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Click here to subscribeA 18ct gold flawless and colourless diamond dress ring. Presented in a hallmarked silver ring box. A central brilliant cut natural diamond 0.90 carat, colour D and clarity internally flawless. With a 0.14 carat baguette diamond set to each shoulder both colour D and internally flawless. Complete with Diamond certificate and insurance valuation. Ring size K
An Armand Marseille bisque head doll with brown wig, fur eyebrows, brown sleeping eyes and open mouth, marked DRGM 377439 (fisheye), shoulder plate marked 370.DRGM 374831 A.M.-6-DEP Made in Germany, on a kid body, wearing a brown felt hat, blue striped dress, velvet coat and black knitted stockings, 65cm
A 19th century watercolour painting of a period Bristol street scene depicting cobbled streets and builidings including the Pub the Shakespeare dated 1615 with 2 ladies in period dress. Signed to the corner H. Marks. Further pencil notation for Harry Markes. Unframed, in gold mount. Measures 17cms high x 12cms wide. Including mount measures 30.5 cm high and 24 cm wide.
Follower of Marcus Gheeraerts the Younger (Flemish, 1561-1636) Portrait of a lady, three quarter length standing, in a black and gold dress, holding multiple ropes of gold chain, a pearl belt, little gem set decorative ring and an enamel mourning locket oil on oak panel 130 x 84cm (51 x 33in) Provenance: From a Suffolk country house Oil on panel. The panel is formed from three wide boards in vertical alignment, the wood grain would suggest English oak has been used. The panel joins have been mended at various times in the past, the warp of the boards is uneven and will need some attention. There are also splits in the boards. There are numerous holes at the upper edge of the panel, from the reverse. The paint layers are very thinly applied and have suffered from wear and abrasion. There are some raised lines of paint following the vertical grain of the panel and blistering with paint loss in the lower half of the portrait. There are probably more than one campaign of restoration to the paint layer which has suffered loss in the past. Areas of the gold chain have been reconstructed and the background paint is very worn. There are a few chips and losses to the frame.
French School, 17th Century Portrait of an unknown lady, head and shoulders, in a dress of blue, grey and gold, wearing pearls oil on canvas 59 x 49cm (23 x 19in) Provenance: From the Countess of Craven's Collection (old label refers); (Possibly) William, Earls of Craven; William, Baron Craven, cousin to the Earl of Craven and by descent at Combe Abbey to Cornelia, Countess of Craven; sold by her executors, Sotheby's, 27 November 1968; Arthur F Hill; The Old House, Great Chesterford, Essex, and by descent Literature: Catalogue of the Pictures at Combe Abbey, Warwickshire: Sotheby & Co., London,1968, Craven Portraits and Sporting Pictures (sale catalogue) Other Notes: An old book plate to the reverse reads: Arthur F Hill, FSA (1860-1939) "Alive I was a silent thing, but dead divinest themes I sing !". Arthur Frederick Hill was an instrument builder by 1905 and he was a collector of musical books. Lined and cleaned. There is an area of rub along the top edge. Oil on canvas which has been lined. There are a few raised areas of paint. In the flesh and dress is some pitting to the paint surface giving a slightly spotty appearance. There are localised retouchings. The varnish is matte but even. There is some loss to the decorative surface of the frame. The frame is inscribed "Mrs Pemberton" but this would appear to be erroneous and the frame has probbaly been changed at some point.
Alma K Soutter after Hans Holbein Portrait of Christina of Denmark, Duchess of Milan, in mourning oil on canvas 180 x 82cm (70 x 32in) Provenance: The Walden School, Saffron Walden, Essex Other Notes: The present painting is after the original in the National Gallery, London, acquired in 1911, when sold by the Duke of Norfolk. This is a life size copy. Christina of Denmark (1521 – 1590) was a Danish princess, the younger surviving daughter of King Christian II of Denmark and Norway and Isabella of Austria. She was described as a great beauty, intelligent and lively, and enjoyed hunting and riding. On 23 September 1533 in Brussels, Christina was married by proxy to Francesco II Sforza, Duke of Milan - he died in 1535 and she was left a widow at the age of thirteen. The German painter Hans Holbein was commissioned to paint portraits of noblewomen eligible to become the English Queen. On 10 March 1538, Holbein arrived in Brussels with the diplomat Philip Hoby to meet Christina. Hoby arranged with Benedict, the Master of Christina's household, for a sitting the next day. Christina sat for the portrait for three hours wearing mourning dress. Christina, then only sixteen years old, made no secret of her opposition to marrying the English King after Catherine of Aragon and Anne Boleyn. Under glass whcih is quite dirty. Some craquelure. Christine of Denmark after Holbein by A Soutter Oil on canvas which appears to be unlined. The canvas is slack on the stretcher and has undulations and a corner draws. The paint layer has developed extensive drying cracks which would have formed as the paint layer dried. In some areas the lighter ground layers are visible below. The varnish layer is yellowed and slightly uneven. There are several chips and losses to the wooden frame and the glazing is very dirty both inside and out.
