THE SHIP'S BELL FROM H.M.S. AFRICA (1905) THE FIRST BRITISH SHIP FROM WHICH AN AIRCRAFT WAS FLOWN, 10TH JANUARY, 1912 cast in brass with red-filled lettering inscribed H.M.S. AFRICA and loop suspension ( suspension adapted from crown type; clapper later ) -- 13 x 12½in. (33 x 32cm.); together with iron bracket for wall suspensionFootnote: The first powered flight from a ship was achieved by the American Eugene Ely (1886-1911) on 14 th November, 1910. It wasn’t long before the Royal Navy saw the benefit of using planes at sea and began their own experiments. These culminated in success when Lt Charles Samson (1883-1931) climbed into the cockpit of a Gnome-engined Short Improved S.27 pusher seaplane and, on 10th January 1912, took off from H.M.S. Africa (moored in the Medway, Kent) from a runway mounted over her 12in. gun barrels. The aircraft moved quickly down the runway, dipped slightly after leaving it, but then pulled up and climbed easily. Samson circled Africa several times to the cheers of the crew and, after a few minutes, landed safely at an airfield ashore.
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AN EAST INDIA COMPANY LOG BOOK FOR THE E.I.C. PRINCE REGENT , 1828 A Journal of the Proceedings … from the Port of London to Madras and Bengal commanded by Henry Hosmer commencing May 13th 1828, ending June 10th 1829, Rept by J.G. Hopkins Midsh, manuscript on paper, 66 leaves (including two blanks), lists of crew and passengers, bound in contemporary reverse calf with Hopkins’ book-label and large engraved armorial bookplate -- 15 x 9 5/16in. (38 x 24.5cm.)Footnote: On the way out, the Prince Regent passed by Madeira before docking at Madras (9 September 1828). Presumably it continued to Bengal although the log is silent about it. On the return, the ship stopped at St Helena and passed by Ascension Island.Condition report: The first half of the book quite damaged in places glue/stains, pieces of paper adhering to the text and staining, corners worn
AN 18TH CENTURY POCKET COMPASS SUNDIAL unsigned , with 2in. polychromed paper dial, blued steel needle, apparently original glass, brass chapter ring and folding gnomon, and threaded lid --2¼in. (5.5cm) overall; together with two 19thC pocket compasses, with jewelled pivots and one with arsenic green card (3)Condition report: First: glass cracked to one side, otherwise brass with typical signs of old wear and usage.
AN EARLY TELEGRAPH MESSAGE, RECEIVED AT VALENTIA ISLAND, IRELAND, SEPTEMBER 1858 comprising a 71in. length of paper tape inscribed Call Signal in pencil under printed Morse code with letters delineated under, contained in a paper wrapper inscribed Telegraph message written at Valentia by Professor Thompson for J. Eccles 2 Mrs J. Corby [Electrican] Valentia Sep.24th / 58 -- 3in. (7.5cm.) wideFootnote: The message, as transcribed, appears to read "SCNTTO MRS RENCH B S PROFESSOR" - presumably 'scntto' was the call sign. The first Trans Atlantic telegraph message was transmitted, after several delays, in August 1858 with the service lasting a few weeks before breaking down to universal outrage. A British Committee of Inquiry launched an investigation which blamed Edward Whitehouse, the projects Chief Electrician, for using too much current and compromising the cables gutta-percha covering. It was to be eight years before the link was restored and the world reconnected. Valentia Island was then the most westerly point of the United Kingdom with Porthcurno in Cornwall being used from 1870.Condition report: Good condition, paper tape fragile;
δ AFTER BARNETT FREEDMAN (BRITISH, 1901-1958) 15-inch gun turret, HMS 'Repulse', 1941 Coloured lithograph, published by the National Gallery, printed at the Baynard Press 29 x 39½in. (74 x 100.5cm.)Footnote: Barnett Freedman was one of the first artists to be commissioned by the War Artists' Advisory Committee at the start of the Second World War. In July 1941, he was sent to work for the Admiralty, and specifically on H.M.S. Repulse.
