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Lot 2452
An 18ct yellow gold amethyst and diamond cluster ring, with central emerald cut amethyst within a frame of ten round brilliant cut and four baguette cut diamonds, total diamond weight approx 1.30ct, size R1/2, approx 8.5g.Additional InformationDiamonds previously assessed as colour H and VS clarity, very light abrasions to the amethyst but overall presented in good condition.
Lot 2617
A contemporary 14ct yellow gold diamond and emerald ring of swept design set with five marquise cut diamonds and six marquise cut emeralds, size O 1/2, approx 3.9g.Additional InformationLight surface wear but overall in good condition. The diamonds are facing up nicely white and are well matched.
Lot 2630
An 18ct yellow and white gold diamond set pendant, the principal emerald cut diamond weighing approx 2.50ct, collet set beneath two further baguette cut diamonds, totalling approx 0.45ct, suspended on an 18ct chain, length of chain 47cm, combined approx 12g.The principle stone length 8.3mm, width 6.5mm, depth 4.3mm.Additional InformationThe principal diamond has previously been assessed as colour G and VS clarity, overall in good condition.
Lot 2638
A pair of white metal amethyst and diamond ear studs, each with central emerald amethyst within a frame of twelve round brilliant cut diamonds, combined approx 6.3g.Additional InformationAmethyst combined weighed 1.74ct, the diamonds approx 1.20ct and previously graded as colour H and VS clarity, some very light abrasions to the amethyst but both presented well.
Lot 202
FRANK USHER; a vintage original 1970s emerald green long sleeved full length maxi dress with turtle neck, size 38, and John J Hilton ‘It’s a honey, it’s a Hilton’ black and white 1970s polyester chiffon short waist belted dress with black leaf pattern, size 16 (2). Additional InformationThe green dress is in good vintage condition with original hooks and eyes and good working zip, and the white belted dress is in good condition with just a small stain to the front which would be dry cleanable.
Lot 158
A Qajar seed pearl and gem-set enamelled gold necklace Persia, 19th Centurythe pendant of tear drop form with a central flowerhead and turquoise bead surrounded by floral motifs, decorated in polychrome enamel, on a multi strand seed pearl necklace with emerald beads 28.5 cm. long; 51 g.Footnotes:Amongst the decorative arts of Qajar Persia, artisans excelled in the craft of enamelling. The two main techniques employed were champleve, where the design is engraved or gouged into metal, the area filled with enamel powder until level with the surface, and then heated until the powder fuses to the metal; and enamel painting, where the metal is covered in an opaque colour and the designs are painted on as a glaze, and fired in a kiln.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Lot 174
A gem-set walrus ivory-hilted steel sword (shamshir) Persia and India, 17th/ 18th Centurythe single-edged watered-steel blade of curved form and bearing a Jacob's ladder pattern, decorated in gold inlay to one side with an inscription-filed cartouche and magic square, the cross-guard and pommel of steel chiselled with floral and foliate interlace; the walrus ivory grips set in gold, turquoise, ruby and emerald with floral interlace, the lower grip with coiled gold foil, hinged turquoise-set gold element to pommel; the wood scabbard clad in green velvet with brass suspension loops, the silver chape engraved with floral and geometric motifs 93.5 cm. longFootnotes:ProvenanceAcquired from the Mark Dineley Collection in April, 1998. Inscriptions: 'The work of [A]kbar bin Mulla Sadiq Isfahani'; in the square, letters 'B/D/U/H', (Biduh).Biduh is a talismanic word recorded as the name of a jinn or an angel capable of magic, used for protective purposes either in its full form or broken up into letters and placed in a square. A sword from the Jacques Desenfans collection by the same maker and bearing the same inscriptions was sold in these rooms (The Jacques Desenfans Collection, 10 April 2008, lot 208). For a similar blade bearing the father's maker's mark and the magic square in the Furusiyya Art Foundation Collection, see Bashir Mohamed, The Arts of the Muslim Knight, Italy, 2007, no. 52.The finely watered steel blade exhibits the sought-after Kirk Narduban or Jacob's ladder pattern characterised by transversely oriented distortions of the pattern called 'steps'. Carrying such a sword would be of particular significance to a Muslim warrior who would see the ladder as a symbolic vehicle for entry into paradise should he fall in battle. For a further discussion on the pattern see Leo S. Figiel, On Damascus Steel, Atlantis, 1991, pp. 70-71.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 212
