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Click here to subscribeA 9ct gold fracture filled ruby and zircon ring, with an emerald cut fracture filled ruby, approximately 14 x 10mm, claw set to two row surround of circular colouress zircons, grain set, with tapered baguette cut colourless zircons channel set at the corners, to open tapered shoulders and a plain shank, Sheffield, 6.45g.Finger size OCondition report: Maker's mark TJC.Surface reaching inclusions to the fracture filled ruby.Ruby very slightly loose in setting.
A 9ct gold emerald and diamond bracelet, with a row of alternating round mixed cut emeralds and eight cut diamonds, claw set to articulated collets, with box clasp and figure of eight safety catch, London 2000, 200mm long, 6.85gCondition report: Surface reaching inclusions to the emeralds and diamonds.Wear to links.
A silver emerald and diamond cluster ring, a circular mixed cut emerald claw set to the centre, to border of brilliant cut diamonds and outer row of circular mixed cut emeralds, all claw set, to trifurcated shoulders and a 'D' section shank, tested as silver, 3.67g.Finger size NCondition report: Surface reaching inclusions to the emeralds.Surface marks/scratches/tarnish to mount.
A silver emerald set bracelet, with a row of oval mixed cut emeralds, approximately 6 x 4mm, claw set to articulated collets, to side lever clasp, together with a silver emerald set torque bangle, Birmingham, 26.20g total (2)Condition report: Surface reaching inclusions to the emeralds.Maker's mark G.
A pair of 9ct gold emerald cluster earrings, approximately 9mm diameter, with post and butterfly fittings, Sheffield, together with a 9ct gold emerald cluster pendant suspended on a Prince-of-Wales rope link chain, Sheffield, 4.60g total (3)Condition report: Maker's mark TJC, TGC.Surface reaching inclusions to the emeralds.
A 9ct white gold emerald and zircon cluster ring, with an oval mixed cut emerald, approximately 7 x 5mm, claw set, to two row surround of circular mixed cut zircons, with similarly set shoulders and a plain shank, Sheffield, together with a 9ct gold grandidierite and zircon cluster ring, Sheffield, and a 9ct gold sapphire and diamond ring, Birmingham, 9.00g total (3)Finger size Q, N, PCondition report: Emerald ring and grandidierite maker's marks TJC.Sapphire ring maker's mark TGC.Surface reaching inclusions to the emerald, grandidierite and diamonds.
Three brooches, to include a white gold citrine bar brooch, tested as approximately 9ct gold, 2.66g, a silver and gold emerald set bar brooch, with pin and 'C' catch, tested as approximately silver backed in 9ct gold, and a gilt metal paste brooch (3)Condition report: Citrine brooch: pin bent, one claw snapped off.Emerald brooch: emeralds are later replacements, many too small for the collets, glued in. Surface reaching inclusions to the emeralds.
A 9ct gold fracture filled ruby and zircon halo cluster ring, with an emerald cut fracture filled ruby, approximately 10 x 8mm, to surround of circular mixed cut colourless zircons, micro claw set, and shoulders similarly set, to a plain shank, Sheffield, 2.80g.Finger size O¼Condition report: Maker's mark TJC.Surface reaching inclusions to the fracture filled ruby.Ruby slightly loose in setting when tapped, but still appears secure.
Italian table, s.XIX.In black marble, hard stones and mother-of-pearl.Measurements: 71,5 x 121 x 121 cm.Italian table in black marble, with the top worked with inlaid mother-of-pearl and hard stones forming a refined inlay. In the sixteenth century, in Italy began to work the "hard stone", a technique of inlaying marble slabs whose origin is oriental (used both in goldsmithing and cabinetmaking in the Near East) but that in Florence acquired its own meaning. During the Baroque period it reached its peak of splendor and was still in use in the 20th century. In the table in question, entirely made of black marble, on a cylindrical foot of thick section rests a circular top, all decorated with inlays combining mother-of-pearl and hard stones: a floral bouquet presides over the center and from it radial compositions with floral bouquets and birds in different shades, separated by decorative bands like festoons. Carmine, yellow, amber, emerald and turquoise petals spread their colors to the exotic birds, studying the chromatic harmony to perfection.In Florence this technique later reached a high degree of perfection, to the point that the improper name of Florentine mosaic is given to all types of hard stone inlays. This work occupied the "Opificio delle pietre dure" from the Renaissance to the present day. The fame of the high quality of the products of the Florentine "Opificio" spread in the Baroque period throughout the European courts, often through gifts from the grand dukes themselves to the other sovereigns. Following the example of Florence, perhaps due to the presence of Florentine craftsmen, the various royal manufactories in Europe produced works of inlaid hard stones and marbles in France, Germany, Spain and Italy. In the eighteenth century the use of hard stones inlaid in marble spread everywhere, not only in Italy, but also in India in the Moghul period, where, on the preceding tradition of inlaid limestone and schist applied to architecture and black marble inscriptions inlaid in white marble, the influence of Florentine inlays is inserted.
