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9ct emerald set cluster ring, width 12mm, 2gm, ring size N

Collection of five 9ct gem set rings to include tanzanite, emerald, amethyst and diamond, 11.9gm in total (5)

18ct yellow gold emerald and diamond three stone ring, the princess-cut emerald 1.20ct approx, with baguette-cut diamonds to either side, width 8mm, 2.8gm, ring size M/N

Attractive Victorian engraved emerald and diamond set oval openwork brooch, the emerald 0.30ct approx within a surround of four round old-cut diamonds estimated 0.20ct approx, 9.1gm, 32mm; within the original fitted case

Attractive novelty gem set bee brooch, set with two rubies, rose diamonds and emerald set eyes in yellow gold, 7.6gm, 28mm

Loose aquamarine and emerald gemstones. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

18ct gold emerald and diamond half eternity style ring of four emeralds and three diamonds. Ring size P&1/2. Approx weight 2.9 grams.(B.P. 21% + VAT)

An emerald and diamond ring, the central octagonal step cut emerald measuring 5.25mm x 4.85mm, flanked by four tapering baguette cut emeralds and two bands of brilliant cut diamonds, all set in yellow metal, stamped '18K', ring size M 1/2, weight 9.0gmsNote; This ring is assessed to be late 20th/early 21st century.Re-sizing: We are unable to advise whether re-sizing is possible, or how much this would cost. However additional images have been provided should potential bidders wish to consult a jeweller. 

A pair of carved rock crystal and emerald floral earrings, each carved as a five-petal lily with gold coloured stamen set with a round mixed cut emerald, each 17mm diameter, secure lock back pierced ear fittings, weight 2.4gmsCR; Central emeralds both show surface reaching hairline fractures, but no chips or losses. Some wear to the claws around the emeralds, but the stamen are in good order. There are chips to the tip of a single petal on each earring (see pictures), but no other cracks, chips or losses. Both stamen are detachable, and are secured to the floral surround by the safety clasps on the reverse only.Each emerald is approximately 2mm - 2.5mm diameter.The metal has not been tested. 

An emerald and diamond 18ct gold ring, comprising a pear-shaped emerald measuring 8mm x 5mm, and a brilliant cut diamond, all set in 18ct yellow gold to a scrolling plain polished shank, ring size L 1/2, weight 4.3gms

An Art Deco emerald and diamond ring, the central octagonal step cut emerald measuring 8.35mm x 8.25mm, set to a pierced geometric surround set with brilliant cut diamonds, all set in platinum, 25mm x 20mm, continuing to split shoulders and plain polished shank, ring size P 1/2, weight 9.3gmsCR; Central stone is in tact. PLEASE NOTE: This stone has not been laboratory tested for synthetic or natural origin, or for for treatment.All diamonds are present and in tact. Settings are secure. Shank in good order, no splitting, thinning, misshaping or signs of repair. Please view additional images for further illustration.Emerald depth: 5.65mm. There appear to be some hairline cracks visible on the surface, but no large internal surface reaching fractures visible under 10x. Diamonds face up appear bright, white and sparkly. Clarity ranges across stones from SI - VS. Stones show no or very minor draw of colour under 10x when viewed face up.

A 9ct gold diamond and emerald set garland brooch by Deakin & Francis, comprising brilliant cut diamonds and mixed cut emeralds set to a circular floral frame, hinged pin and safety loop fastening to reverse, 3cm wide, together with a further 9ct gold pearl set floral brooch by Deakin & Francis, 2.4cm diameter, and a 9ct gold pearl set wish bone brooch by Alabaster & Wilson, 3.5cm long, gross weight of group 12.7gms (3)

Fifteen pairs of 9ct gold and yellow metal stone set earrings, to include a pair of emerald, diamond and cultured pearl set drop earrings, 25mm long, a pair of 9ct gold turquoise set drop earrings, each 27mm long, a pair of 9ct gold coral and simulated pearl drop earrings, and a further twelve pairs of earrings of assorted styles and gemstones (30)

A selection of 9ct gold gemstone set dress rings, to include an emerald and diamond set ring, size L ½, an amethyst set ring, size M ½, a further amethyst set dress ring, size N, a synthetic ruby and seed pearl set ring, size M ½, an emerald and diamond tiered floral cluster ring, size L ½, and an oval opal triplet ring, size N (6)