A gem-set enamelled gold and emerald bead necklace India, 19th and 20th Centurycomprising nine gold elements in the form of flowers set with tourmalines and diamonds, decorated to the reverse with polychrome enamel, surmounted by ruby beads, the bottom edge with pendent cultured pearls and ruby beads, each element interspersed by emerald beads 15 cm. long; 90 g.For further information on this lot please visit Bonhams.com
Lot 213
An emerald and diamond-set gold pendant from the collection of Maharani Jindan Kaur (1817-63), wife of Maharajah Ranjit Singh (1780-1839) Punjab, probably Lahore, first half of the 19th Centuryof gold set with an emerald and rubies, of openwork form, consisting of a large central foliate motif set with an emerald surrounded by a band of small trefoils set with rubies, and a band of floral motifs set with rubies, ruby-set suspension loop to top fitted with two gold rings, further suspension loop to bottom flower, in fitted cloth covered case, the inside of the lid inscribed From the Collection of the Court of Lahore formed by HH The Maharajah Runjeet Singh & lastly worn by Her Highness The Late Maharanee Jeudan Kower 6.2 cm. max. (excluding upper two rings); 42.6 g.Footnotes:ProvenanceCollection of Maharani Jindan Kaur (1817-63), wife of Maharajah Ranjit Singh (1780-1839).Almost certainly sold by Frazer and Hawes from Garrards of Regent Street, London.Four pieces of jewellery from the Maharani in similar fitted cases have been sold at auction: Bonhams, Islamic and Indian Art, 30 March 2021, lot 123; Bonhams, Sikh Treasures and Arts of the Punjab, 23rd October 2018, lot200; Bonhams, Islamic and Indian Art, 24th April 2018, lot 300; and Christie's, Magnificent Mughal Jewels, London, 6th October 1999, lot 178.Between 1849 and 1850, when the British took control of the court in Lahore, they entered the Treasury, where they found the court jewels wrapped in cloth. The Treasury was fabled to be the greatest and largest treasure ever found. The most famous and well-known jewels were taken away as gifts for Queen Victoria, including the Koh-i Noor and the Timur Ruby. Confiscated treasures were sold by Messrs Lattie Bros. of Hay-on-Wye in the Diwan-i-Am of the Lahore Fort. The items were listed in seven printed catalogues and the sales took place over five successive days, the last one starting on 2nd December 1850. It is also known that some of the jewels were boxed in Bombay by Frazer and Hawes and were sent to London, where they were sold by Garrards. Judging by the age of the case, this would have been done after the Maharani's death.Maharani Jindan KaurMaharani Jindan Kaur was born in 1817 in Chahar, Sialkhot, Punjab. Of humble origins, she grew into a young lady of exquisite beauty and came to the attention of Maharajah Ranjit Singh at a young age. In 1835, she became Ranjit Singh's seventeenth wife and in 1838 bore him a son, Duleep. Duleep was his last child and just ten months later Ranjit Singh died. Jindan was the Maharajah's only surviving widow, rejecting the practice of 'Sati' or throwing herself on the funeral pyre with his other wives, choosing to bring up her young son instead.Ranjit Singh's empire stretched from the Indian Ocean to the Himalayas, with its southern boundary bordering British India. His court was fabled for its patronage of the arts and sciences, and for its riches. Immediately after his death, Ranjit Singh's golden empire began to crumble. His eldest son, Kharak Singh, took the throne but was murdered two years later; the reign of Sher Singh was similarly short-lived and he was assassinated in 1843 upon which the five year old Duleep was proclaimed Maharajah with his mother as Regent. As Jindan came to power, she was swiftly confronted by the British army in the hope of conquering one of the last independent states of Northern India.As Regent, Jindan became a thorn in the side of the East India Company: she waged two unsuccessful wars against the British, the First and Second Anglo-Sikh Wars of 1846-49, which brought about the annexation of the Punjab. In 1846 she was deposed and in February 1847 the British took possession of Lahore. The British continued to see her as a major threat and thus in August 1847, to halt her influence on the young king, Duleep was sent away from the palace and Jindan was incarcerated. In 