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An Edwardian,1907 Birmingham silver camel pin cushion by Adie & Lovekin Ltd. 51mm high, 25.9g

An Edwardian, 1907 Birmingham silver frog pin cushion by Sydney & Co. 60mm long, 36.5g

A quantity of sewing related items including a Chester silver pin cushion, a/f, three other pin cushions, a novelty rabbit tape measure a/f, three needle cases, a Liberty of London doll, an amber style glass beaded tassel & two cased sets of needles

A 1920s platinum cushion cut diamond solitaire ring of approx. 1ct, diamond size 5.85mm x 5.5mm x 4mm, estimated colour, J/K, Tiffany style mount, 4.1g, size O

Antique brass Scottish pin cushion in the form of a wheelbarrow with tartan cushion 11cm long x 4cm high

An Edwardian 15ct aquamarine and diamond bar brooch, stamped 15ct, a solitaire diamond ring, claw set cushion cut diamond and a 15ct target finial stick pin, 7.8g (3)

Neill LOWDON (XX-XXI) Crimson Cushion on Shaded Pink Couch Oil on canvas, signed, 22.5 x 28.5cm.

A 19th century French pin cushion, the turquoise cushion surmounted by a terracotta depiction of a seated child, 13cm square

A diamond solitaire 9ct gold ring, comprising an old cushion cut diamond, weighing approx 1.70carats, assessed colour J/K assessed clarity VS2, eight claw setting, to a 9ct rose gold tapered shoulders, size P, total gross weight approx 2.4gms Further details: good stone with slight chip/nibbles to girdle, minor wear to shank commensurate with age 

A collection of silver to include: an Edwardian silver cushion shaped tobacco box, gilt interior, the hinged cover engraved with initials, hallmarked Birmingham, 1903  marks rubbed together with three early 20th Century various cigarette cases and a vesta case, various dates and makers (a/f) total approx weight 15.20 ozt (472.7 grams) (5) 

20th Century School, study of a Persian Blue cat on a green cushion, painted on silk, 13.5 x 12.5cm, framed and glazed (1) 

A pair of 'mid-century vintage' Italian tubular chrome cantilever armchairs, 1970s (?) with tan patchwork and buttoned, suspended cushions and arms. 100 cm long x 70 cm wide x 95 cm overall height, 46 cm to the front of the seat squab.The condition is generally good with only very slight tarnish to the chrome plating. The hide is nice and mellow and dry it could do with a good hide food. The back squabs are held on with tied leather strips that go through the cushion and tie off around the rear uprights, this area looks a little ragged but it could just be a constructional thing.Please see the extra images for clarification.