English School Portrait of Queen Mary I (1516-1558) in a painted oval oil on canvas 62 x 53cm (24 x 21in) Provenance: The Old House, Great Chesterford, Essex, and by descent Other Notes: The present painting is based on an original by Antonio Mor in the Prado, Madrid. The Queen wears a jewel given to her by Philip of Spain in the year of their marriage. The painting is executed in oil on a wooden panel support. The original panel was made from three boards in vertical alignment. The original dimensions of the panel have been changed with additional strips of wood added to the top, bottom and left hand sides. It is unclear how early these additions are but the oval and lettering would have been painted after these additions. A wooden cradle has been added to the reverse of the panel probably in the 19th century to keep the panel flat. The paint layer is generally stable and secure. Movement along the panel joins has created raised areas of paint. There are small dents to the paint in the lower right corner. The painting has an old varnish, on top of which are numerous retouchings - along the panel joins and also reinforcing the pattern on the black dress. It is unclear what the extent of earlier retouchings are which may lie below the varnish. The surface finish is clear and semi-matte. There are a few chips and losses to the gilding of the frame
Attributed to Sir Peter Lely (Soest 1618 - 1680 London) Portrait of Susanna, daughter of Sir Thomas Fowle and wife of Jonathan Cope Esq., in a blue and cream dress, three-quarter length, seated, in front of a sculpture of cherubs and a draped curtain oil on canvas, inscribed lower right, 125 x 98cm (49 x 38in) Provenance: From an Oxfordshire country houseCondition: Oil on canvas which has been lined. There appears to be an addition to the canvas at the upper edge. The paint layer is slightly cupped in areas with some raised edges to the age cracks, but overall it is stable and secure. There are a few scattered, old fills with a slightly uneven texture. Retouchings are localised and reasonably well matched to the original. The varnish is clear and semi-matte. There is some wear and loss to the gilding of the frame.
Circle of Henry Pickering (British, 1720-1771) Portrait of Lady Jackson, nee Mary Anne Ward (1725-1754), bust length, in a brown and pale blue silk dress, pearl necklace and black feathered hat oil on canvas in a gilt composition frame with gadrooned edge 62 x 54cm (24 x 21in) Provenance: By descent within the family of the sitter from a Norfolk country house Other Notes: Mary Anne Ward of Gisborough, North Yorkshire, was the first wife of Sir George Jackson, the Secretary of the Admiralty in the late 18th Century and a main patron of Captain Cook. They had three daughters. The youngest, Elizabeth Jackson, was baptised at St Olave, Hart Street, London on 3rd May 1754. She married Thomas Berney of Norfolk at St Margaret's Westminster on 3rd May 1774. Oil on canvas which has been lined. The paint layer has some drying defects such as drying cracks in the sleeves of the dress and uneven texture on the sitter's chest. There is a raised area of old fill in the upper left corner. The painting has localised passages of retouching which are acceptable. The varnish is very matte and not adequately saturating the paint layer. The gilding on the frame is slightly worn.