1849 she escaped from captivity and fled to the Himalayas, where she found troubled sanctuary in Kathmandu, Nepal. Under pressure from the British officials at Kathmandu, the Nepalese imposed humiliating restrictions upon her; meanwhile, the British press began a campaign to blacken her name, calling her the 'Messalina of the Punjab'. Like Messalina, the wife of the Roman Emperor Claudius, Jindan was portrayed as a licentious seductress, who was powerful and influential and too rebellious to control. The young Maharajah, Duleep, was moved to Fategarh eventually to Britain in 1854, where he was adopted as a godson by Queen Victoria. He converted to Christianity and was brought up as a young English gentleman. In 1860, Duleep sought information about his mother and a report came back that: 'The Rani had much changed, was blind and lost much of her energy'. The Governor General agreed to a meeting based on this report of the Rani's condition, thinking that the last queen of the Punjab no longer posed a threat. When they met in 1861 Duleep found her almost blind and suffering from poor health. It was agreed that the Rani would travel to England: her private property and jewels, previously taken by the British authorities, would be restored to her on the basis that she left India. Upon their return to London, a change was noted in the Maharajah and he was heard to talk about his private property in the Punjab; information that only Jindan could have given to him. During this time, she reawakened her son's faith and royal heritage, sowing the seeds of discontent in his mind which would bring about his fall from grace in later life.On the 1st August 1863, Jindan died in her Kensington home in the country of her sworn enemy, just two and a half years after being reunited with her son and leaving him inconsolable.As a Sikh queen, cremation was the traditional practice, but one that was not allowed under English law. The Maharani's body was moved to the Dissenters Chapel at Kensal Green Cemetery until such time that it could be taken to India for the last rites. Her body remained at Kensal Green for nearly a year. At the time, Charles Dickens wrote: 'Down here... rests the Indian dancing woman whose strong will and bitter enmity towards England caused Lord Dalhousie to say of her, when in exile, that she was the only person our Government near feared'.In 1864, permission was granted to take the body to India and she was cremated at Bombay. In 1924, her ashes were later moved to Lahore and deposited at the samadh of Ranjit Singh.For further information on this lot please visit Bonhams.com
Lot 186
A Moorcroft pottery ‘Emerald Isle’ pattern vase, of flared form, dated 2007, impressed and painted marks, 21cm high together with a Moorcroft potter ‘Violets’ pattern vase, date cypher for 1991, impressed and painted marks, 21cm high (2)Condition report: Emerald Isle Minor wear, little evidence of crazing. Violets) Crazing throughout.
Lot 44
Collection of silver proof coins with COAs inc 2012 Elizabeth Tower 2oz 'Numisproof', HRH Prince George of Cambridge silver commemorative with ruby stone and HRH Princess Charlotte with emerald stone, Coronation Jubilee Jersey 2013 £5 and 2012 The Queen's Diamond Jubilee £5 Gold Plated silver proof (5).
Lot 20
AN 18CT GOLD MID TO LATE TWENTEITH CENTURY EMERALD AND DIAMOND CLUSTER RING, centring on an oval emerald measuring approximately 6.0mm x 4.0mm enclosed within a surround of brilliant and trap cut diamonds, estimated total diamond weight 0.65ct, average colour assessed as F-G, clarity assessed as SI1-SI2, ring size K, hallmarked 18ct gold Birmingham 1978, approximate gross weight 3.5 grams (condition report: this ring is in fair to good condition, the emerald has a little table wear to the facet edges)
Lot 27
A LATE TWENTIETH CENTURY DIAMOND AND EMERALD CLUSTER RING, a rectangular cluster centring on an emerald cut emerald measuring approximately 8.9mm x 6.3mm x 4.2mm enclosed within a modern round brilliant cut diamond border, each diamond measuring approximately 3.3mm, estimated total diamond weight 1.80ct, colour assessed as G-H, clarity assessed as VS1 - VS2, ring size M 1/2, hallmarked 18ct gold, Birmingham 1976, gross weight approximately 5.96 grams (condition report: AF this emerald is chipped to the corner and the supporting rails to the under bezel are broken)
Lot 7