Bedeutende und in höchster Qualität gefertigte Empire-Kaminuhr mitfigürlicher Gestaltung von Claude Galle (1759 - 1815)56 x 48,5 x 17,2 cm.Paris, um 1810.Funktionen:Das Werk mit runden Messingplatinen, durch vier Pfeiler verbunden. Ankerwerk mit Pendel an Fadenaufhängung. Vierzehntagegehwerk. Geschwärzte Breguet-Zeiger für Stunden und Minuten. Schlossscheibenschlagwerk für Halbstunden- und Stundenschlag auf versilberte Glocke.Gehäuse:Bronze, vergoldet und braun patiniert, grüner Marmor. Der Aufbau betont vorrangig die skulpturale, bildkünstlerisch hervorragende Leistung als klassizistische Plastik, als das in der Gesamterscheinung untergeordnete Uhrwerk. Die Betonung der beiden Farbwirkungen Braun und Gold verleiht gediegene Eleganz. Der grünfarbene getreppte Sockel in Vert de Mer-Marmor erscheint dabei zurückhaltend, durch die vergoldeten Rundfüße jedoch mit dem Figurenwerk verklammert. Gezeigt ist eine schwarz patinierte Récamière, reich mit vergoldeten Applikationen besetzt, auf der eine bacchantische Mänade auf einem Kissen liegt. Der Körper nur mit einem um die Hüften gelegten Tuch bekleidet. Die Körperhaltung zeigt sie räkelnd, mit hochgenommenen Armen, wobei sie eine große Traube mit Blättern über dem Gesicht hält. Ihr Blick ist verschleiert, nahezu weintrunken wiedergegeben. Zu ihren Füßen ein Tamburin mit Tyrsosstab zwischen zwei Weinkannen am Fußende des Bettes. Dem antiken Thema entsprechend beziehen sich auch die Applikationen an der Vorderseite der Liege auf das Bacchusthema: zwei Panther, die sich an Trauben in einem Korb laben. Es sind die Attributtiere des Weingottes Bacchus, wurde er doch der Legende gemäß von einer Pantherin aufgezogen. Seitlich Panflöten, darunter erscheinen die Masken des gehörnten Pan an den Bocksfüßen der Kline. Ein hochsteigender Bock sowie ein Widderkopf-Rhyton an der Lehne ergänzen das Bildprogramm. Das Uhrwerk im Zentrum unterhalb der Récamière eingefügt. Zifferblatt:Das weiße Emailzifferblatt zeigt römische Stunden und arabische Viertelstunden, über der VI bezeichnet „Le Roy“.Das Thema der figürlichen Darstellung lässt sich auf reiche antike Sagenstoffe zurückführen, die von dem römischen Dichter Ovid überliefert wurden. Dabei spielt die vorgeschichtliche Erfindung der Weinherstellung eine übergeordnete Rolle, etwa die Legenden von Bacchus und Erigone, der Tochter des Ikarios. Hier wird erzählt, Bacchus hätte die Herstellung des Weines verraten, ohne die Folgen der Betrunkenheit zu erwähnen, woraufhin Ikarios getötet wurde. Aber auch ohne diese Vorgeschichte fand das Motiv der trunkenen Mänade im Gefolge des Bacchus vielfach Anregung zu künstlerischer Gestaltung. Und dies auch in der Plastik, in Zusammenhang mit Uhrengehäusen. So hat Clodion ebenfalls eine Bacchusnymphe in Marmor auf einer Liege gestaltet, für eine Musikuhr, die in die Sammlung von Prinz Napoleon in Brüssel kam.Als ein weiteres Vergleichsbeispiel kann eine ähnliche Kaminuhr zitiert werden, gefertigt von Courvoisier & Compagnie, La Chaux-de-Fonds, mit der ebenfalls vergoldeten Bronze von Thomire, Paris (Inv.Nr. IV-693). Die Zuweisung an Thomire basiert auf einem Entwurf im Stockholm National Museum of Fine Arts.Letztlich jedoch verrät uns ein Katalog des Hotel Drouot, Paris (Salle M. Etienne Ader, Lot 121), vom 18. Juni 1848, mit Abb. den Bronzier Claude Galle (1759-1815).Der Uhrmacher unterhielt sein Atelier laut seiner Briefadresse in der Rue Vobert 1 sowie Rue Vivienne 9, wurde 1786 Meister, dann Lieferant für die Ausstattung der Schlösser Fontainebleau, Les Tuileries, Compiégne und Rambouillet. Auch außerhalb Frankreichs belieferte er höchstrangige Auftraggeber, wie etwa das Savoy-Schloss Stupinigi bei Turin oder den Quirinal in Rom. Unter Napoleon I galt er als einer der bedeutendsten Bronzehersteller Frankreichs. Als Hersteller und Distributeur unterhielt er im Jahre 1811 nahezu 400 Mitarbeiter, somit eines der größten Unternehmen. 