A selection of pendants and necklaces, to include an Edwardian style amethyst and cultured pearl 9ct gold necklace, marks for Cropp & Farr, drop 34mm long, chain 51cm long, a cultured pearl and red paste set gold coloured floral pendant, 19mm diameter, upon an 18ct gold chain, 50cm long, a 9ct gold pearl set pendant, 14mm diameter, upon a 9ct gold chain, 50cm long, an emerald set 9ct gold pendant, 13mm long, upon a 9ct gold chain, 50cm long, a 9ct gold cross pendant, 33mm long, upon an unmarked yellow metal chain, 50cm long, and a 9ct gold emerald and opal floral pendant, 16mm diameter (10)

An emerald and diamond set 14ct gold ring, the woven design ring comprising brilliant cut diamond set panels interspersed by square cut emeralds, all set in 14ct yellow gold to a reeded shank, ring size M 1/2, weight 4.3gms

ÉDOUARD VUILLARD (1868-1940)Madame Vuillard en peignoir rouge stamped with the artist's signature 'E Vuillard' (lower right)oil on canvas66.7 x 55.8cm (26 1/4 x 21 15/16in).Painted circa 1911Footnotes:ProvenanceThe artist's studio. Charles-Auguste Girard Collection, Paris. Private collection, France. LiteratureA. Salomon & G. Cogeval, Vuillard, The Inexhaustible Glance, Critical Catalogue of Paintings and Pastels, Vol. II, Paris, 2003, no. IX-39 (illustrated p. 1049).Édouard Vuillard is celebrated for his Intimist paintings of domestic interiors inhabited by his family and those of his inner circle. In the present painting, Madame Vuillard en peignoir rouge, Vuillard returned to arguably his most favoured subject, that of his mother. Vuillard never married and remained close to his mother until her death in 1928. She was a figure to whom Vuillard returned to paint throughout his career and it was through her many portrayals that he was able to hone and develop his formal style, both during his allegiance to the ground-breaking Nabis group and beyond. Painted circa 1911, Madame Vuillard en peignoir rouge issues from Vuillard's mid-career, a moment when he was enjoying both critical and commercial success. Many contemporary commentators observed Vuillard's fortunate position in being able to select the work that he enjoyed without the necessity to take on onerous commissions. Indeed, fellow painter Walter Sickert even confided that he envied Vuillard's 'liberty'. In 1908 Vuillard had settled permanently with his mother in Clichy, northwestern Paris. It was a district that he knew well, and he was delighted with the airy apartment which offered him a bird's eye view of Place Vintimille (now Place Adolphe-Max). Unburdened by financial constraints, Vuillard was free to paint his preferred subjects and, as so often, he turned to those closest to him. The present painting continues the subject matter of his earlier Nabis paintings, where, in contrast to other members of the Nabis group who preferred esoteric subjects to communicate their Synthetist visions, Vuillard turned to domestic, even mundane observations to reveal latent mystery and sentiment. Writing in his journal in 1893, Vuillard posed the rhetorical question: 'Why is it in the familiar places that the mind and sensibility find the greatest degree of genuine novelty?' (E. Vuillard quoted in B. Thomson, Vuillard, Oxford, 1988, p. 44). Seated in a yellow and green armchair, Madame Vuillard is depicted here within the cluttered Clichy apartment, surrounded by the oriental rug, patterned textiles, and richly upholstered furniture so typical of the bourgeois salons of France's Third Republic. Despite her central positioning, little attention is given to Madame Vuillard's physiognomy, and she is depicted without detail by the same energized brushwork that Vuillard employs throughout the composition. This formal simplification