 4.4cm long, and other items including two green paste brooches
Lot 81
Four items of pearl and cultured pearl-set jewellery, including a bar brooch alternately-set with five pearls (untested, possibly natural), each separated by a rose-cut diamond-set foliate motif, 6.5cm, together with a pearl (untested, probably cultured) and old-cut diamond-set bar brooch, 7.2cm, and a pearl (untested, probably cultured) and rose-cut diamond-set wreath brooch, 4.3cm, and a seed pearl-set bow brooch 4.2cm
Lot 452
A yellow metal and enamel heart-shaped pendant, painted with a blue flower, beneath an associated 9ct yellow gold pearl and turquoise bow-shaped mount, suspended on a yellow metal curb-link chain (clasp slightly off-set to one side), heart 14 mm long, chain 22 cm to one side, 14.5 cm long. 5.4 grams.
Lot 515
JAMES BOND ‘THE SPY WHO LOVED ME’, 1977 – A STORY OUTLINE DICTATED BY LEWIS GILBERT, PRELIMINARY SET LIST AND TWO DIRECTORS’ SCRIPTS BY CHRISTOPHER WOODAmimeographed typescript of Lewis Gilbert’s dictated summary of the storyentitled The Spy Who Loved Me, Story Outline No:1, (Dictated by LewisGilbert at a meeting on 5.Apr,76.), nine unbound pp. fastened by a staple,the title page labelled at the top in red typescript Lewis Gilbert; anda corresponding Preliminary Set List (Based on Story Outline No:1 datedthe 5th April, 1976), this dated 7 Apr.76, five pp.mimeographed typescript, the title page labelled at the top in red typescript LewisGilbert; the Story Outline is preceded by a note: “The ‘heavy’ willbe referred to as “THE GREEK” – who owns the biggest tanker fleet in theworld..”; the story is broken into 59 numbered scenes, beginning with thecapture of two nuclear submarines, one British, the other Russian; and theintroduction of beautiful Russian special agent Zyk, Major Anya Amasova; theplot focuses on a tracking system, the plans of which a mysterious party, whotranspires to be a SPECTRE traitor [Fetish] in Cairo, has offered to sell tothe British under the watchful eye of the Russians; the Greek’s headquarters isreferred to as SPECTRE HQ an underwater structure which rises from the ocean;Jaws appears in Cairo, when on the Greek’s orders he despatches ‘Fetish’, Gilbertdictates: “ We see [Jaws] pounce on Fetish…and here we use a special soundeffect (e.g. crunching of celery) which we associate with Jaws…”. ; Bond andAnya are ordered to work together against the Greek, who in addition to histracking device runs a North African drug trafficking operation. Drama ensueswith Jaws, Bond and Anya on the night train to a Greek tourist resort. Q meetsthe train and hands over: “a (Lotus?)car” which, following a dramatic chase involving a helicopter and two pursuingcars, is driven into the sea by Bond and “…changes miraculously into a small submarine: “NEPTUNE”..”; one of The Greek’s vast tankers, the“Tabriz/Kaonus”, has opening bow doors which swallow up British and Russiannuclear subs. The drama continues on the tanker where Bond and Anya and thecrews of both nuclear subs are captive. Bond with the aid of an explodingpencil, ignites the oil in the hold and frees the British and Russian prisonersbut he can’t find Anya; the drama concludes with Bond returning to the Lotusdriving it into the sea in pursuit of Anya who is the hostage of The Greek andJaws. Bond finds the villain’s under-water city and manages to get inside, hedisposes of Jaws with an electro-magnetic device, and The Greek is killed. Gilbert concludes; “…the structure starts toturn on its side like “The Poseidon Adventure” – Bond and the Girl escape…”;and- Two separate mimeographed typescripts of Christopher Wood’s screenplay, both identical partial versions of the first draft, both entitled The Spy Who Loved Me, First Draft, Christopher Wood, one dated 12 April 1976, 25 unbound pp. fastened by a paper clip, the title page inscribed in black ink in an unidentified hand Mr Lewis Gilbert; the other dated 22 April 1976, 75 unbound pp. fastened by a large paper clip, the title page initialled in pencil at the top B.C.; in this earlier version, Bond is summoned from his holiday in the Alps, making a dramatic exit on skis from a tryst in an Alpine hut culminating in a leap over a 3000 foot sheer drop using a union Jack parachute, a feature not mentioned in Gilbert’s story outline