1806 wurde er anlässlich einer Kunstindustrieausstellung mit einer Medaille ausgezeichnet; für eine figürlich gestaltete Uhr, die sich heute im Museum des Château Malmaison befindet.Nicht allein der Entwurf, sondern auch die hervorragende Fertigung macht dieses Objekt zu einem der markantesten Beispiele des Pariser Empire und ist ohne Zweifel als bedeutend museal zu bezeichnen. Tadelloser Zustand. Das Pendel sowie ein Schlüssel vorhanden.Nicht auf Funktionsfähigkeit geprüft.Literatur:Vgl. Michael Edward Shapiro, Monsieur Galle, Bronzier et Doreur, in: The J. Paul Getty Museum Journal, Bd. 6/7, 1978/1979, S. 57-74.Vgl. Louna Zek, Bronzes d‘ameublement et meubles français achetés par Paul I-er pour le Château Saint Michel de Saint Petersbourg 1798/99, in: Bulletin de la Société de l'Histoire de l'Art Français, 1994.Vgl. Jean Dominique Augarde, Une nouvelle vision du bronze et des bronziers sous le Directoire et l‘Empire, in: L'Estampille - L'Objet 'art, Januar 2005, Nr. 298, S. 62-85. (1350596) (1) (10)Important empire style mantel clock of the highest quality with figural décor by Claude Galle (1759 – 1815)56 x 48.5 x 17.2 cm.Paris, ca. 1810.Functions:The clockwork with round brass plates, connected by four pillars. Lever work with pendulum on silk suspension. Fourteen-day striker. Blackened Breguet hands for hours and minutes. Count wheel striking mechanism for half-hour and hour strike on silver-plated bell.Case: Bronze; gilt and with brown patina; green marble. The design primarily emphasizes the sculptural, an artistically outstanding achievement as a classicist sculpture, while the clockwork is subordinate in the overall appearance. The emphasis on the two-colour effects of brown and gold give an appearance of dignified elegance. The design of the green-coloured stepped base in Vert-de-mer marble seems restrained but is connected to the figurative work by means of round gilt feet. The figurative design features a bacchanalian maenad reclining on a cushion on a black patinated recamier, richly decorated with gilt applications. She is only dressed in a cloth draped around her waist. She is stretching out with her raised arms holding a large bunch of grapes with leaves above her face. Her gaze is hooded, appearing almost intoxicated. A tambourine with a thyrsus between two wine jugs is positioned at the foot of the recamier by her feet. In accordance with this ancient subject, the applications on the front of the recamier also refer to the Bacchus theme: two panthers are feasting on grapes in a basket. They are the attribute animals of the wine god Bacchus, who, according to legend, was raised by a panther. Panpipes are shown on the sides, below the masks of the horned Pan appear on the goat feet of the recamier. The backrest is decorated with a rearing goat and a ram's head rhyton. The clockwork is inserted at the centre below the recamier.Dial:The white enamel dial shows Roman hours and Arabic quarter hours, “Le Roy” inscribed above number VI.The subject of the figurative design can be traced back to rich ancient legends that were handed down by the Roman poet Ovid. The prehistoric invention of wine production plays a major role here, such as the legends of Bacchus and Erigone, the daughter of Icarius. It recounts that Bacchus betrayed the secrets of wine production without mentioning the consequences of drunkenness, whereupon Icarius was killed. But even without this background, the motif of the drunken maenad in the entourage of Bacchus often gave inspiration to artistic expression. And this was also the case for figurative work in combination with clock cases. Clodion also designed a nymph of Bacchus on a couch in marble for a musical clock that came into the collection of Prince Napoleon in Brussels. A similar ma...