ATTRIBUTED TO HENRY EDRIDGE (BRITISH, 1768-1821) Nelson as Victor of Copenhagen, circa 1801 Pencil and grey wash 14¼ x 7in. (36 x 17.8cm.)Footnote: This interesting view of Nelson was recently discovered amongst a large quantity of assorted prints. A heroic view of Nelson, he is depicted with Copenhagen and its distinctive warehouses ablaze behind him whilst, at his feet, Marianne of France – recognisable by the sans-culottes cap and shattered Fasces (the Roman emblem of power) – lies prone at his feet with his sword tip resting upon her throat. Whilst it serves as a potent image of the Danes defeat and thereby a major blow to France and her ambitions in the Baltic (and by extension, Russia), it was probably deemed ungallant as the vanquished girl at his feet is presented as a fragile beauty and perhaps more magnanimity should be shown in victory, so it is likely a rejected print design, but one that happens to show a radiant and handsome Nelson. Although Nelson was supposed to be subordinate to Admiral Hyde Parker at the Battle of Copenhagen, his famous audacity in raising his telescope to his blind eye when ordered to withdraw, commenting "I really do not see the signal" has become one of the most iconic moments in naval history and the idiom of 'turning a blind eye' to ignore undesirable information has entered the English, if not global dialect. Edridge produced two or three full length views of Nelson - a signed example ascribed to 1802 may be viewed at the National Museum of the Royal Navy, Portsmouth, also in undress uniform, but hatless. The hat on this example sports a finely detailed view of his famous Chelengk, awarded after the Battle of the Nile by Sultan Selim III in 1798, it appears to conform closely to the re-constituted version recently researched, produced and written about by Nelson authority Martyn Downer in Nelson's Lost Jewel (published by The History Press, London 2017) suggesting Edridge may have had a first-hand view of this unique decoration.
AN HISTORICALLY INTERESTING PAIR OF SHIPS IN BOTTLES MODELLED BY A GERMAN PRISONER ON THE ISLE OF MAN, 1917 the first depicting a five-masted barque attended by a steam tug, with the waterfront of Douglas behind and one building dated 1917 and a two-funnel steamer in neck of bottle; the other depicting a warship steaming off a fortified headland and lighthouse inscribed under light P. O. W. Camp 1917 , with smaller warships steaming neck and inscribed in ballast underneath J.G. 14730 I.O. Mann 1917 – 12in. (30.5cm.) long
NICHOLAS POCOCK (BRITISH, 1740-1821) The engagement between H.M.S. 'Northumberland' and a French squadron Watercolour on wove paper 18¼ x 28¼in. (46.5 x 72cm.) (2, a pair)Footnote: Early in 1812, Rear-Admiral Sir Harry Neale, commanding the Channel Fleet, found himself facing the problem of a small but powerful French squadron, under Commodore Martin le Foretier and consisting of two 40-gun frigates, Arienne and Andromaque , in company with the 16-gun brig Mamelouck , loose on the open sea having broken the blockade and come out of Nantes under orders to disrupt British and other shipping in the Western Approaches.. The 74-gun HMS Northumberland (Captain Hotham) was ordered to cruise off Lorient and await the three French vessels which were expected there. On 22nd May, the enemy vessels were spotted off the Ile de Groix and Hotham ordered the 12-gun brig Growler , which was fortunately close by, to chase them while he sailed around the island to cut off their approach to Lorient. Realising that his original direct approach had been cut off, the French Commodore decided to run between Northumberland and the rocky shore, under the protection of the friendly shore batteries, and thereby attempt to reach his destination. Considering it unsafe to stand his own ship that close to the shore given her size, Hotham followed a parallel course to the French and prepared to engage them with broadside fire from a range of about 400 yards. Hotham and his Sailing Master, Hugh Stewart, had already hatched a daring plan in which they would sail as close as they dared to the Graul Rock, knowing that the French would have to sail between it and their ship, and then destroy them with massive broadsides. Unfortunately there was insufficient depth of water to allow them to pass between the rock and the mainland and any