A diamond-set enamelled gold necklace North India, 19th/ 20th Centurycomprising ten openwork interlocking elements of floral form, with drop form terminals, surmounted by pearls and emerald beads, pendant diamond-set gold elements of teardrop form to lower edge with emeralds, the reverse decorated in polychrome enamel with floral motifs, on a chain with tassel 53 cm long. approx.; 378g.For further information on this lot please visit Bonhams.com
A pair of diamond-set earrings North India, 19th Centuryeach of silver set with diamonds, in the form of a crescent, surmounted by a central trefoil motif, the lower edge with pendent fish and emerald flanked by further teardrop pendants, gold filigree and pearl fringe, four pendant emeralds to each fish 10.5 cm. max.; 110g. total weight(2)Footnotes:ProvenancePrivate German collection. Acquired by the vendor's late husband in Dhaka, Bangladesh (then East Pakistan) in 1969 whilst he was working there.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A gold-damascened steel sword (shamshir) with Ottoman gem-set gilt-silver mounts Persia and Turkey, 18th and 19th Centurythe single-edged watered steel blade of curved form with flattened spine, the hilt with gold overlaid decoration to centre of grips consisting of inscription in nasta'liq, the silver-gilt pommel and cross-guard mounted with diamond and emerald-set floral motifs, paste, the wood scabbard clad in purple velvet with gem-set mounts ensuite, repoussé silver chape and upper mount, fitted hinged wood case 96.3 cm. longFootnotes:ProvenanceFormerly in the collection of the Prince and Princess Sadruddin Aga Khan.Inscriptions: [bar farq-e] falak fekandeh masnad taj-e sar-e anbiya' muhammad, 'Has spread his throne on Heaven's summit, Muhammad, the crown of (all) prophets'.Important Notice to BuyersSome countries e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid or import a lot in contravention of the sanctions or trade embargoes that apply to them.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
An extremely rare and fine example of the Order of the Propitious Star of the Punjab (Kaukab-i-Iqbal-i-Punjab), INSTITUTED BY MAHARAJA RANJIT SINGH, SECOND CLASS, AWARDED BY THE SIKH COURT TO IMPORTANT COURTIERS, DIPLOMATS OR ENVOYS Lahore, dated [VS] 1894/AD 1837in the form of a radiating star in gold, in the centre a circular portrait of Maharajah Ranjit Singh seated on a chair holding a flower, in gouache and gold on paper under glass, the radiating arms consisting of five broad arms ending in a crescent shape and each inlaid with free-formed sectional tablecut diamonds, these interspersed with five narrower curved arms each inlaid with a principal tablecut diamond and tipped with a brilliant green cabochon emerald, the upper broad arm with small gold suspension loop below a gilded and enamelled bell- or parasol-shaped suspension, topped by a larger gold suspension ring, the reverse with a central roundel containing three lines of Punjabi text in nasta'liq script and the date in gold on a green ground, the broad arms with stylised floral motifs in gold on a green ground, the narrow arms cross-hatched in red enamel, in modern fitted case 9.4 cm. high overall; width 5.2 cm.; painting 20 mm. diam.; weight 57.8g.Footnotes:ProvenanceWith Spink & Son Ltd., London, 1965 (see below).Private collection, USA, acquired from Spink in 1965.Private collection, UK. PublishedSpink & Son Ltd., Numismatic Circular, 73 (September 1965), no. 5442 (illustrated).The inscription on the reverse reads:sri maharajah dehraj maharajah ranjit singh bahadur sat sri akal sahai 1894. 'Sri Maharajah Dehraj Maharajah Ranjit Singh Bahadur, may the Eternal Lord help him, [VS] 1894'.The date is Vikram Samwat 1894, which is equivalent to AD 1837.It is suggested in some sources that this Order, the Propitious Star of the Punjab (Kaukab-i-Iqbal-i-Punjab), was instituted in commemoration of the marriage of Ranjit Singh's grandson, Nau Nihal Singh. What is clear, however, is that in a more general sense, Ranjit Singh had become fascinated by the idea of European medals and orders, as a result of the well-known profusion of British and French officers and other figures at Lahore and in the Punjab more widely. Sir Henry Fane's medals had attracted the Maharajah's curiosity when he arrived at the court in 1837 for the marriage of Nau Nihal Singh (quoted in S. Stronge (ed.), The Arts of the Sikh Kingdoms, London 1999, p.229). General Allard, the French General in Ranjit Singh's service, also wore the Legion d'Honneur (instituted by Napoleon). In some accounts it was Fane who then suggested that medals be introduced at court. Other sources say that it