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Two early 20th century bar brooches. To include an 18ct gold, platinum, diamond and pearl brooch on knife bar with clip c clasp. Total weight 3.3g. Measures approx 2 inches. Together with a 15ct gold zircon and pearl halo on bar with c clasp. Measure approx 2 1/4 inches. Total weight 3.7g.
A hallmarked 9ct white gold pink stone and diamond ring. The ring having a central heart cut pink stone surrounded by a halo of diamonds within a heart shaped mount. Completed by foliate style shoulders and tapering shank. Hallmarked Sheffield. Sponsor SG. Weight 1.7g. Size O.
An 18ct gold and diamond pendant necklace. The necklace strung with a pendant in the form of a berry being set with a cluster of bezel set brilliant cut diamonds. Strung upon a fancy link chain. French eagle mark to the bale. Weight 4.2g / Chain size 19" / pendant drop 2cms approx
An early 20th century 14ct White gold, Sapphire & Diamond Gruen Switzerland ladies cocktail watch set with diamonds and sapphires. The silvered dial with faceted hands with bevel inset with baguette sapphires and diamonds. The verso of case with monogram. Set to a snake link chain. Total weight 16.90g
An Edwardian opal, ruby and diamond butterfly pendant brooch. The butterfly body formed with a round and an oval opal cabochon. The wings set with opal and old cut diamond within open work design. The butterfly having ruby set eyes. The fastener being of a metamorphic type mechanism to allow the butterfly to be set to another piece of jewellery perhaps tiara of pendant. Unmarked tests indicate silver and gold. The brooch having a fitted case for Elkington and Co London and Sydney, likely to be of Australian origin. Measures approx 2 1/4 inches. Weight 20g.
A cased pearl and diamond necklace. The single string of graduated pearls united by white metal and diamond clasp completed with safety chain being marked 9ct. The case in soft leather material branded Hunt and Roskell Ltd / J Benson Ltd, 25 Old Bond Street. Pearls measure approx 2.3mm to 6.3mm. Necklace measures approx 17 inches. Weight 7.8g.
An antique Glad and diamond heart pendant. The pendant in the form of a heart encrusted with rose and round old cut diamonds with a principle central pear cut diamond. The pendant surmounted by diamond set fleur de lys bale. Unmarked tests gold. Weight 8.7g. Measures 3.25 cms.
A French 18ct gold, emerald and diamond brooch pin. The brooch set with a central emerald surrounded by rose and old cut diamonds having four accent emeralds completed with bar and pin verso. French eagle mark to pin. Principal emerald 6mm x 7.2mm. Total weight 15.5g / Measures 3.25cms
A 14ct gold ruby and diamond cluster ring. The ring set with a cushion cut burmese ruby surrounded by old cut diamonds estimated diamond weight 0.90cts. Ruby measures approx 5.8mm x 5.8mm. 2.4mm depth. Pierced gallery with stylised shoulders and ribbed shank. Weight 2.3g / Size L.5
An 18ct gold ruby diamond and sapphire ring. The ring set with a central sapphire flanked by two rubies and surrounded by a halo of old cut diamonds having diamond accent shoulders. The ring completed with a split shank. Un marked ring tests 18ct gold. Weight 4.3g. Size N.5.
ANCIENT CELTIC SHIELD WESTERN EUROPE, 5TH CENTURY B.C. hammered sheet bronze, of circular form with an outer border of small raised dots, moving inwards a series of concentric ridges to a central dome and large bronze rivet projecting from the centre, pierced with multiple perforations, raised on a bespoke mount (Dimensions: 40.6cm diameter) Provenance: Private collection, Swizerland, acquired prior to 1990 Bonhams, New Bond Street, London. Antiquities, 1st May 2013, Lot 240 Private collection, United Kingdom Note: This shield is the work of a master metalsmith active at some point in the 5 th century B.C. producing arms and armour for the elite of society. Of circular form and produced from a single sheet of bronze; the design features a series of concentric bands rising into a domed boss at the centre decorated with a repoussé border of small dots. Its design suggests an origin in Ireland or perhaps the British Isles, indeed a similar example can be found in the National Museum of Ireland, Dublin, no. IA:1872.15. As an actual defensive weapon, it is wholly impractical for use in battle. A sword or spear would comfortably punch through the sheet bronze and research shows that whilst the vast majority of shields found dating to this period are constructed from metal, actual shields used in combat would have most commonly been formed of bark or hide. Instead, this piece was created as a work of art, to be worn and displayed on particular occasions, festivals and religious events. In a society where worked metal remained a highly valuable commodity, the shining polished bronze would have dazzled and impressed. The individual who owned this shield would have been of chiefly rank, their status demonstrated by their ability to commission and own prized objects such as this. The most important aspect of this shield though is not its original design, but the series of diamond shaped perforations which are visibly present across the entire body. These are spear marks - but as previously mentioned this was not an object to be used in combat. In order to understand what is going on here we must look into ritual practices that there were written about in contemporary Roman sources and have been attested by modern archaeologists. The ancient Celts were a polytheistic society, their deities, much like those of the Mediterranean, required constant appeasement through sacrifice and gift giving. This gifts provided to the gods needed to be items of the highest value possible to society, so metalwork; with its rarity, beauty and complex production was often selected. A number of studies have demonstrated that the deposition of artefacts in sites linked to water; rivers, lakes and springs - was a particularly widespread custom amongst the Celts in the Bronze and Iron Ages. In fact, we continue this practice today when we throw coins into wells to make a wish. In short, water was seen as a threshold or gateway to the divine world where the gifts could be received and prayers answered. However, before the object could be given, first it had to be broken or “killed”. Swords would be bent, razors or shears blunted and shields pierced. To explain this practice, one theory contents that the gift could not be given until the “power” of the object was broken and its spirit removed. A more modern parallel would be the Polynesian concept of mana , the life force that permeates not only people, but objects. Any article worn or owned by an individual can become imbued with mana through their accomplishments and personality. In this context, ancient Celtic shields such as the present example such would have been seen as personal to such an intense extent that it is hard to comprehend. They were not simply the property of an individual, they were an indivisible part of them. As such, this remarkable shield is a window into both ancient Celtic craftsmanship and ritual practice more than 2,500 years ago.

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745246 item(s)/page