manoeuvring was made more difficult by the fact that the clouds of powder smoke were obscuring the rock from sight. Receiving fire from shore batteries and from the powerful French frigates, Northumberland passed within 200 feet of the rock and the French, as expected, tried to pass inside, between the rock and the mainland. At 15.45, both frigates ran aground and at 15.50, the brig followed. With her sails and rigging damaged, Northumberland was forced to retire out of range to effect repairs to her sails and rigging, leaving the three French vessels stranded by the falling tide. At 16.22, Northumberland returned to the scene to find the three French vessels now hard aground and heeling over. At 16.48, the Mamelouck cut away her mainmast in an attempt to lighten ship and try to escape. At 17.00, Growler arrived on the scene and, being much smaller, closed the range and opened fire with her 18-pdr. carronades. At 17.23, the Arienne's mainmast was shot away by Growler's fire and at 17.28 Northumberland anchored in six and a half fathoms of water and opened fire on the three French vessels with her starboard broadside. Hotham had chosen his position well: his ship was out of range of all but one of the shore batteries and the enemy vessels were helpless. At 17.55, the Andromaque caught fire and five minutes later, her fore-topmast fell and her crew were seen to abandon ship in the boats. By now the flames were spreading fast and at 18.45, the Andromaque's main and mizzen masts fell. At 18.49, the tide was fully out, the Andromaque was completely engulfed in flames and the other ship's bottoms were so badly damaged that they would fill with water when the tide came in. Captain Hotham decided that the time had come to leave the scene, so Northumberland got under way and moved out of range of the one shore battery which could fire on her. All the while, Northumberland had been coming under fire from this shore battery and it had done some damage and caused casualties aboard her. Four of her seamen and one of her Royal Marines had been killed and Lieutenant William Fletcher, three Petty Officers, 19 seamen and five Royal Marines had been wounded. When Northumberland ceased fire, Growler closed the range again and opened fire in order to prevent the French crews from returning to their vessels. At 20.00, the Andromaque blew up and was totally destroyed. At 22.00, the Arienne was seen to be on fire and by 23.30 was engulfed in flames. Mamelouck by this time was lying on her side and was also on fire. At 02.30 the following day, Arienne blew up and later that day, Mamelouck was also destroyed by an explosion. The first painting depicts H.M.S. Northumberland at the beginning of the engagement, intercepting the French frigates Arienne and Andromaque and the brig Mamelouck as they tried to cut between the Northumberland and the rocky shore with Northumberland opening up broadsides against the French vessels. The second painting shows the engagement at about 16.30. The three French vessels have run aground on Graul Rock. Arienne's mainmast has been shot away (far left), and the brig Mamelouck (center) is lying on her side. Northumberland has returned from making repairs and is shown at anchor whilst firing her starboard broadsides.Condition report: Early action: Repaired 5in. tear top left; Edges slightly nibbled; time staining; Late action: Creasing top left.
![FIRST EUROPEAN INTERNATIONAL [YACHTING] REGATTA, 1911 Official Sailing Instructions and Programme , lavishly printed on high](https://cdn.globalauctionplatform.com/d68cb778-e62a-4066-a647-aae200ad3815/4b3db0e0-7c35-47d6-8b89-aaee010550f4/468x382.jpg)
FIRST EUROPEAN INTERNATIONAL [YACHTING] REGATTA, 1911 Official Sailing Instructions and Programme , lavishly printed on high grade paper, 23pp., with index, with fold-out plate of coloured racing flags, and eight fold-out coloured maps of the various competition courses, original blue calf, skilfully rebacked, the upper board with gold-blocked lettering and a circular medallion featuring The Sovereign of the Seas, 1637Footnote: Under the patronage of King George V, himself an enthusiastic yachtsman, this regatta – staged in George’s Coronation Year – was a genuine attempt by the King to improve international relations during the period of increasing tensions across Europe prior to the Great War.