above; other differences include Jaws’ first victim’s name the SPECTRE traitor, is changed from Fetish to Farwagi; the chief SPECTRE villain ‘The Greek’ is identified as the shipping magnate ‘Markos Stavros’ described by M as: “Arguably the richest man in the world.” owning “..most of the coastline along the Polyphemos peninsular ..” ; a number of differences to the ‘Story Outline’ described above include: an amusing scene where the British and Russian collaboration of Bond and Anya extends to Q’s boffin counterpart P, the latter introducing a dart firing suspender belt for Anya’s use; Stavros’ mobile underwater lair is called the ‘Aquapolis’, complete with a lethal shark tank. Christopher Wood came last in line in the order of 12 different scriptwriters Cubby Broccoli employed to tackle the screenplay for The Spy Who Loved Me. Wood was brought in at the suggestion of new director Lewis Gilbert who had himself been appointed on 18 December 1975. Gilbert had inherited Richard Maibaum’s script which had at its core a megalomaniac intent on dominating the world. Gilbert described Maibaum’s plot as: “…the good old standby in which the arch villain sets Russia and America at each other’s throats, then steps in to claim the prize. For this one, he had come up with a tanker that swallowed submarines and one of the best henchmen villains ever, the mighty Jaws, whose steel teeth could bite through anything..”. Despite these heady ingredients, Gilbert felt that Maibaum’s script lacked humour, hence his suggestion to bring in Wood. When Wood took the job on he had been unaware that he was following in the footsteps of many writers. In interviews Wood described how the evolution of his plot was very much a collaborative effort. Gilbert and Wood worked together daily in Cubby’s office at Eon. Sometimes they were joined by Cubby, or Ken Adam or Michael Wilson. Wood developed Maibaum’s script and incorporated ideas from the previous writers and drafts and from Broccoli’s original ideas. He wrote on his own and then went back to discuss things with the others, he compared the process to “..putting together a jigsaw puzzle..” The new plot angle, Wood and Gilbert came up with was the idea of a villain obsessed with oceans, whose lair was a palace under the sea. The plot providing marvellous opportunities for Ken Adam’s set design and some of the most eye-catching gadgets in the history of Bond films.Footnote: The Spy Who Loved Me (1977), the tenth in the Eon Productions official 007series, initiated a number of records for the James Bond franchise. It wasCubby Broccoli’s first solo 007 venture without co-producer Harry Saltzman, andhe was determined that it should become the biggest and best Bond yet. From the outset, the film’s path to successwas beset with numerous difficulties and the screenplay itself went throughmore adaptations and revisions than any production during the 40-year historyof 007 on screen. Problems began with Ian Fleming’s source material for thefilm’s title. Like the movie, it was Fleming’s tenth Bond novel in order,however it represented a departure from Fleming’s usual 007 format in that itis told from the viewpoint of a young Englishwoman who only meets the famousspy in the last few chapters of the book. For this reason, Fleming never wantedthis book to be sold as a film project. His estate, however, gave Broccolipermission to use the novel’s title only. The book and film do also share onesignificant common element – Jaws, whois loosely based on Fleming’s villain, `Horror’, who had steel-capped teeth.Nevertheless, the screenplay for The Spy Who Loved Me is considered tobe the first Bond film whose story is completely original. After a visit toRussia, Broccoli devised a plot for a new story which suited the film’s title and focused on a beautifulRussian agent who falls in love with James Bond. It is said that twelve different screenwriters worked on fifteen separate drafts for the screenplay over a period of three years, in one of the most fiendishly complicated film pre-production processes in Eon’s history. Considering the quantity of different variants of the screenplay here in Lewis Gilbert’s personal film script archive, it appears that just over half of the fifteen screenplay versions are represented between lots 13...