Tansanit-BrillantringRingweite: 54/55. Ringkopfmaß: ca. 2,2 x 2 cm. Gewicht: ca. 32 g. WG 750.Um 2000.Beigefügt ein Kurzgutachten von Stephan Kaddick Nr. 5059 vom August 2015.Prächtiger hochwertiger Ring besetzt mit einem zentralen Tansanit im Kissenschliff in sehr guter Farbe, ca. 14,5 ct, umrahmt von 116 feinen Brillanten, zus. ca. 3 ct F-G/VVS-VS. (1350331) (16)Tanzanite and diamond ringRing size: 54/55. Ring head size: ca. 2.2 x 2 cm. Weight: ca. 32 g. 18 ct white gold. Ca. 2000.Accompanied by a short report by Stephan Kaddick no. 5059 dated August 2015. Magnificent, exquisite ring set with a central cushion-cut tanzanite in very good colour, ca. 14.5 ct, with a surround of 116 fine brilliant-cut diamonds, totalling. ca. 3 ct F-G/VVS-VS.

J.P. Hully for P.E Gane of Bristol after Marcel Breuer (1902-1981)Near pair of 'Famulus' chairs, oak frames, label to the underside reads "RD 809095', tallest measures 81cm high overall (measuring to the top of the cushion) (2)Upholstery would require replacing. Is not fit for purpose, the frames however are sturdy and structurally sound. Some marks, scratches and scuffs. Consistent with age and use. Tiny splits in places to the underside, otherwise seems ok.

Two large 17th century crimson silk velvet and metallic needlework cushions, Italian, circa 1600 Each with a central medallion, one designed with Agnus Dei, the other a Holy Chalice, within a meandering floral border, the delicate flower design repeated to all edges, the ends with metallic lace overlay and knotted silk fringe, crimson silk back; 70cm wide excluding fringe, 51cm high, together with a single cushion, of olive-green velvet, centred by an armorial, with metallic fringe all round, 51cm wide, 51cm high excluding fringe, (3)

A rare Elizabeth I walnut and upholstered armchair, circa 1580 The rectangular back, squab-cushion and seat upholstered in crimson velvet, with crimson and gold silk knotted and tassel fringe, the rectangular back uprights with large ball finials, downswept scroll-over open arms on elegant inverted-baluster over reel-turned supports, on parallel-baluster over reel-turned front legs, joined all round with plain stretchers, 54.5cm wide, 113cm high, 60.5cm deep Provenance: John Fardon Collection. Provincial auction house sale, prior to the Christie's, London, Fardon collection series of dispersal sales

A documented and good James I oak panel-back open armchair, circa 1620 The rectangular back panel carved with a floral bouquet centred around a heart motif, below a top rail carved with paired leafy S-scrolls, and with an integral double-scroll and foliate-carved cresting, flanked by conical and ball-turned finials, the uprights chain-carved above the scroll-ended shaped arms, and with scroll and leaf-carved 'ears', the trapezoid-shaped seat with a highly rare deep, double-reed, cushion-moulded applied edge, on columnar-turned legs, joined all round by plain stretchers, 72.5cm wide, 121.5cm high, seat height 48.5cm Provenance: John Fardon Collection. Literature: This chair is illustrated Tobias Jellinek, ‘Early British Chairs and Seats 1500 to 1700’ (2009), p. 69, pl. 49

A William & Mary walnut oyster-veneered mirror, circa 1690  Having a cushion and moulded frame, replaced old plate, cresting typically lacking, 55.5cm wide, 64.5cm high Provenance: Aubrey & Brenda Burton private collection, Stow-on-the-Wold, Gloucestershire, purchased early 1980s

A large and fine Elizabeth I oak boarded desk box, with drawer, London/Home Counties, circa 1580-1600 The top and one-piece slope with chip-carved ends and geometric punched-decorated border, the front with paired strapwork-carved reserves, centred by an ornate iron lockplate, atop a cushion-moulded and guilloche-carved concealed frieze drawer, locked by an internal peg, the cushion-moulding extending to each side, the base boards projecting to a rounded edge, the interior with four original rear drawers, original lock and hinges, with key, 82.5cm wide, 51.5cm deep, 39cm high Literature: Illustrated 'BADA Millennium Exhibition - An Important Selection of Boxes and stools from the 15th to 18th Century' (2000), Beedham Antiques Ltd., item no. 9.