A MERCHANT SHIPBUILDER'S MANUSCRIPT DESIGN BOOK, CIRCA 1785 a comprehensive manual to ship building by James Maw, 114 ff., written in a large legible hand, numerous diagrams, many full page, a fish and some other ornaments coloured grey, contemporary vellum, ownership inscriptions of Maw down to his great great grandson, D.B. Ramsbottom, s.n., 1783-85; together with another volume (2)Footnote: An extremely rare late 18th century manuscript guide to shipbuilding, describing (inter alia) ‘of measuring boards or planks’, ‘timber’, ‘masts’, 'windlass', tonnage of ships’, 'cleats’, 'bitts and cheeks' and 'Haruschole' and numerous other aspects of ship building. Despite the dates given above, the last page (illustrating a crane) reads, in Maw’s hand, ‘Scarborough July 27th, Friday 1804, this crane was first used for lifting Oak Timber at Mr John Tindall’s, Ship Builder'. Also, in the volume, are several names of ships and their captains.
JOHN CLEVELEY THE YOUNGER (BRITISH, 1747-1786) H.M.S. 'Carcass' in company with H.M.S. 'Racehorse' in search of the North West Passage Watercolour over pen and ink 6½ x 10¼in. (16.5 x 26cm.)Footnote: One of seven 'Infernal' class bomb-ketchs ordered in 1758, Carcass measured 309 tons and was just 91 feet long with a beam of 28 feet. The sturdy construction necessary for bomb-ketches made her an ideal candidate to convert for Arctic exploration. Capt. Constantine Phipps commanded the 1773 expedition from the Racehorse (another converted bomb-ketch) which left the Nore in June 1773. By the end of July both ships were icebound and were fortunate that a change in the weather allowed them to escape back to Britain -- luckily preserving the young Horatio Nelson. As a fifteen-year-old midshipman on Carcass , this adventure was to be his first significant brush with danger and included his famous encounter with a polar bear. The Carcass was sold out of the service in 1784.Condition report: Good condition
WILLIAM FREDERICK MITCHELL (BRITISH, 1845-1914) H.M.S. 'Challenger' on Expedition 1872-76 Signed 'W.F. Mitchell' (lower right) Watercolour heightened with bodycolour 5 x 8¼in. (12.5 x 21cm.)Footnote: Challenger was built at Woolwich in 1858. Classed as a screw corvette and ship-rigged on three masts, she displaced 2,306 tons. Originally armed with twenty 8in. guns and two huge 68-pounders, she pursued an active naval career for fourteen years before being converted into a survey ship in 1872. The largest vessel ever supplied for an oceanographic expedition up to that date, Challenger was placed under the command of Captain George Nares. Sailing from Sheerness on 7th December 1872 and carrying a team of six distinguished civilian scientists, the first ten months of the voyage were spent in the Atlantic which the ship crossed three times. After a seven-week stay at Cape Town, Challenger departed for the Southern Ocean on 17th December 1872 and, shortly after Christmas, made a brief stopover at Kerguelen Island, roughly midway between South Africa and Australia although much nearer the Antarctic Continent in latitude 50ºS. When the ship finally dropped anchor at Spithead on 24th May 1876, she had travelled an extraordinary 68,890 miles. The information gathered during the three-and-a-half year expedition, particularly from the deep soundings of the ocean floors, was of immense importance and, once the multi-volumed report was published, both ship and her commander achieved considerable acclaim. She was retired in 1880 and relegated to a harbour hulk at Chatham where she remained useful until finally sold out of the Service in 1921.Condition report: Fine overall condition
A COLLECTION OF ASSORTED ROYAL YACHT DINING WARE comprising a porcelain soup tureen, cover and stand; a shaped vegetable side plate; a bowl; a copper covered cooking pot and spoon; together with a manuscript menu from the R.Y. Osborne dated 19th May 1899; a piece of treen from the first Victoria & Albert in the form of a book (7)
δ FRANCIS RUSSELL FLINT (BRITISH, 1915-1977) Above us the waves Signed 'Francis R Flint' (lower left) Watercolour 14½ x 21in. (37 x 53.5cm.); together with with six black and white stills from the set of Above Us the Waves and a program from the premiere in 1955 (8)Footnote: Provenance: Painted on the set of the 1955 film 'Above us the Waves' for William MacQuitty (Producer) and thence by descent. The film from which this scene is taken regards the various attempts to sink the powerful 'pocket' battleship Tirpitz before it had a chance to wreak havoc on shipping in the Atlantic. The first attempt was made using six midget submarines – X Craft. Towed by conventional 'mother' submarines to within striking distance, they carried a crew of four and a pair of two-ton mines. Small enough to go under the defensive nets, two made it through and laid their mines. Whilst substantial damage was caused, the ship remained afloat and successive operations resorted to the Fleet Air Arm. The film was made using real equipment and the actors had to learn how to use re-breather equipment (pre-aqualung, they made no tell-tale trail of bubbles) and was directed in a similar manner with MacQuitty himself donning the gear and signalling directions under water.Condition report: Fine overall condition