English School, 1811 Portrait of Thoroton Pocklington (1755-1813), head and shoulders, in yellow waistcoat, buff jacket and white stock, and his wife, Ann, in mob cap, gold shawl and striped dress oil on canvas (2) 75 x 62cm (29 x 24in) Other Notes: Thoroton Pocklington wore irons on his legs as a child and grew tall - he studied Theology at college but due to the weakness in his legs he could not stand for long, so he took to the healthier life of farming and mobility on horseback. The Pocklingtons were a Nottinghamshire family, going back to 1150, with two ancestors High Sheriffs of Nottingham. Thoroton Pocklington married Annie Greaves, daughter of a wealthy Lincoln man who drove a state coach with footmen in the rear. They had six sons and six daughters and owned farms at Pudstone, Gibsmere and Hoskerton in Nottinghamshire. Thoroton Pocklington's portrait is lined. Mrs Pocklington is unlined. Canvas maker's stamp to the reverse. Portrait of Anne Pocklington Oil on canvas which is unlined. The canvas tension is slack with undulations and the stretcher behind is visible in the paint layer. There are localised areas of raised paint which has resulted in flaking and loss and is unstable. Old losses have been addressed in the past and there are areas of overpaint, mainly located in the background. The varnish is glossy. The frame is in a good condition. AX837 2Mr Pocklington Oil on canvas which appears to have been lined onto a fine weave canvas support. The paint layer has developed drying cracks as it has cured, visible around the head of the sitter in the background. Overall the paint layer is stable and secure. There are a few small losses, scuffs and scratches located in the lower right corner. The varnish is glossy and uneven leaving tidelines - for example in the sitter's forehead. The frame is in a good condition.
English Provincial School, 19th Century Portrait of a child standing full length in a red dress with a pet spaniel, holding a whip and a hat, standing beside an arch, with a sweeping landscape beyond oil on canvas, in a maple frame 59 x 49cm (23 x 19in) Oil on canvas which is unlined. There are minor undulations to the canvas. The paint layer is stable. Some of the cracks appear as dark lines, it is possible this is old, discoloured retouchings. The varnish layer is acceptable. The frame is in good condition.
English School, 18th Century A portrait miniature of a lady, oval, 4 cm (1.5in), in a gilt frame; together with a Regency portrait of a young lady in a white dress and a blue shawl with plaited hair, rectangular, 9 x 7 cm (2 x 3in), in a silver frame, and another 18th Century miniature portrait of a lady in a green dress with roses and feathers in her hair, 4 cm (1.5in) (3) watercolour on ivory (3)
An Edwardian Suffragette gemset necklace in original fitted case, the figaro link back chain holding a polygonal cut peridot with scrolling mount set at intervals with seed pearls, and from which hang two chains to the principal pendant with an octagonal cut amethyst in similar collet and seed pearl mount with broader scrolling arms and seed pearl set leaves or flowers beneath, suspending in turn a freshwater pearl termination; yellow precious metal stamped '15ct' on both pendant and chain; length of necklace as worn 44cm, and of suspension 6.2cm; principal pendant with brooch pin also; in period fitted oval case The WSPU (Women's Social and Political Union) and associated Suffragettes took care to dress as smartly as possible, giving a neat and feminine impression to counteract the strident masculine image their opponents wished to portray. In an early example of brand imaging, Emmeline Pethick-Lawrence, co-editor of 'Votes for Women', suggested a colour code in 1908 whereby they could show their allegiance with flags, banners and rosettes, or by wearing clothes, tri-coloured ribbons (sold in Selfridge's and Liberty's amongst other top retailers) or jewellery in their carefully chosen colours - indeed Mappin & Webb even produced a catalogue for Christmas 1908 specifically of Suffragette Jewellery. The chosen colours were purple (for dignity), white (for purity) and green (for the fresh shoots of hope). However, the colours of green, white and violet were also rumoured to have been chosen as their initials - G.W.V. - may also have referred to the expression 'Give Women the Vote'.