An important, documented, Elizabeth I oak and inlaid overmantle, Gloucestershire, circa 1580Designed in three-tiers, each with triple reserve, headed by three panels carved with scaly-dragons, atop a prominent Romayne-type male bust, with beard and flat cap, within a leafy-carved circular surround, flanked by an angel mask carved arch, on figural columns, enclosing Nonsuch-style inlay, representing towers and arcades above a pair of 'swans at the watergate', all spaced by male and female terms, the lower three panels carved with framed guilloche, gadrooned-carved cushion-moulded base rail, 170cm wide, 97cm high, 29cm deepProvenance: Prinknash Abbey, Gloucestershire. Removed 1953Installed by Mary Bellis, Charnham Close, Hungerford, Berkshire, in the principal guest bedroomAfter the Dissolution of the Monasteries Prinknash Abbey was rented from the crown by Sir Anthony Kingston and used as a hunting lodge. In 1544, Henry VIII granted the Abbey to Edmund Brydges (d.1573). In 1557 Edmund succeeded his father as Lord Chandos of Sudeley, and Sudeley Castle become the families' principal residence, however, Prinknash continued to be used by the family until c.1628. During a period of remodelling at Prinknash the overmantle was probably installed by either Giles Brydges, 3rd Baron Chandos (1548-1594) or William Brydges, the 4th Baron Chandos, (1552-1602)Literature: The central panel, well-carved with a Romayne-type male bust, is illustrated in Victor Chinnery, “Oak Furniture: the British Tradition’, p.427, fig. 4:28, where the author notes ’This picturesque little portrait may be of the original owner’, namely Baron ChandosSee Lot 131 for a quantity of Elizabethan panelling also from Prinknash Abbey

A RARE GEORGE V SILVER NOVELTY PIN-CUSHION by Edward Souter Barnsley, Birmingham 1914, in the form of a Shako. 5.2cm high, 7.1 troy ouncesThe maker's mark is rubbed. The other marks are clear. Some surface wear and a couple of tiny dints to the peak. In generally good condition commensurate with age.

A LATE VICTORIAN RED FABRIC CUSHION with beadwork bird and flower designs, 23cms square, an ebonized framed BEADWORK PANEL, 28 x 38cms, and a smaller PANEL, 14 x 27cms, in a gilt frame. (3). £20-£30.

A VICTORIAN BURR-WOOD NEEDLEWORK BOX, internal lift out tray with accessories to include a Victorian turned bone NEEDLECASE, a circular beaded PIN CUSHION and nacre handled TOOLS, 28 x 18cms and a Victorian Waltnut and tunbridgeware inlaid BOX, a.f. (2). £30-£50.

A PAIR OF BLUE VELVET BEADWORK WALL POCKETS, 6" high, a smaller ditto POCKET WATCH HOLDER, a red woolwork/beadwork WALL POCKET, another with cross motif & a small ditto PIN CUSHION. £30-£50.

THREE EARLY 20TH CENTURY BEADWORK EVENING BAGS with brass frames and clasps, two woven steel beaded MISER'S PURSES, five other beaded PURSES two beadwork LEATHER BELTS, a rectangular beadwork CUSHION, a beadwork & leather CARD CASE & a ditto NOTEBOOK, various conditions. £30-£50.

Sapphire and diamond cluster ring, the cushion shaped faceted sapphire is 7x7x4mm approx, bezel set within an old cut diamond surround, total diamond ct wgt 0.50ct approx, size L, with the orb platinum mark, London 1990

A REGENCY SIMULATED ROSEWOOD AND PARCEL GILT ARMCHAIRCIRCA 181584cm high, 54cm wide, 53cm deep, the caned seat 42cm highCondition Report: Chair with the marks, knocks, scratches and abrasions commensurate with age and use. Old chips, splits and some losses. The gilt and painted surface has been refreshed at some point. Surface has various chips, losses, flaking and wear - see images. Some isolated old worm holes in places. Caning has been replaced. Both panels are in generally good order with no breaks. The caning to the chair back has a neatly executed repair - see images. Loose cushion seat with the expected wear and some minor 'pulls' to fabric. Underlying timber is beech. Slight movement within one arm but chair is structurally solid overall. Old repair made to scroll element at one side of chair back. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A WILLIAM III WALNUT OYSTER VENEERED AND HOLLY INLAID ESCRITOIRE CIRCA 1700The cushion drawer above the fall enclosing drawers and recesses around a central door159cm high, 105.5cm wide, 51cm deep Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: some staining including to the top, some drawer linings, the underside and the back; cracks including to the fall, the sides and the interior door; some loose and replaced sections; there are two keys to operate the lock on the fall and the interior central door, all the locks are open; brass escutcheons are later with shadows and filled holes from previous fixings visible in some places; some later staining and painting to simulate wood; the internal key with a handwritten label '... secretaire desk H.W. KEIL BROADWAY'; there is also an ink written label to the carcase under the lower of three drawers behind the internal central door 'Property of Lt. Col. G. ?L. Sopbases, Charles Dickens cabinet, H.L.P.'; there is variable evidence of worm ranging from no visible holes, to visible holes and some disintergration of one corner area; some cracks to the drawer linings with some tape; the turned feet are probably later.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