Lot 25
An Italian 17th century ebony and ivory table cabinetInlaid with an architectural disposition of tablets centred by classical figures including Mars and Minerva, the tablets variously engraved and decorated with elephants, stags, deer, horses, rustic figures, hunters, fruit and ribbon-tied martial and musical trophies, the figures set within rural landscapes with towns in the background, the pair of doors enclosing nine short ripple moulded drawers, with a central ripple moulded door inlaid with St Michael holding a violin together with a bow and arrows, enclosing five drawers and one secret drawer, on later sprial-fluted bun feet, 73cm wide x 35cm deep x 56cm high, (28 1/2in wide x 13 1/2in deep x 22in high)This lot is subject to the following lot symbols: TP Y ФTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
Lot 74
Registration No: RA 333Chassis No: GUK-71MOT: May 2022Pop Larkin’s (David Jason) Beloved Rolls-Royce 20hp Park Ward Laundalette that starred in ITV’s ‘The Darling Buds of May’Purchased by its current keeper in 2019 for £100,000, and its previous keeper beforehand for the same sumOffered with an MOT Certificate valid until 05 May 2022 1926 Rolls-Royce 20hp Landaulette by Park WardUnveiled in 1922, the 20HP was a second string to the Rolls-Royce bow - a shorter, more economical sibling to the Silver Ghost which broadened the marque’s reach to span both the very rich and seriously wealthy. Instantly distinguished by its horizontal radiator shutters, the newcomer was constructed around a ladder-frame chassis with a 129-inch wheelbase. Power came from a 3,127cc straight-six, OHV monobloc engine mated to a three-speed manual gearbox. Suspension was by semi-elliptic leaf springs all-round. Braking was initially on the rear wheels alone, while steering was by worm and nut. Progressively updated to feature a four-speed gearbox and servo-assisted all-wheel braking, the ‘baby’ Rolls remained in production until 1929, by when some 2,885 examples had vacated the company’s Derby factory. Lighter and more responsive than the Silver Ghost, the 20HP was capable of exceeding 60mph.Supplied new on 20th August 1926 via Huskinson & Ashwell Ltd of Nottingham to F.R Claye Esq, chassis GUK-71 featured Landaulette coachwork by Park Ward and was finished high-varnished in Purple Blue with fine white coachline and matching blue upholstery. Importantly, this particular example featured the much improved four-speed gearbox, which it retains to this day. GUK-71 remained in F.R Claye’s ownership for 10 years, before being passed on to a Mrs Hannah Claye for a further 19 years. In 1955, the car was sold to a Richard Edward Derington-Fenning of the Royal Hotel, Ashby-de-la-Zouch who owned the car for 38 years, during which time, this Rolls-Royce 20hp Landaulette would gain the admiration it has to this day.The car retains its registration ‘RA 333’ and is arguably the most famous 20hp in existence; being the car used throughout ITV’s adaptation of H.E Bates’ ‘Darling Buds of May’, starring David Jason as Pop Larkin. Pop’s beloved Rolls-Royce instantly became an icon of the show, with die-cast models of the car widely available.RA 333 was purchased by its current keeper in 2019 for the sum of £100,000. Currently stored in a Carcoon within a dehumidified unit it has been lovingly maintained, even being offered for sale with a current MoT valid until 5 May 2022. Offered with this famous 20hp is a comprehensive folder featuring rarely seen documents, including the original order confirmation letter, bill of sale and specification sheet from 1926. In addition, copies of pre-delivery inspections are included, as well as the original logbook, a copy of the original guarantee and an instruction manual. Additional documentation includes previous MoT certificates and invoices including a printed summary of maintenance post-1992, and of course, photographs and press information relating to the Darling Buds of May series. Footnote: For more information, please contact:Andreas Hicksandreas.hicks@handh.co.uk07943584762
Lot 730
A one piece back violin 36cm bearing inscription to the interior Grandjon "A Paris" together with a bow 73cm and 57 gms Condition Report: The general condition of violin body and neck are sound and good. There are minor scuffs , scratches and rubbed varnish to be expected of an instrument this age. There is a visible fine crack running from the right hand side f-hole to the right hand side lower bout.
Lot 178
A diamond pendant on chain, the openwork heart-shaped pendant edged with round brilliant-cut diamonds, suspending a pear-shaped brilliant-cut diamond in claw setting to the centre, below a tapered diamond set bale, on a curb-link chain, 18ct white gold mounted, pendant length 3.2cm, chain length 44cmAccompanied by a Diamond Grading Report issued by GIA, stating that the pear-shaped diamond has E colour and VS2 clarity, weighing 1.21ct, report no.15663614, dated 7 December 2006.Condition report: The principal diamond is bright and lively, with a slight 'bow tie' effect at the widest point. Bordering diamonds are well matched, bright and lively, with estimated VSI to SI2 clarity and H to J colour, assessed mounted. The pendant mount and chain are modern, with light surface wear. Total gross weight approx. 10.2gm.