was in accordance with the Nabis' philosophy, which sought to represent a symbolic distillation of experience. Consequently, a faithful representation of the subject was suppressed to heighten the emotional import of the composition. As Vuillard explained, 'a woman's head just produced in me a certain emotion, I must make use of this emotion alone and I must not try to remember the nose or the ear, they're of no importance' (E. Vuillard quoted in B. Thomson, ibid, p. 28). In Madame Vuillard en peignoir rouge, Vuillard subordinates the figure of his mother and foregrounds an emphasis on line, pattern and colour. The resulting effect serves to unify the disparate elements of the scene and pull them together into one plane, lending the whole composition a rich, tapestry-like texture. Famed as a colourist, Vuillard's palette in the present work is notable for its boldness and inventiveness. The carmine and hot pinks of Madame Vuillard's housecoat are echoed in the burgundy of the chest, as well as the swirling lilacs and mauves to the carpet and striped tablecloth. Meanwhile, Vuillard offsets these warm tones with flashes of cooler pigments. The citrus yellow of the armchair and emerald cushions of the chair next to the fireplace chime in the upholstery of the large square-backed chair to the foreground, whose jarring black contours are so reminiscent of Cloisonnism favoured by the Nabis. As contemporary critic André Gide observed '[Vuillard] never puts forward one colour without excusing it with subtle and precious repetition' (A. Gide quoted in B. Thomson, op. cit., p. 72).While disruption of the picture space and a deliberate blurring of the boundaries between background and foreground firmly looks back to Vuillard's involvement with the Nabis and their predilection for flat, two-dimensional art, Vuillard's embracing rather than reductive view of the subject marks a development from his more austere compositions of the 1890s. In the present work he takes care to denote small details of the room, from the herringbone diagonals of the parquet flooring to the fall of light on the cloth atop the nesting table or the satin lustre of the lemon armchair - considered observations which can be attributed to Vuillard's use of photography as an aide-mémoire to guide his later compositions.It is very likely that Vuillard acquired his first Kodak box in 1897. Thereafter, he became an avid champion of photography and used it enthusiastically to assist and influence his creative process. Vuillard had no interest in posed subjects or picturesque views but rather used the medium to make photographic records as tools to enable him to better understand his subject. In the present work, the documentation of detail alongside the abrupt cropping of the armchair to the lower right and alert posture of Madame Vuillard, poised as if to stand, suggests a moment of captured stasis and that Vuillard may have worked directly from a photographic source. Vuillard remained committed to genre subjects and particularly depictions of domesticity throughout his career, even at a time when the prevailing avant-garde, notably the Fauves, began to experiment with idyllic and Arcadian themes. Madame Vuillard en peignoir rouge is testament to the enduring fascination that Vuillard held for these quotidian, intimate spaces where, by returning to those most familiar to him, he was able to fully explore the formal potential of his compositions: 'In Vuillard's paintings the same models are featured again and again: children grow up and leave home, Lucy Hessel's hair turns grey, memories are evoked as one era succeeds another' (B. Thomson, op. cit., p. 110).For further information on this lot please visit Bonhams.com