A PAIR OF LATE VICTORIAN GOLD GEM DROP EARRINGS, each of an elongated diamond shape outline, set with a central vertical line of three rectangular and square cut green gems, assessed as emerald, interspaced by two split pearls, suspended from a triangular panel set with a square cut green gem, assessed as emerald, to the hook ear fitting, all with applied fine rope twist detail, length 52mm, approximate gross weight 3.6 grams (condition report: overall good to fair condition, light to moderate general wear in keeping with age of piece, two emeralds have a chip to them, you can see deterioration to the foil backing of four of the emeralds, some of the settings need attention, there is a small amount of lead solder to the top point of one earring, the same earring has three very fine splits to the reverse of the earring where the gold has thinned, this is not easily noticeable)
Lot 111
A set of three late 18th/early 19th century Emerald glass decanters of slender mallet shape, with gilt decoration & initials to the faceted stoppers for “Brandy, “Hollands”, & “Rum”, each 9¼” ihgh, in japanned-metal & papier mache triangular stand with stopper holders & shield-shaped handle. (7” wide x 10” high over-all; Hollands stopper broken & re-stuck; other stoppers chipped)
Lot 377
A ring, 500/1000 platinum, set with 14 navette cut diamonds with the approximate weight of 0.84 ct. ct., 10 emerald cut ones with the approximate weight of 1 ct. and the central 1 in brilliant cut with the approximate weight of 1.45 ct., colour grade I~J and purity SI3, Portuguese, signs of use, Lisbon mark (1938-1984) and Carvalho & Castro Ldª makers' mark (1951), Dim. - 16 (17,7 mm) cm; Peso - 7,5 g.
Lot 143
Circa 300-100 BC, Hellenistic PeriodA finely rendered Greek Hellenistic single gold earring, formed from a coiled circular wire hoop, which tapers towards one end and features a goat head terminal on the other. The goat's head is modelled from a thin sheet of gold and features naturalistically rendered facial and anatomical features including defined horns to the top of the head. The tapering end encloses the earring by hooking through a loop attached to the animals’ chin. This fine earring testifies the refinement of gold working in Ancient Greece during the Hellenistic period. Behind the head a large emerald bead and large granular bead encircled by two clasps of filigrees.For related examples see:F. H. Marshall, Catalogue of the Jewellery. Greek, Etruscan, and Roman, in the Departments of Antiquities, British Museum, 1911, pl. XXXI.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: L:30mm / W:29mm; 7.5g Provenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.
Lot 151
Circa 400 ADA gold necklace with interlinking knots, similar to the Hercules knot, the body is formed of cylindrical emerald beads. Just beside the hook and loop closure are two gold melon like beads. Necklace possibly later.For similar see:The British Museum 1814,0704.1203. Size: L:255mm; 14.06g Provenance: Private London collection of Ancient Art; previously with a London art dealer; acquired from a Japanese collection (1970-2010).
Lot 156
Circa 500-600 ADA gold ring with ribbing decoration to the shoulders tapering down the hoop shaped band. The central bezel is diamond shaped formed of a large emerald stone which has been cut and inlaid, the band has been decorated with niello inlay in a floral wave design. This has been finely modelled and created by a skilled artisan.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D: 18.8mm / US: 8 7/8 / UK: R 1/2; 14.6g Provenance: Property of a London Gentleman; formerly in a private UK collection formed in the the 1990s.
Lot 205
Circa 600 ADThe arms with rounded-off terminals, tapering in towards the centre, with a large raised cup-like setting with emerald, on the opposite side a garnet, alongside four colettes of pearls, with a gold attachment loop above.For a solid silver example with a glass setting and for a smaller solid gold example:Cf. Exhibition Catalogue, Die Welt von Byzanz - Europas Östliches Erbe, (Munich 2004), nos. 518 & 519, p.310-311. Also for the type, cf. Gonosová & Kondoleon, Art of Late Rome and Byzantium, (Virginia Museum of Fine Arts), no. 38.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: L:45mm / W:35mm; 6.7gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.
Lot 155
A 1970's certified natural emerald & diamond cluster ring, the central claw set rectangular cut emerald measuring 6 x 5.33mm, surrounded by six round cut and four rectangular step cut diamonds, in 18ct white gold, accompanied by a Gem & Pearl Lab Report stating that the natural Zambian emerald shows minor evidence of clarity enhancement. Finger size M.
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