A prasiolite and diamond dress ring, the rectangular cushion cut prasiolite (a variety of quartz in a pale mint or eau-de-nil colour) four claw set in a border of small round brilliant cut diamonds to a part pierced heart gallery and solid tapered shoulders and plain band, size M, white metal with hallmarks for 18ct gold, length of ring head 2.1cm
A 19th century miniature portrait of a soldier mounted in a scrolling and diamond set brooch, the finely painted miniature of a blue-eyed young man with short brown hair and long side burns, in scarlet dress uniform with gold embroidered collar and fringed epaulettes, and a white sash over the double row of gold buttons, possibly from one of the Prince of Wales's regiments, c.1850; the portrait collet set in a wide scrolling and undulating frame with engraved textured field and polished ribbon edges gypsy set at intervals with old cushion cut diamonds, yellow metal tests as 18ct gold; length of miniature 2.8cm, width of brooch 5.4cm, total estimated weight of diamonds approximately 1.0ct Provenance: Ennismore Gardens, Knightsbridge, London SW7
A gentleman's dress watch, the square champagne dial marked 'Omega De Ville automatic' with black batons and hands and sweep second hand with day and date windows at three o'clock, movement numbered 35527491 1022, case numbered 1011 8384 and marked 18K 0.750 for 18ct, weight of case and crystal 73.4g, no box or documents
A Quantity of First and Second World War Militaria, including a Naval Officer's blue working dress blouse, a leather sword frog, a leather pistol holster, two pairs of binoculars in leather cases, pair of spats, a kukri, a bayonet, two wood truncheons, leather luggage straps, leather collar box, contained in a small japanned tin and two trunks named to Cator, Robson and Rambaut
A Late Victorian/Edwardian Large Black Japanned Helmet Tin, with original owner's brass label engraved R.F.Dill, Indian Army, the fascia stencilled in white NOTTINGHAM, ENGLAND; a Similar Black Japanned Tin, for epaulettes, with brass label engraved with a crest over Wm. Ord Esqre.1st or South Durham Militia, Sunderland; three Similar Black Japanned Tins, for dress belt and plumes (5)
A Second World War Staff Officer's No. 2 Service Dress Cap, the detachable scarlet band with bullion thread embroidered badge, together with four scarlet gorget patches, four shoulder straps with rank pips to a Brigadier, a leather sword frog, three ties, a white metal cap badge to the 26th Punjabs, various white metal buttons, rank pips, three Rawalpindi District sports medallions etc
The Border Regiment:- an Officer's No.2 Service Dress Tunic, to a Captain, with bronze collar badges, brass buttons and rank pips, with a shirt and a leather Sam Browne, circa Second World War; a Post-Second World War No.1 Blues Jacket, to a Captain, with brass buttons and white metal collar badges; a Mess Dress Jacket to a Second Lieutenant, in scarlet wool with yellow facings, green waistcoat and Torin cap (7)
A 1960s Border Regiment No.2 Dress Uniform, to a Colour Sergeant, comprising tunic with staybrite collar badges and buttons, cloth rank and regimental insignia, scarlet webbing sash and buff belt, with a shirt, tie, later pair of trousers and peaked cap; a Royal Marines No.1 Blues Jacket, to a Sergeant with Stores Accountant trade badge, staybrite badges and buttons and buff belt; ten Pairs of No.1 Blues Trousers and Breeches, various sizes (qty)
A Second World War No.2 Dress Tunic to a Lieutenant, King's Own Royal Regiment, with bronze Royal Engineers collar badges and rank pips, brass buttons, medal ribbon bar and a peaked cap with RE badge; a No.2 Dress Uniform to a Captain, the Queen's Lancashire Regiment, comprising tunic with gilt metal and enamel collar badges, staybrite rank pips and buttons, crimson lanyard, Sam Browne, pair of trousers and braces (3)
A Late Victorian/Edwardian OR's Dress Uniform to a Trumpeter of the 17th Lancers, composite and comprising a lancer cap with black leather skull, cream cloth sides and leather top, gilt metal helmet plate with six battle honours up to South Africa 1879, white horsehair plume, brass chin scales and yellow cord cap line; a blue wool double breasted tunic with cream plastron and facings, the inner facing with stencilled numbers and 17L, with brass buttons, the right sleeve with skill at arms badge over corporal's chevron, the left cuff with signaller's badge and best swordsman's badge with a later stable belt and two pairs of trousers with two yellow side stripes, together with a brass trumpet
A Rare Edwardian OR's Blue Wool Dress Tunic to the 21st (Empress of India's) Lancers, double breasted with pale blue plastron and facings, the cream wool lining stencilled 21 L/37 06/7 01, the shoulder straps embroidered with the regimental badge, with brass collar dogs and buttons, the left sleeve with lance corporal's rank chevrons, on a walnut mannequin
A Victorian OR's Scarlet Dress Tunic to the King's Dragoon Guards, with black facings, yellow cord trim, white collar dogs, brass buttons and shoulder titles, gold lace sergeant's chevrons, Rough Rider's spurs and Musketry Instructor's insignia, with buff waistbelt, crossbelt and pouch, on a wood and metal table top mannequin
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