A Colombian emerald and diamond ring, circa 1915-20, the sugarloaf cabochon emerald set within raised rose-cut diamond mount with serrated upper border and with millegrained detail throughout, white precious metal mounted, shank unmarked, ring size N (leading edge). £2,000-£3,000 --- Accompanied by a Report from the Gem & Pearl Laboratory, numbered 20523, dated 5 October 2021, confirming Colombian origin with evidence of minor clarity enhancement.

An early 20th century French emerald and diamond stick pin by Verger Frères retailed by Lacloche Frères, the two interlocking hoops set with old brilliant-cut diamonds and cushion-cut emeralds, maker’s mark ‘VF’, French assay mark, signed ‘LACLOCHE FRÈRES’, retailer’s case, length of terminal 11.5mm. £500-£600

A serpent bracelet and ring, the bracelet of textured articulated scales, the head with polychrome enamel decoration, emerald eyes and chrysoprase highlights, the ring of conforming design, bracelet inner diameter approximately 5.5cm, ring size O. £1,000-£1,500

A Victorian gold and emerald set serpent necklace, circa 1860, the snake-link chain terminating in a serpent head clasp, with embossed foliate decoration, inset with three emeralds in collet mounts, with cabochon garnet eyes, suspending an emerald set heart-shaped pendant of conforming design, glazed locket compartment verso, contained in shaped fitted case, length 41cm. £2,800-£3,500 --- Serpent Jewellery The Ancient Egyptian culture was probably the first to heavily adopt the use of snakes in jewellery, seen as symbolising deity, status and loyalty. In Greek and Roman mythology, the snake continued to be a recurring theme, regarded by many as guardians of the underworld and later said to represent protection and healing. By Renaissance times, snakes was seen in a less positive light, the biblical story of Adam and Eve and the serpent in the Garden of Eden leading to more negative associations of evil or imminent danger. During the Victorian era, serpent inspired jewellery enjoyed a huge revival after Prince Albert in 1840 had designed an engagement ring for his bride, Queen Victoria, modelled as two serpents in an eternal circle and inset with an emerald (her birthstone). (At this time, it was popular to include birthstones in engagement rings, rather than diamonds). During the mid 19th century, when nature and symbolism had a powerful influence on jewellery design, serpents became synonymous with eternal love and became a popular motif, fashioned into necklaces, pendants, bracelets and rings.

A late 13th/early 14th century gold, ruby and emerald ring, the hoop of D-shaped cross section, centred with a square bezel inset with a replacement cabochon ruby of pinkish tint, between square-sectioned shoulders each with raised oval secondary bezels of scalloped shape formed from vertical grooves and with punched dot decoration, and inset with cabochon emeralds, inner diameter 20mm. £3,000-£4,000 --- Provenance: The ring was found at Banham on 5th April 2021 using a XP Deus metal detector on a ploughed field and buried at a depth of approximately 3cm. The find spot lies close to the 14th century church of St Mary’s at Banham, believed to have been founded by Sir Hugh Bardolph. The ring is recorded on the Portable Antiquities Scheme database Ref: NMS-D8F162 and has subsequently been disclaimed. The ring was found with vacant central setting and with misshapen shank. It has been reshaped and inset with a retrieved contemporary Medieval cabochon ruby. For a near identical ring of the same period, found in Herefordshire, see Portable Antiquities Scheme database Ref: GLO-1CA5DC.

A vari-gem set long chain necklace and ear pendants, the belcher-link chain spaced with spectacle set gemstones including lapis lazuli, emerald, ruby, amethyst etc, together with a pair of ear pendants, silver gilt mounted, necklace length 108cm. £150-£200

Chopard. A lady’s gold, diamond and emerald-set wristwatch, Ref. 13/6354-22, circa 1996 Movement: quartz Dial: white, Roman numerals Case: 18ct gold, diamond-set bezel, cabochon emerald-set lugs and crown, back secured by four screws, gold plated buckle Signed: case, dial, movement and buckle Dimensions: length including lugs 30mm, width 21mm. Accessories: Chopard certificate and presentation case £2,000-£2,500

A 19th century gold and emerald bracelet, circa 1830, of hollow construction, centred with an oval engraved panel applied with a recumbent lion, encircled by a serpent, glazed locket compartment verso, between emerald set panels and graduating square links, finely chased throughout with foliate and geometric decoration, length 18cm. £1,500-£2,000

Three diamond and gem-set dress rings, each ring grain set throughout with diamonds, and either ruby, emerald or sapphires, the ruby and diamond panel ring with import marks for Sheffield 1993, ring sizes K, L½ and O½. (3) £500-£700

A Lapis Lazuli bowl modernmodern20cm diameterFamous since antiquity, Lapis Lazuli has beendiscovered in some of the most magnificent archaeological sites, such as theTomb of Tutankhamun and the Royal Treasures of Ur.  Grounded into powderand made into ultramarine, the finest and most expensive of all blue pigments,it was exported to Europe from the end of the Middle Ages and was famously usedby some of the most important artists of the Renaissance and Baroque, includingTitian and Vermeer, who usually saved the colour for the clothes of the centralfigure, which was often the Virgin Mary.It's probably a little known fact that the mainsource of this deep blue metamorphic rock, a semi-precious stone, are about 140cave-like mines in Badakhshan, which have been mined for over 6000 years andare still the world's finest source of lapis lazuli.  It has been highlyprized since antiquity for its intensity of colour. Lapis is actually almost asrare as diamonds and historically gold and lapis had the same value and wasoften seen as a currency. Lapis has the advantage that it takesan excellent polish and can be made into jewellery, boxes, mosaics or just bedisplayed as freeforms, which are becoming rarer every year.Another advantage of lapis is that it is exceptional durable and canresist both extreme heat and cold, which allows for it to be displayed outside.The lapis mountain which neighbours onto an emerald mountain, wastraditionally in the centre of the Silk Route network of trade routes whichconnected the East to the West. Although the main trade was silk, other goodstraded included lapis as part of the cultural trade delivered from the East toEurope. Minerals