Lot 235
A blue zircon and diamond bow brooch by Asprey & Co. Ltd., the textured ribbon bow accented with graduated single and round brilliant-cut diamonds, centred with a circular mixed-cut blue zircon in claw setting, 18ct white gold mounted, hallmarked for London 1980, total diamond weight approximately 0.25ct, length 3.1cmCondition report: The zircon has a vibrant greenish-blue hue with a paler area running centrally through the stone, measuring approx. 13.1mm diameter x 7.3mm depth, and has localised facet edge abrasion. Diamonds are well matched and fairly bright, occasional stones with small surface nicks/chips, the remainder with estimated VS2 to SI2 clarity and H to J colour, assessed mounted. The brooch mount has surface wear, scuffs, nicks and chips throughout, commensurate for use, and the brooch pin is functioning. Hallmarks are clearly struck. Gross weight approx. 11.8gm.
Lot 73
A novelty bar brooch, designed as an owl perched on a crescent moon, his textured body highlighted with cabochon red stone eyes, three colour precious metal mounted, stamped '15CT PLATM', (mark partially rubbed), together with an oval hairwork memorial brooch, with later fittings, and a 9ct gold glazed locket pendant, with ribbon bow surmount, hallmarked for Chester 1911, first brooch length 4.05cm (3)Condition report: Approximate gross weights only: first brooch 2.5gm, second brooch 2.2gm, locket 5.8gm.
Lot 96
A gem set pendant on chain, designed as a half pearl set ribbon bow, surmounted by a circlet enclosing a half pearl and stone set three leaf clover, below a triple chain link suspension, with Austrian gold import mark, on a trace-link back chain, (half pearls untested for origin), together with a fancy-link long chain, stamped '9ct', and an amethyst bead necklace, with snake-link sections, pendant length 6.5cm (3)Condition report: Approximate gross weights only: pendant on chain combined 8.4gm (chain untested), long chain 9.2gm, amethyst necklace 28.5gm.
Lot 91
A collection of jewellery, to include a cultured pearl single strand necklace by Mikimoto, the openwork ribbon bow clasp signed and stamped '750', cased, a pair of cultured pearl ear clips by the same maker, white metal mounted, cased, a garnet single stone brooch, the oval mixed-cut garnet in pinched claw setting, with pierced foliate gallery, a garnet single stone dress ring, stamped '18CT', a further cultured pearl single strand necklace, a green stone bar brooch, a late Victorian silver boss brooch, a white metal charm bracelet, and a silver napkin ring, first necklace length 68.5cm (9)Condition report: Approximate gross weights only: Mikimoto necklace 42.2gm, Mikimoto ear clips 2.5gm, garnet brooch 4.5gm, garnet ring 4.7gm, shorter cultured pearl necklace 20.5gm, bar brooch 2.2gm, boss brooch 2.4gm, charm bracelet 19.3gm, napkin ring 10.6gm.
Lot 191
A vari gem-set half hoop ring, the line of circular mixed-cut gemstones including diamond, emerald and amethyst spelling 'Dearest', 9ct two colour gold mounted, together with a gem set cross pendant, 9ct two colour gold mounted, on a ropetwist-link chain, and a cultured pearl set panel brooch, designed as a fern spray with ribbon bow tie, also 9ct two colour gold mounted, ring size P½ (3)Condition report: Approximate gross weights only: ring 3.6gm, pendant on chain 2.2gm, brooch 6.4gm. Lengths only: pendant 2.95cm, chain 46cm, brooch 4.35cm.