AN EXHIBITION STANDARD 1:32 SCALE STATIC DISPLAY MODEL OF THE RUSSIAN IMPERIAL YACHT QUEEN VICTORIA , ORIGINALLY BUILT BY J. SAMUEL WHITE AT EAST COWES, 1846 modelled by A. Baranov from his own researches, in alder, pear and black hornbeam woods, the hull sheathed below the waterline with ebonised topsides and finely chased brass bow and stern decoration and finely carved figurehead of the queen, the planked decks with treenails and fittings including metal anchors with bound wooden stocks, anchor winch with hawse pipes, belaying rails and pins, deck and saloon lights with glazing, metal bilge pump with eccentric crank shaft, covered companionways with panelled sides and seats, brass binnacle and helm, two finely constructed lifeboats swung-out in davits, racked masts with standing and running rigging with bound blocks and tackle, and full suit of stitched linen sails, mounted on two brass supports to ebonised display base -- overall measurements 43 x 54in. (109 x 137cm.) Provenance: This model was awarded gold at the All Russian Shipmodelling Competition Championship, 2017; and silver in the Ukrainian Shipmodelling Championship, 2012 This lot will be available for viewing at Imperial RoadFootnote: With ‘Russophobia’ on the rise since 1820 over tensions with India and elsewhere, the British Government, capitalising on the new Queen's youth and in an attempt to break with the past, presented this yacht as a diplomatic gift to Tsar Nicholas I. Built by Joseph White of Cowes and registered at 95ft long with a 22ft beam, it was supposed to be launched at midday 10th June 1846 in the presence of the Grand Duke Constantine and Queen Victoria, but as it turned out, the Victoria & Albert aboard which they were travelling was delayed and so in the event the Russian consul smashed a bottle of Lacryma Christi over the bow and launched her. The I.Y. Queen Victoria was indeed splendidly appointed with ceremonial cabins decorated with rosewood and maple with a bird's-eye texture and a gilt full length figurehead of the Queen herself and became the first yacht of the St. Petersbury Yacht Club, founded by Nicholas on the 1 st May the same year. A great success, she raced for many seasons and her life was extended by a substantial refit, but by 1884 she was worn out and had to be broken up.Condition report: Fine condition overall.
Two Late 19th century bronze medals. One awarded to Laura Johnson, later Dame Laura Knight (1877-1970), one of Britain's most famous painters and the other to her mother, Charlotte Johnson. Laura became the youngest student to enrol at Nottingham School of Art at the age of 13 in 1890. The medals were presented to Charlotte in 1881 and her daughter, Laura in 1893.They were awarded by the Science and Art Department of South Kensington Museum in London, now the V&A. Both medals measure 5.5cms approx. The edge of Laura's medal is inscribed with words 'Laura Johnson Subject 8b2 1893', while her mother's medal says 'Charlotte Johnson Nottingham Stage 16a 1881.' We understand 16a refers to painting the human figure or animals in monochrome from casts in oil, watercolour or tempura. 8b2 is unknown. Laura went on to become one of Britain's most famous and respected artists, paving the way for other female artists to gain recognition.Laura worked in oils, watercolours, etching engraving and drypoint and in 1903 married fellow artist Harold Knight. Known for capturing London's world of theatre and ballet in canvas and for her work as a war artist. She was also inspred by marginalised communities such as circus performers and gypsies. Laura became the only woman to be given First and Second World War commissions. In 1926 she was a made a Dame of the British Empire; in 1936 she was the first woman elected to full membership of the Royal Academy and in 1946 she was the only British artist to cover the Nuremberg trials
RICHARD BERRY AND THE PHARAOHS - RHYTHM AND BLUES - VOLUME THREE EP (EMBER EMB EP 4527). Headin' to the bayou with Richard Berry And The Pharaohs with this hard to find EP on Ember (EMB E.P. 4527). The record is in VG+ condition with some light surface markings - these are never heavier in nature. The sleeve is in Ex condition - a really top example, there is a light sticker removal mark on the reverse above the 'first' catalogue number on the top left side.