AN APPLE GREEN AND EMERALD ACCENTS JADEITE JADE ‘MEIREN AND CRANE’ GROUP China, 20th century, Possibly dating to the 1970s Carved out of a milky stone with apple green and emerald green inclusions, Meiren in loose robe, with an elongated round face, a hair bun topping her head, holding a lotus sprig in her left hand, a branch of lingzhi raising from a rocky base on her left, a standing crane on her right. Offered at auction together with a matching wooden stand. H (stand excl.): 15 cm Weight: 257 grams Note: The crane (he, 鹤) is believed by the Chinese to live to a very old age and therefore is a symbol of longevity. Lingzhi (灵芝), also known as the glossy ganoderma, is the sacred fungus of immortality that grows on the trunks or roots of trees including the pine.苹果绿及翡翠“美人鹤”玉雕中国，20世纪，可能为1970年[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- broken then glued left hand;- broken then flower sprig;- small chip to the rocky part to the back. 

A LARGE JADEITE JADE CARVING OF A ‘HEAVENLY HORSE’, TIAN MA 天馬 China, Attributed to Qing Dynasty Carved out of a white, apple green and emerald green stone with a figure of a recumbent celestial horse amidst curly clouds or crashing waves, the mane and the clouds carved as locks finely detailed with incisions, a parcel or bound books on its back. H: 10,1 cm – L: 13,3 cm – w: 3,3 cm Weight: 815,5 grams Note: 1. This horse is depicted carrying books while crossing the sea. It is known as the Tian Ma (天馬), lit. “Heavenly Horse”, also referred to as the Long Ma (龍馬), lit. “dragon horse”, i.e. an auspicious creature that according to legend emerged from the Luo River revealing itself to Fuxi (伏羲), one of the three legendary sovereigns of ancient China. 2. For a related jade carving of a mythical horse carrying books on its back while crossing the sea dated to the mid Qing dynasty and preserved in the Qing Court Collection, see “The Complete Collection of Treasures in the Palace Museum: Jadeware (III)”, Hong Kong, 1995, p.110, no.90. 3. For a related pale green jade example of a longma carrying books across waves dated to the 18th century, please refer to Christie’s New York, The United States of America, “Fine Chinese Ceramics and Works of Art Part I and Part II Including Property from the Arthur M. Sackler Collections”, 2011/03/24, lot 1507, sold for USD242.500 BP incl.翡翠玉雕“天马”中国，晚清时期[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition: Natural veins and inclusions in the stone.

A GROUP OF TWO ‘THEPANOM AND NORASINGH’ BENCHARONG WARE LIDDED POTSChina for Thailand / Siam, Bencharong ware, Ayutthaya Period, 18th-19th centuryBoth with a lotus bud shaped finial and reserved-decorated with red and yellow thepanom and norasingh on a black ground.Dimensions (the biggest): H: 10,8 cmAlso included in that lot:- a small ‘flower’ lidded pot, also a Bencharong ware, that one dating to the King Rama V (1868-1910) period - H: 7,5 cm- a small lidded silver pot dating to the King Rama V (1868-1910) period - H: 4,2 cmNotes:1. Sets of porcelain such as this example were commissioned from China, usually from the southern Jiangxi province, and exported to Thailand.2. The thepanom is a celestial being from Buddhist cosmology. The norasingh is a mythical forest-dwelling semi-deity with a human head, torso, and arms but with the hind-quarters of a lion and the tail and hoofs of a deer.3. Thai Minor Arts, The Fine Arts Department, 1993; Treasures from the National Museum, Bangkok, The National Museum Volunteers, 1987; McGill, F. (ed.), Emerald Cities: Arts of Siam and Burma, 1775-1950, Asian Art Museum, 2009; and Bromberg, P., ‘A passion for Bencharong’, in Arts of Asia, May-June, 2010.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:ALL PIECES UV / BLACK LIGHT CHECKEDThe biggest lidded jar:- chip? or at least loss of enamels on the finial of the lid;- a few chips to the inner rim;- losses of enamels around the rim due to frictions;- also few chips minor to the foot.The middle size lidded jar:- not its original lid;- two chips to the rim of the jar with a crack;- minor chips to inner rim;- loss of enamels around the rim of the jar due to frictions;- a chip to the foot;- also losses of enamels to the rim of the lid with one minor chip.The smallest jar:- both lid and jar restored with chips etc.Silver piece:- OK.