Lot 261
Two gem set settings, comprising a diamond set brooch, modelled as an old-cut diamond cluster surmounted by a rose-cut diamond ribbon bow, (central stone and one rose-cut diamond deficient, later brooch pin), and a half pearl and stone set pendant, modelled as a pear-shaped cluster surmounted by a coronet, (central element deficient), lengths 2cm and 1.9cm respectively (2)Condition report: First setting: diamonds have variable colour and clarity, some stones drawing yellowish/greyish tints or with chips and fractures. One rose-cut diamond is missing. Total weight of old-cut diamonds approx. 0.30ct. Dark solder joins/repairs at junctions within the ribbon bow and patchy dark staining/discolouration throughout the mount. The central vacant setting is heavily worn with thinning to the claws. Dimensions of vacant aperture approx. 9mm x 7.5mm. The pinched claw settings are also heavily worn in places and may require repair. The brooch pin is later added/replaced and currently functioning. Metal standard is untested. Gross weight approx. 2.3gm. Second setting: chips, scuffs and fractures to stones and half pearls, some are later replaced. The stones may be a combination of natural and synthetic stones and pastes, but are too small to test. Some of the half pearls have discoloured to greyish hues. Heavy wear to setting, small holes and areas of pitting to mount. Pendant loop is later added, evidence of a previous setting to back of panel that has been removed. Dimensions of central aperture approx. 10mm x 8.5mm. Metal standard is untested. Gross weight approx. 0.9gm.
Lot 306
An open face fob watch, the circular gilt dial with black Roman numerals and blued steel hands, engraved with a central floral spray, to a keyless wind movement, the profusely decorated case with vacant cartouche, stamped '18k' and numbered 53922, accompanied by a gilt ribbon bow brooch fitting, watch case width 3.6cmCondition report: Approximate gross weight of watch only approximately 39gm.
Lot 205
Fairport Convention: Dave Swarbrick's Violin, Used To Record The Landmark Album Liege And Lief,German, circa 1900,indistinct label believed to read Domenico Montagna sud al Signe fecit Venius anno 1799, with jack socket and additional wooden strip, internal wiring, front with small hole filled in, back with three-screw plastic plate, in fitted case with engraved white metal rest plates and bow, 23 1/2in (59.6cm) longFootnotes:Provenance: Offered by Jill Swarbrick-Banks.In an in-depth article in Uncut magazine, Michael Bonner describes Fairport Convention's Liege And Lief as '...the record that invented - and set the benchmark for - folk rock in Britain.' Released in December 1969, this, the band's fourth album, came out of the trauma of the motorway crash involving the band's van in May of that year, as they were on their way home from a gig in Birmingham. Their 19-year-old drummer, Martin Lamble was killed, as was guitarist Richard Thompson's American girlfriend, Jeannie Franklyn. Thompson, bassist Ashley Hutchings and rhythm guitarist Simon Nicol all received hospital treatment. Vocalist Sandy Denny had been travelling in another vehicle.Regrouping after the accident, Fairport recruited Dave Mattacks as drummer, following his appearance on their third album, Unhalfbricking, and another guest musician, violinist Dave Swarbrick, became another full-time member of the band. Shortly afterwards, in July, the band took up residence in Farley House in the village of Farley Chamberlayne, Hampshire. It was hoped that the seclusion and rural setting would help them recover from the accident. Richard Thompson has said of this period: 'We were only a few months after losing Martin Lamble, and I think we were still in shock, so this was a healing time. The environment was perfect, and the mission kept us sane.' Over the next few months, working long hours, the band rehearsed and honed the material that would become Liege And Lief. Photographer Eric Hayes, who had shot the cover for Unhalfbricking, stayed with the band at Farley House and captured the essence of their time there. Writing to the vendor in 2020, a lasting memory of his stay was waking up in the morning to the sound of Dave's fiddle coming up the stairs from the living room.The band eventually emerged from this rural idyll to appear at a hugely successful comeback concert in London's Royal Festival Hall on 24th September. In October they then went into the Sound Techniques studio with producer Joe Boyd and engineer John Wood to record the album's eight tracks, a mix of new compositions and traditional British folk songs and jigs.The band's adoption of amplified instruments for music that was hitherto an acoustic genre posed a problem for Swarbrick in how to amplify his sound to match that of the guitars and drums. Early attempts involved dismantling a telephone and strapping the receiver to the violin. John Wood, writing in July 2021, recalled the recording of Dave's violin or viola when electrified. Although some devices were then available for amplifying acoustic guitars, there were none suitable for use on a violin. For Liege And Lief, a simple contact microphone was attached to the top of the instrument and then fed to an amplifier. However, the combination of the poor response from the microphone, a tendency to feedback with the amplifier and Dave's hearing difficulty made this unsophisticated set-up very difficult to record as the tracks were all recorded live with few overdubs. The resulting album, however, belies such problems. In an effort to find a more satisfactory solution to the problems, Dave then spent some time consulting Cyril Jones who worked for Sound Techniques at their manufacturing facility in Suffolk.Although reasonably successful on release, reaching No. 17 in the UK Top 20 album chart, Liege And Lief has in the subsequent decades achieved a somewhat iconic status. At the 2006 BBC Radio 2 Folk Awards, it was voted as Most Influential Folk Album Of All Time and in 2007 Mojo magazine listed it at No.58 in its 100 Records That Changed The World.Literature:Uncut, Michael Bonner, June 2016, the article originally published in the September 2007 issue.For further information on this lot please visit Bonhams.com
Lot 97
Unusual 1796 Pattern Cavalry Officers Sword, regulation blade etched nearly full length with crowned GR, Royal Arms, Britannia, Victory, trophies of arms, and with a mounted cavalry officer, iron stirrup hilt decorated with bright cut work, knuckle bow and langets each with pierced borders filled with diamond shapes, silver wire bound leather covered grip. Overall 88cms, blade 75cms. Good condition, some age wear overall.