was Captain C. M. Wade, Political Agent at Lodhiana, who developed the rules for granting the awards. But it was decided to make three fixed awards - the highest for Princes, the second class (as seen in our example) for 'relatives and brotherhood' of the Maharajah and the third for high dignitaries, colonels, and those providing honourable service. These would be differentiated by the quality of the stones: respectively, diamonds, diamonds and emeralds, or emeralds only. The recipient of our Order is unknown but its quality is of that intended for presentation to courtiers, sardars, governors of provinces, General officers, diplomats and envoys (see T. McClenaghan, Indian Princely Medals: a Record of the Orders, Decorations and Medals of the Indian Princely States, pp. 11-18; also discussed in Maharaja Ranjit Singh: First Death Centenary Memorial, Amritsar 1939, pp. 94-96).The portrait depicts Maharajah Ranjit Singh holding a flower, seated in one of the characteristic European-style chairs often seen in Sikh portraits (and here with the distinctive loop in the arm where it meets the backrest, as noted by Toor (for a painting of circa 1830-32 depicting Ranjit Singh with Hira Singh, in a similar pose and in such a chair, see D. Toor, In Pursuit of Empire: Treasures from the Toor Collection of Sikh Art, London 2018, pp. 80-81; see also another in the Kapany Collection, illustrated in S. Stronge, op. cit., p. 74, fig. 79). The present depiction seems to be unique amongst the known Orders (for which see below) in portraying the Maharajah full-length.Examples of these orders are very rare. A very similar medal, of the second class, which was presented to Lord Auckland in 1838, is now in the Sheesh Mahal Museum and Medal Gallery in Patiala (illustrated in S. Stronge (ed.), op. cit., p. 82, fig. 90). This has floral decoration on the reverse rather than an inscription.Another, of the third class, said to have been formerly owned by Duleep Singh, and which was sold at Christie's in 1981, is in the Victoria and Albert Museum (inv.no.IS.92-1981; illustrated in J. Guy, D. Swallow (edd.), Arts of India: 1550-1900, London 1990, p. 191, fig. 166).Two, of the third class, presented to the Political Agent General Henry Charles van Corlandt, are also in the Sheesh Mahal Gallery, Patiala.One, presented to Sir Frederick Currie, Bt. (1798-1875), who drew up the peace treaty after the First Anglo-Sikh War, appeared at Christie's, Islamic Art, Indian Miniatures, Rugs and Carpets, 28th & 30th April 1992, lot 138 (illustrated in the catalogue), and now in the collection of Gurshuran and Elvira Sidhu, San Francisco: illustrated in S. Stronge, op. cit., p. 187, fig. 215; see also note, p. 230). This had a miniature portrait in a more European style, after Emily Eden's portrayal), had fish and floral motifs on the reverse, and was lacking the bell and suspension loops.Another, one of a group of medals and swords presented to Colonel Sir Claude Martine Wade (1794-1861), was offered at Christie's, Art of the Islamic and Indian Worlds, 28th October 2020, lot 86, also dated VS 189[4]/AD 1838, but with the painting defaced or damaged, and with a cream and red ribbon.For further information on this lot please visit Bonhams.com
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.Important Notice to BuyersSome countries e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid or import a lot in contravention of the sanctions or trade embargoes that apply to them.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
A Roman banded agate cosmetic dish mounted as a spoon bearing an inscription with the name of the Mughal Emperor Jahangir (reg. 1605-27) The agate dish 1st/ 2nd Century ADan agate and silver-gilt spoon; the bowl of the spoon carved from a piece of banded agate, the elliptical shape with a low foot ring on the underside, curved at one end and irregularly ground at the other, with an engraved inscription on the outer surface; the handle of silver gilt the dish 5.5 cm. long; the whole spoon 13.9 cm. longFootnotes:ProvenanceSotheby's, Islamic Works of Art, Carpets and Textiles, London, 17th October 1984, lot 232.Private UK collection, acquired at Spink in 1993.Bonhams, Islamic and Indian Art, 19 April 2007, lot 436.The collection of Sheikh Saud bin Muhammed Al Thani (1966 - 2014).The inscription reads: Al-Sultan Jahangir Shah.The title 'Sultan' appears in the inscription on the black basalt throne of Prince Salim, that was made in Allahbad, but taken to Agra (see 'Jewelled Arts of Mughal India' in Society of Jewellery Historians Journal, vol. 10, 2003, p. 55)This agate bowl, now mounted as a spoon, was formerly a complete small