FUNK / SOUL / NORTHERN - 7"s. Stompin' collection of about 110 x 7"s. Titles/artists include J. J. Jackson - Come See Me (Strike JH 329, G+), Grover Mitchell - I'm Still In Love With You (Josie 45-076, VG+), O. C. Smith - Little Green Apples (CBS 3767 Promo, Ex), William DeVaughn - Be Thankful For What You Got (Chelsea 2005 002, VG+), Ike And Tina Turner, Joe Turner - Love Oh Careless Love (Atlantic 45-2034 Promo), The Tymes, fontella Bass, Dave Pike, Clarence Carter, The Equals, Monika Grimm, Winston Groovy, First Impressions, Booker T & The MG's, The Supremes, James Boys, Aretha Franklin, Inez And Charlie Foxx, The Velvelettes, Tina Charles, Bobbi Humphrey, Bring It Up, Bob And Earl, Larry Norman, The Main Ingredient, Jackie Wilson, Waves, The Toys, George Flame, Stevie Wonder, Harold Melvin & The Blue Notes, Four Tops, Azymuth, Al Green, Lan, Mary Well . Condition is generally VG+ to Ex.
SUMMIT RECORDS - 7". Reaching the peak with these 14 x original UK 7" on short lived Trojan subsidiary Summit Records. Artists/titles/cat. numbers are The Gaylads - My Jamaican Girl (SUM 8514 - Ex light surface mark running through A side), The Maytals - Monkey Girl (SUM 8513 - Ex+), Samuel The First (SUM 8515 - Ex+), James Chambers - Bongo Man (SUM 8523 - Ex+), Brent Dowe - Knock Three Times (SUM 8521 - Ex, also SUM 8530), Bruce Downer (SUM 8524), Sidney, George & Jackie (SUM 8535), The Maytals (SUM 8510), The Melodians (SUM 8532, SUM 8522), Paulette (SUM 8543), Bruce Ruffin (SUM 8509) and Mello And The Meltones (SUM 8538). Elsewhere condition is generally Ex to Ex+.
BULLET RECORDS - 7". Another finely tuned selection of Bullet rarities with 8 x 45s here. Artists/titles/cat. numbers are The Hippy Boys - Hog In A Me Minte (BU 412 - well presented Ex), The Clan/Bunny Lee All Stars - Copycats c/w Hot Lead (BU 419 - brill Ex+), Winston Shan And The Sheiks - Throw Me Corn (the first release on this iconic label, BU 399 - glossy Ex), The Upsetters - All COmbine (BU 461 - ace Ex+), The Cimarrons - Leave A Little Love (BY 458 - great Ex+), Buster Brown - Never Love Another (BU 476 - strong Ex), Lennox Brown/Winston Scotland (BU 501 - Ex+) and Sir Harry/U Roy (BU 519 - Ex+).
PIONEERS - SHAKE IT UP 7" (BLUE CAT RECORDS - BS 100). The very first on Blue Cat with The Pioneers c/w Goodies (Rudies) Are The Greatest (BS 100). The record is in fine and glossy Ex condition with just a couple of light and minor scuff markings. Top condition labels with the four pronged centre fully intact.