A WALNUT AND MARQUETRY TABLE TOP CABINETIN WILLIAM AND MARY STYLE, INCORPORATING SOME PERIOD ELEMENTSThe top with a concealed marbled paper lined compartment and a cushion drawer, the fall enclosing marquetry drawers64cm high, 54cm wide, 36cm deepPlease note the description is not as originally stated in the catalogue, please see our website for the full amended description.Condition Report: Please note the description is not as originally stated in the catalogue, the catalogue description should read:A walnut and marquetry table top cabinet in William & Mary style, incorporating some period elements ConditionThere are losses, observations and restorations including: there is evidence of worm including to the cushion drawer front; the elements of various dates including some period elements; there are scratches, marks, knocks, cracks and abrasions; there is evidence of worm.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

A LARGE WILLIAM & MARY OLIVEWOOD OYSTER VENEERED MIRRORCIRCA 1690Incorporating cross grain mouldings93cm high, 73cm wideCondition Report: Old marks, scratches and abrasions, old chips and splits comensurate with age and use. Some small losses. Some old repairs. Some old worm damage as expected for age but relatively minor (see images).Retains very good rich colour and depth of patina overall . The moulding adjacent to the mirror plate being slightly more faded likely due to a cloth cleaning the mirror plate over time but not significantly. As most often seen for a cushion mirror of this date, the original surmount is now lacking (indicated by pair of 'cut out' elements to the reverse of the edge of the mirror frame. The cut outs also indicate that the mirror was intended to hang in 'portrait' format and not landscape.This mirror is of larger format than many of this model and date. The figuring/ placement of the oyster veneers is unusual and highly attractive. The mirror plate is a mercury plate of significant age and is hand bevelled. There seems a fair chance that it is original but we cannot guarantee this.The reverse of the frame is original and in sought after 'dry' condition. The rear panel to the mirror plate appears likely to be original also. Please refer to the additional images for visual reference to condition. Condition Report Disclaimer

Victorian diamond flowerhead brooch, the central old cushion cut diamond of approx. 0.5ct, bordered with diamond mounted stamen and mine cut diamond encrusted petals, total diamond weight estimated as 1.2cts, set in silver with gold pin back, 27mm diameter, gross weight approx. 8.7g

Victorian gold, seed pearl and black enamel mourning brooch, with locket back, 26mm x 21mm, weight approx. 7.2g; also an amethyst and silver cushion form brooch, 23mm (2)

Barcelona chair and stool, modern, originally designed by Mies Van Der Rohe, chrome finish, metal framed, with grey leather cushion upholstery, the chair width 75cm, height 75cm

Citrine dress ring, the stone untested, of cushion shape, 14mm x 12mm, on an unmarked yellow gold split shank ring, size I, gross weight approx. 4.5g

After Godfried Schalcken, a pet grey parrot, oil on cushion form copper panel, 20cm x 16.5cm

Antique diamond ring, the old cushion cut stone of approx. 1ct, estimated as J/K in colour and SI2 clarity, set within a rectangular beaded mount with leaf cut shoulders set with diamond chips, all in platinum, size K, gross weight approx. 3.2g

Edwardian silver pin cushion by Sampson Mordan & Co Ltd, Chester, marks rubbed, modelled as a chick emerging from it's egg, 2.5cm high

Edwardian silver pin cushion by Sampson Mordan & Co Ltd, Chester, marks rubbed, modelled as a chick emerging from it's egg, 4cm high