Lot 100
1796 Pattern Light Cavalry Officers Sword, regulation blade J J Runkel Solingen on back edge, iron stirrup hilt with rivetted grip strap ears, square langets, wire bound leather covered grip, in its iron scabbard with traces of black painted finish. Overall 94.5cms, blade 82cms. Good condition, some age wear, knuckle bow with repaired break, crack and small chips to grip.
Lot 29
Early Indian Sword Tulwar, 17th Century, curved single edge blade cut with a pair of narrow fullers deeply struck twice with NCENS between flower heads, iron hilt chiselled with raised ribs, canted pommel set with large disc, knuckle bow with lotus bud finial. Overall 82cms, blade 71cms. Good condition and age patina, some age wear to hilt.
Lot 90
Good English Silver Hilt Hunting Hanger, hallmarked for London 1740 maker JC (possibly John Carman) on knuckle bow and under guard, slightly curved single edge German blade slightly swollen towards the tip and cut with a single fuller, deeply stamped SAHAGVM with the date 1666 and the maker’s mark on both sides, down-turned shell guard, horn covered grip. Blade 63cms, overall 76cms. Good condition and age patina. Note: the year 1666 possibly commemorates the Great Fire of London.
Lot 191
Very Well Made 6 Shot 3.5mm Pin Fire Nickel Ring Pistol, comprising nickel bow engraved LE PETIT PROTECTOR with bands of foliage, blued steel cylinder and action, in its purple velvet lined fitted case, leather covered lid with silver escutcheon engraved LE PETIT PROTECTOR. Maximum measurement of ring 4.2cms. Good condition, not old, small amount of light rust to edge of action where it is in contact with the case lining.
Lot 107
English Fighting Hanger c.1770, iron knuckle bow with fenestrated sideguard, iron pommel, spiral carved wooden gip, earlier flat blade pierced with crosses and pellets, false edge and clip back tip. Overall 74cms, blade 60cms. Quite good condition, grip covering and wire binding missing, worn and lightly pitted overall.
Lot 86
A modern 18ct white gold 0.5ct fancy yellow solitaire diamond ring, plain 4-claw setting with oval brilliant-cut diamond, clarity approx VS2/SI1, diamond weight calculated from measurements: 5.79mm x 4.32mm x 3.18mm, size O, 2.7gNo damage or repair, diamond is bright and fiery with a light yellow saturation and slight bow tie effect, settings very lightly abraded, marks rubbed, laser engraved 750
Lot 234
A pair of 9ct gold moonstone amethyst and pearl ribbon bow drop earrings, with shepherd hook fittings, height including fitting 36.2mm, 2.9gNo major damage, most pearls are replacements, some are quite crudely attached, 1 pearl is missing, settings lightly abraded, fittings also likely replacements, marks slightly rubbed, stamped 9ct
Lot 427
Various Victorian brooches, comprising 15ct pearl knot bar brooch, 3.9g, 9ct pearl bow example, 6.2g, unmarked rectangular amethyst example, 6.7g, and unmarked oval turquoise example, 2.1g (4)All stones present, turquoise example is lacking brooch pin, rectangular example has several petals missing from central flowerheads, brooch fittings working
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117861 item(s)/page