CARL LEVEY/PEGGY - WALK THE HOT STREET C/W YOU SAY YOU DON'T LOVE ME 7" (HOT ROD RECORDS - HR-100). More skinhead classics here with this monster double header, the first release on this tiny Trojan sub. The record is in quite brilliant Ex+ or archive condition showing just one or two extremely tiny, faint and ever so wispy markings under intense LED lighting. A better copy will not be found!
Two Muller Volkstedt & Co Seedorf Dresden figurines, both with Dresden lace applied to the edges of the subjects garments, the first figure a gentleman beckoning a lady forward, the train of her dress held by a young Blackamoor attendant, height 16cm, length 27cm, the other a study of dancers in thrall, height 25cm length 27cm, (2)
Two Georgian miniature portrait studies, the first a hand painted portrait possibly on ivory, depicting a lady with curled dark hair under a bonnet, tied with a bow and enhanced with a floral embellishment, the second a watercolour or drawing of a gentleman in profile with button jacket, 13cm x 10cm framed and glazed (2)
TWO EARLY 20TH CENTURY 9CT GOLD PENDANTS, the first designed as a circular amethyst within a millegrain setting suspending a pear shape amethyst from a open scrolling line, to the fixed fine belcher link chain, length of pendant 49mm, length of chain 420mm, stamped 9ct, the second pendant of openwork floral design set with two imitation split pearls, stamped 9c, length 42mm, approximate total weight 7.4 grams
THREE 9CT GOLD GEM RINGS, the first a smokey quartz five stone ring, ring size P, the second designed as two central circular garnets within a scalloped opal cabochon surround, ring size M, note:- one opal missing, the third a central oval opal cabochon within a circular garnet surround, ring size P, all with 9ct hallmarks, approximate total weight 6.7 grams
TWO GOLD DIAMOND RINGS, the first an 18ct gold diamond cluster ring, estimated total diamond weight 0.40ct, with 18ct hallmark, ring size L, approximate weight 2.9 grams, together with a 9ct white gold diamond dress ring, designed as a circular cluster of brilliant cut diamonds to the cross over design band, stamped diamond weight 0.23ct, with 9ct hallmark, ring size O, approximate weight 2.5 grams
TWO 9CT GOLD OPAL AND SAPPHIRE RINGS, the first designed with a central oval opal cabochon within a circular sapphire surround, ring size O, the second a diagonal line of three marquise shape sapphires to the cross over design band with circular opal cabochon detail to the terminals, ring size M, both with 9ct hallmarks, approximate total weight 4 grams
TWO FRENCH DRYPOINT ETCHNGS, the first is by G.Charpentier and depicts flamingos in a lake by moonlight, signed to the margin with Georges Petit Gallery blindstamp, framed, approximate size 54cm x 37cm, the second is by Alphonse Lafitte and depicts sailing boats off the coast, signed to the margin, framed, approximate size 31cm x 51cm (2)
TWO GOLD DIAMOND RINGS, the first an 18ct gold five stone diamond ring, set with a line of five brilliant cut diamonds, estimated total diamond weight 0.40ct, with 18ct hallmark, ring size L, approximate weight 3.4 grams, the second a 9ct gold diamond cluster ring, each diamond illusion set with brilliant cut diamonds, estimated total diamond weight 0.10ct, ring size N, approximate weight 3.2 grams
TWO RINGS, the first a cameo ring depicting a lady in profile, within collet mount to the scalloped surround, with a 9ct hallmark for London, ring size Q 1/2, second ring designed as a flower featuring five oval cut garnets around a circular garnet centre, to the bifurcated shoulders, ring size M, approximate total weight 4.6 grams
A 9CT GOLD AMETHYST AND DIAMOND TORQUE BANGLE AND TWO 9CT GOLD RINGS, the bangle of cross over spring design set to each terminal with a collet set oval amethyst and a single cut diamond, the first ring set with a central cultured pearl and flanked by colourless pastes, the second a signet ring, all with 9ct hallmarks, approximate total weight 9.6 grams
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