An Impressive 18 carat gold sapphire & diamond cluster ring, the head set with a cushion cut Shi Lanka Ceylon natural sapphire surrounded by twelve brilliant cut diamonds, the sapphire 11.4mm 7.3mm 4.6mm approx, total carat weight 3.60ct, colour medium strong violetish blue, species Natural Corundum, ring size N gross weight 6.59 grams with GCS certificate  From a Channel Island jeweller (Jersey)

Edward VII silver hatpin stand, Birmingham 1904, maker W.A, of crown form with blue velvet upholstered cushion, 8.5cm diameter, 6cm high

Edward VII silver pin cushion box, Chester 1903, maker Thomas Latham & Ernest Morton, the serpentine fronted box with hinged pin cushion lid and interior silk lined compartment, raised on four claw and ball feet, 17.5cm wide, 12cm deep, 

Hallmarked silver trinket box with pin cushion cover, Birmingham assay 1902-1903, L: 80 mm. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Hallmarked silver chick form pin cushion, H: 25 mm. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

A rock crystal quartz brooch,with a cushion cut rock crystal quartz, claw set to cut down collet, to chased floral frame, with pin and 'C' catch, tested as 15ct gold, 3.81g, together with a gold bar brooch, with central crescent and ivy motif, pin deficient, tested as approximately 9ct gold, 1.06g, and an oval gold cased locket, with woven hair glazed panel, to scroll border, engraved verso with floral and scroll decoration, 7.75gCondition ReportRock crystal brooch: pin bent. Some minor abrasion to the stone, in very good condition considering its age.Tarnish and discolouration to the crescent and ivy brooch.

A gold sapphire and split pearl bee brooch,with split pearl eyes, the abdomen claw set with rectangular cushion cut sapphire and split pearls on either side, the wings claw set with rectangular cushion cut sapphires, with split pearls on either side, to pin and roller catch. Brooch tested as approximately 18ct. Pin tested as approximately 9ct. 27mm x 20mm, 3.09gCondition ReportSurface reaching inclusions to two sapphires.Severe chips to the table and crown facets of the sapphires.One split pearl severely damaged.Scratches, pits and solder marks to the mount.Some claws are very worn.Sapphires: 5.20mm x 4.30mm, 4.20mm x 3.30mm, 4.50mm x 3.40mm.

A Regency three colour gold, sapphire, garnet, ruby and coral Giardinetti brooch,with yellow, rose and green gold textured and incised flower heads and leaves. A cushion cut sapphire, garnet and ruby set amongst cabochon coral birds, to a woven basket, with a pin and 'C' catch. Tested as approximately 18ct gold. 50 x 28mm, 7.79gCondition ReportA rivet/pin to the base of the basket.Wear to the central cabochons.Table and crown facet edge wear to the gemstones. Chip to sapphire.

A Georgian silver rock crystal quartz flower brooch,the centre flower head composed of a faceted quartz bead set to cut down collet, surrounded by a row of cushion cut quartz, bead set to silver collets, to a curved silver stem with bead set buds, to later 'C' catch and metal pin. Tested as approximately silver, 26mm x 28mmCondition ReportChips and abrasions at the facet junctions of the quartz.Some dents to the back.

A continental gold single stone cushion cut synthetic ruby ring,14.50 x 11.50 x 6.50mm, rub set to stepped shoulders and a plain shank, Marked 333. Tested as approximately 8ct gold, 4.01g. Finger size P, and a 9ct gold signet ring, the square head hand engraved with initials 'KRE', to tapering shoulders and plain shank. Hallmarked 9ct gold, Birmingham 1975, 2.48g. Finger size L, (2)Condition ReportSynthetic ruby ring: rub collet damaged to one corner. Various pits and marks. Poor soldering join. Shank misshapen.Signet ring: surface scratches and marks.