cosmetic dish, dating from the Roman period. It has been broken and ground down, then reused to make the spoon. The inscription suggests that it was once in the collection of the Mughal emperor Jahangir. It is possible that the bowl was ground down in the Mughal period.The Mughal emperors are well known for inscribing their names and titles on objects in their possession, including manuscripts, jades, jewels, and ceramics. Jahangir noted unusual acquisitions in his journal, the Tuzuk-i-Jahangiri: for instance he remarks on the acquisition of a Timurid jade (Tuzuk vol 1, p. 409).Jahangir collected a variety of exotic materials, including natural phenomena such a meteorite which he had made into a knife, now in the Freer Gallery of Art, Washington (Atil, Chase and Jett 1985, no. 36, pp. 220-225). It is inscribed on the blade: 'There fell in the reign of Jahangir Shah from lightning iron (a) glittering precious piece Jahangir (son of) Akbar ordered from it two swords and this knife and (a) dagger. In the year 1030 (November 1620-November 1621 AD) In the Year 16. 146.' The event is mentioned in the Tuzuk p.204-5. Another Roman period hardstone known in the Mughal period, although uninscribed, is a cameo of a horse mounted within a Mughal jade (formerly in the Falkiner Collection, London 1982 no. 378).Ming ceramics with Jahangir's name on them include a blue and white jug in the Chang Collection, Taipei, which is from the Yongle period and is inscribed with Jahangir's name within in a similar cartouche to the one found on the agate dish. Anther example is a yellow dish, Hongzhi mark and period (1488-1505), inscribed on the foot ring with name of Jahangir, dated 1021/1611-12, also the weight of 28 tola 2 masha. (V&A no. 551-1878; see London 1982 no.401).The most celebrated jewels inscribed for the Mughal emperors are a group of spinels, also known in the past as 'balas rubies'. Many of the imperial inscriptions carry the names of Jahangir and his son Shah Jahan, a noted expert on gems. The form of the inscriptions vary, and may include the name of the emperor and his lineage. A typical Jahangir period inscription may read Jahangir Shah-e Akbar Shah, sometimes (but not invariably) with a date and the regnal year. One such spinel is the Carew spinel now in the Victoria and Albert Museum (London 1982 no. 237) which has several inscriptions from various owners.Inscribed jades formerly owned by Jahangir include 15th Century dark green jug with inscriptions set in cartouches dating the year of acquisition as 1619 (British Museum no. 1945-10-17-257, published Lentz and Lowry 1989 cat. 126, p. 225).The form of the inscription on the agate bowl is unusual, reading Jahangir Shah al-Sultan. However, an emerald in the Iranian Crown Jewels reads simply Jahangir Shah 1018 (AD 1613-14) (Meen and Tushingham p. 47), while another emerald in the same collection has a full list of epithets: Abu'l-Muzaffar Nur-ud-Din Jahangir Padshah Ghazi 1016 (AD 1607-8) (ibid). There was, therefore, no rigid protocol covering all inscriptions.Bibliography:Atil, Esin., Chase, W.T., Jett, Paul, Islamic Metalwork in the Freer Gallery of Art, Washington 1985Lentz, T W., Lowry, Glenn D., Timur and the Princely Vision: Persian Art and Culture in the Fifteenth Century, Los Angeles 1989Skelton. R. et al., The Indian Heritage, exhibition catalogue, Victoria and Albert Museum, London 1982Meen, V.B., Tushingham, A.D., Crown Jewels of Iran, Toronto 1968.The Tuzuk-i-Jahangiri, or Memoirs of Jahangir, translated by Alexander Rogers, edited by Henry Beveridge. London: Royal Asiatic Society, 1914.For further information on this lot please visit Bonhams.com
J Perez Ladies vintage expandable briefcase bag, brown skins, brass openers with keys brown leather handles, suede lined with zip pockets at front and rear interior, central pocket with two pull apart zips, W38 x H31 x D8.5cm expandable to 15cm, together with a lady's evening bag with floral design decoration set with emerald glass beads, imitation pearls and diamonds and wirework, two bag bead evening bags and two other bags (6)
An 18 carat gold diamond four stone ring, finger size O1/2; an emerald and diamond three stone ring, stamped '18CT & PT', finger size O1/2; and a diamond three stone ring, unmarked, finger size I1/2Condition report: 18 carat gold ring and ring stamped '18CT&PT' - 4.2 grams. Diamond three stone ring - 1.9 grams.
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![A Beautiful example of a ladies 9ct gold, large opal and emerald cluster ring. [15.2x7.0mm-opal]](https://cdn.globalauctionplatform.com/2e4acb57-e3ee-4854-815e-adc200b76be6/75960c70-c0c6-4f72-853d-adc201279ae6/468x382.jpg)