Assorted silver jewellery including earrings, tie clips including one set with emerald CONDITION REPORT: Approx 126g.

A diamond, ruby, sapphire and emerald basket of flowers pendant, early 20th c, 29mm and a gold necklet, 12.9g The small cabochon emerald scratched / chipped

An oval pierced gold pendant, set with an emerald cabochon, 32mm, marked 18k, 14g Good condition

An emerald and diamond cluster ring, in gold marked 750, 2.7g, size L Good condition

An emerald and diamond palmette pierced ring, in 9ct gold, 2.9g, size I Good condition

Pokemon, Pokemon/Nintendo trading cards, EX series common cards, some HF examples, comprising Hidden Legends set, 56/101 Chinchou, 68/101 Oddish, 69/101 Plusle, 71/101 Seedot, 72/101 Shuppet, 75/101 Staryu, 78/101 Togepi and 79/101 Totodile; Fire Red and Leaf Green set, 53/112 Bellsprout, 54/112 Bulbasaur, 55/112 Bulbasaur, 61/112 Diglett and 63/112 Gastly; Deoxys set, 52/107 Bagon, 53/107 Baltoy (2), 54/107 Barboach, 55/107 Beldum, 64/107 Magikarp, 65/107 Makuhita, 66/107 Natu, 69/107 Phanpy, 76/107 Spoink and 78/107 Surskit; Emerald set, 63/105 Shroomish and Unseen Forces set, 43/115 Noctowl, 59/115 Hothoot, 61/115 Larvitar, 62/115 Mareep, 66/115 Pineco (2) and 69/115 Porygon (quantity)

A sapphire and diamond dress ring, the emerald cut sapphire of approximately 10.00ct and flanked by three brilliant cut diamonds to each side, total estimated diamond weight 1.00ct, to a 14k white gold shank, size P, approximately 8.5gm/see illustration CONDITION REPORT: Sapphire dark blue under direct light source, diagonal zoning evident. Some scratches and scuffs.

An emerald and diamond cluster ring, the central step cut emerald of approximately 2.35ct to a surround of twelve brilliant cut diamonds, total diamond weight approximately 1.2ct and an outer row of twelve round emeralds, with triple wire shoulders and shank in 18ct white gold, size P, approximately 7.4gm/see illustration CONDITION REPORT: Ememrald with typical inclusions. Mid to deep green, medium translucency. Diamonds bright and lively. Some light scratches, scuffs and nibbles.

An opal and diamond three-stone ring, maker CG&S, set in 18ct yellow gold, size L½, an emerald and diamond dress ring, maker RSG, set in 18ct yellow gold and an 18ct yellow gold wedding band, approximately 4gm CONDITION REPORT: Condition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com

An assortment of music memorabilia, much of it signed. To include: two Who CDs each signed by Pete Townshend. Music books chiefly autobiographies signed by: Dave Stewart, Leann White, Jo Wood (two books), Jimmy Barnes. Also VIP packages inc signed items and concert memorabilia for Caro Emerald, Imelda May. A Cher programme. A CD booklet signed by Tony Joe White (also a sealed CD), a photo signed by Wilko Johnson, a Led Zeppelin CD boxset (Atlantic – 7567-82144-2), a sealed Joe Bonamassa record (Provogue – PRD75591, with poster).

Silver and emerald crab pendant, suspended from a silver chain. The crab measures 25 x 22 mm.