A three stone turquoise ring,three graduated round cabochon turquoise, rub set to plain collets with applied gold beads, to engraved scrolled shoulders and a plain shank. The ring head tested as approximately 18ct, gilt shank is a later replacement.1.18g,together with a single stone garnet ring,the mixed cut cushion shape garnet, claw set to a scalloped collet, to tapered grooved shoulders and a 'D' section shank, tested as approximately 14ct gold, 3.71g.Finger size J, RCondition ReportThe turquoise ring shank is a later replacement with a poor sizing join.Chips and abrasions to the garnet facet junctions and girdle.Surface marks and scratches to the mounts.

A gold cased citrine seal fob,with shield shape citrine intaglio, engraved with 'Heaven' and thistles, suspension loop deficient, tested as approximately 14ct gold,1.51gtogether with a gold cased cornelian seal fob,with cushion shape cornelian intaglio, engraved with possibly the initials 'I G' and a horse, to suspension loop and bail, tested as approximately 14ct gold,15.54g Condition ReportShield shape intaglio seal fob is damaged where the suspension loop should be.

An Edwardian silver and paste necklace,the centrepiece composed of a cushion cut green paste, claw set to cut down collet, with a surround of bead set old eight cut paste, grain set bows on each side, to a row of graduated paste above, and a swag of flower heads below, suspending floral clusters and a green paste drop. The centrepiece joined to a cable chain with a tube clasp. Tested as approximately silver. 14.58g. In 'Gibson Jewellers since 1820 HIGH ROAD, ILFORD' boxCondition ReportSome abrasions and minor chips to the facet junctions of the stones.Stones all present.Some tarnish to the collets.Clasp secure.Chain 460mm long.Pendant: 85mm x 37mm.

A Georgian five stone foil-backed garnet ring, one stone deficient, with a replacement shank. Ring head tested as approximately 15ct, shank tested as approximately 18ct, 1.96g,together with a Georgian foil-backed paste brooch,with a cushion cut foil-backed colourless paste, set to a silver pie crust edge, with green foil-backed paste surround, to gold back, tested as approximately 9ct, with metal pin and 'C' catch, 15 x 18mm, 3.32g, and a Georgian split pearl memorial brooch, with plaited hair glazed panel to the centre, to a grain set split pearl surround, with pin and 'C' catch, tested as approximately 9ct, 12mm x 17mm, 2.81gCondition ReportChips and abrasion to paste facet edges.Pin of paste brooch bent.Abrasion to the edges of the glazed panel.Blemishes and wear to the split pearls.Chips and abrasion to some garnets.Surface marks to the mount.

An antique diamond solitaire ring, the slightly oval cushion cut stone weighing approx. 0.25cts, band unmarked, gross wt. 3.5g, size M. Condition - evidence of re-sizing to band, also slightly thin, stone with surface reaching fracture and naturals to girdle, no inclusions visible with 10x loupe, slight yellowness visible

A vintage Ercol beech lounge chair, model number 427. Condition- frame is good and sturdy, some fading, webbing is stretched, original cushion wants replacing.

Boodles: A blue topaz and diamond ring The cushion-shaped blue topaz within a brilliant-cut diamond surround and shoulders, mounted in 18ct white gold, signed Boodles, numbered, maker's mark, UK hallmark, maker's caseDimensions:Ring size: I (sizing beads)

A diamond two-stone ring Of crossover design, set with two old cushion-shaped diamondsDimensions:Ring size: N/O

A pink tourmaline dress ring The cushion-shaped pink tourmaline collet-set in an 18ct gold closed back mount, to a tapered hoop, UK hallmarkDimensions:Ring size: P

An unmounted coloured diamond The cushion-shaped fancy deep green yellow diamond, weighing 0.68ctAccompanied by an IGI report stating that the cushion brilliant-cut diamond, weighing 0.68 carat, is natural fancy deep green yellow "olive" colour, Si2 clarity, with no fluorescence. Report no. F1Q50503, dated 9th July 2013.

Boodles: A pair of blue topaz and diamond earrings Each cushion-shaped blue topaz within a brilliant-cut diamond surround and surmount, mounted in 18ct white gold, hook fittings, signed Boodles, numbered, maker's mark, UK hallmark, maker's caseDimensions:Length: 2.1cm