A Pair of Emerald and Diamond Stud Earrings in an unmarked precious metal setting, 11mm, 3.6g

Nine Silver and Emerald Rings

A 9ct Gold, Emerald and Diamond 'Shamrock' Ring, size L.5, 1.4g

A Pair of 9ct Gold Emerald and Diamond Cluster Stud Earrings, 8.5mm head, 1.4g

An 18ct Yellow Gold, Emerald and Diamond Five Stone Ring, largest emerald 42x38mm (top facet damaged) in a rub over setting, head 20x10mm, size O.5, 5.6g

A 9ct Yellow Gold, Emerald and Diamond Cluster Pendant Necklace, 16mm drop, 2.8g

A Pair of 9ct Yellow Gold and Emerald Stud Earrings, 0.8g

An 18ct White Gold, Emerald and Diamond Five Stone Ring, size M, 4.1g

An 18ct Yellow Gold, Emerald and Diamond Three Stone Ring, with four additional diamonds to both sides of the ring in a millegrain setting, emerald 8x5.5mm and 5mm brilliant round cut diamonds, size S, 4.4g. Sold with sale receipt from Payne & Son of Oxford in 1997 for £6000

9ct Gold emerald & diamond earrings

A modern 9ct gold, emerald, ruby, sapphire and diamond set geometric dress ring, size Q, gross weight 5.3 grams.

A 14k gold, emerald, graduated cultured pearl and green enamel set peacock brooch, 58mm,gross weight 19.5 grams.

A modern 18ct gold, emerald and diamond set three stone ring, size O, gross weight 3.1 grams.

An Edwardian emerald and diamond chip set five stone ring, size N, gross 2.5 grams, three other yellow metal and gem set rings, gross 8.3 grams and a white metal band stamped 'silver'.

**THREE CERTIFICATED UNMOUNTED GEMSTONES, including 49.40 carat square cabochon labradorite, 60.95 carat rough emerald and 1.70 oval cabochon tsavorite, each with accompanying IDT reports (3)

Ca. 1300 AD. Medieval. A beautiful gold ring comprising an oval twisted hoop and applied fluted tulip bezel with a granulated border and inset emerald. Possibly Byzantine. Good condition; wearable. For more information on Medieval rings, see Tait, H. (1986). Seven Thousand Years of Jewellery. British Museum Press, London; Ward. A. et al (1981). The Ring from Antiquity to the Twentieth Century. Thames and Hudson, London; Hinton, D. (1982). Medieval Jewellery. Shire Publications, Princes Risborough. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase. Provenance: Private UK collection; From an old London collection formed in the 1990s. Size: D: 16mm / US: 5 3/8 / UK: K 1/2; 5.4g

Ca. 1st Century A.D. Roman. A delicate pair of Roman gold earrings, possibly from Pompeii, each with a solid shield centre, a gold drop, comprising of two cobalt blue and one emerald-green glass rounded, circular beads. The hoop is made from double twisted wires, which have been joined together, and each earring terminates in a closed-end fastening. Many rich Roman women owned expensive jewellery. They wore precious stones such as opals, emeralds, diamonds, topaz and pearls set as earrings, bracelets, rings, brooches, necklaces and diadems.The ancient Romans were a culture that believed in social status and jewellery was an important and essential accessory to provide the public with this display of wealth and fortune. The Etruscans set the trend of using gold and glass beads but as the power spead across the Roman Empire so did the elaborate jewellery designs seen.We see different cultural styles come from Rome’s conquered paths such as Greece, Egypt, North Africa and even the Orient. Artists had a wide range of natural resources across the empire to create ostenatious jewllery including sapphires, diamonds, emeralds, garnet and amber from Indian. Rome never had a rich natural resources of gold and it took time to acquire it. The first discovery of gold was from the Po River in the Western Alps and South of Piedmont. The Second Punic War (218-201 B.C.) was the most significant turning point in the history of gold within Rome. After the Romans had conquered Spain, they mined gold in the Aduar Basin, Malaga District, the Plains of Granada, and the slopes of the Sierra Nevada mountains. Another large natural resouce came from Britain with Julius Caesar’s conquests.Ruseva-Slokoska, L. Roman Jewellery, Sofia, 1991Similar to;https://www.christies.com/en/lot/lot-5628149Lot 424, Auction 2770. 2012. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s. Size: L:Set of 2; 25mm / W:13mm ; 1.9g

BELGIUM 1922 - 27 5f emerald mint. SG 373. Cat £65.

BARBADOS 1921 - 24 1/- black on emerald wmk script marginal um. SG 226. Cat £55.