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Lot 138
A Regency gold and enamel mourning ring, circa 1817, applied with a central band of black enamel, with the inscription 'BARRETT MARCH ESQ OB SEP 1817 AE 72', between bands of engraved floral motifs and outer bands of black enamel, mounted in gold, size O, British hallmarks for 18ct gold, date letter for 1817
Lot 134
An unusual pearl, paste and enamel mourning ring, circa 1802, centring on a glazed panel containing hairwork and the initials AW in seed pearls, within a border of half pearls, to wide tapering band applied with white enamel, between borders of cushion-shaped blue pastes continuing around the ring, the interior inscribed 'Alice Worswick Obt 25 June 1802 At 70', mounted in gold, size U1/2, case inscribed '1834 Agnes Maria Swarbreck, The gift of Grandmama Andrade'
Lot 130
A George III mourning ring, circa 1797, and two Victorian gold and elephant hair rings, late 19th century, comprising: a mourning ring, the wide band applied with black enamel, the dedicatory inscription 'Philip Perring Esq Ob 7 July 1797 Aet 66' in reserve, size Q, British hallmark for 18ct gold, date letter B for 1797, sponsor's mark WH; and two gold rings mounted with strands of elephant hair, sizes K and P respectively
Lot 94
Two Georgian paste cameo rings, second half 18th century, comprising: a ring of marquise-shaped outline, set with a paste cameo portrait of a young boy in profile, possibly a young Prince Ernest Augustus, Duke of Cumberland, later King of Hanover (1771-1851), on a red foiled ground, behind glass, mounted in gold, front measuring 3.5 x 1.9cm, size R1/2, cameo signed BROWN; and a ring of oval outline, depicting the soldier and politician Sir Eyre Coote (1726-1783), recorded in the William Tassie archives, no. 14166, in a coat and sash, on a black ground, behind glass, mounted in gold, front measuring 3.1 x 2.4cm, size U
Lot 172
Alexis Falize, an extremely rare varicoloured gold ring, circa 1870, the central band with a scene of dogs hunting a large boar, in varicoloured gold on a blackened steel background inspired by Japanese shakudō, within plain gold borders, size T, French assay mark for 18ct gold, partial French maker's mark for Alexis Falize, caseThis intriguing ring embodies Western fascination with Japanese decorative arts in the latter half of the 19th century, following the country's opening up to trade after centuries of sakoku, Japan's policy of closed borders and self-sufficiency under the Tokugawa shogunate. In the world of jewellery, among the biggest exponents of Japanese art was Alexis Falize, who most famously adapted the Chinese and Japanese art of cloisonné enamel to jewellery to great acclaim in the late 1860s. Alongside his son Lucien, Falize was one of the most scholarly and technically sophisticated jewellers of his day, well-versed in decorative styles, metalwork and enamel techniques from across world history. The metalwork technique exhibited here is heavily influenced by Japanese shakudō and shibuichi - darkly patinated alloys of gold, silver and copper which appeared as details on Japanese armaments in the 19th century. Few if any other jewels in this style attributable to Falize are published, but these Japanese metalwork techniques were known to the firm, as demonstrated in their silversmithing, and a broader vogue for the style can be seen from their production in England and France in the late 1870s and 1880s, most notably for Tiffany & Co., who had purchased many of Falize's cloisonné enamel jewels around the time Falize was exhibiting them at the Exposition Universelle in 1867. While the metalwork is certainly of Japanese inspiration, the choice and treatment of the subject matter, a boar hunt, is more rooted in European artistic traditions. Hunting scenes appear in two major commissions later carried out by Lucien Falize: a cuff bracelet enamelled and chased with a hunting scene from an illuminated medieval manuscript, commissioned by Gaston de Galard de Béarn, Prince de Viana, exhibited at the 1878 Exhibition Universelle, and also the inner boar hunting frieze of the Vase Sassanide produced during the firm's collaboration with Bapst, first exhibited in 1889. Alexis Falize's poincon, AF with the symbol of a watch fusée chain hook, which appears on the present example, was registered in 1841 and appears on his jewels and his beautifully rendered design drawings up until his retirement in the mid-1870s, dating this ring to a particularly creative period in this family firm's remarkable history.Cf.: Katherine Purcell, Falize: a dynasty of jewelers, London, 1999, p.96 and 99, for examples of hunting scenes in commissions by Falize, p.212 for a pommel designed by Lucien Falize in Japanese-style inlaid metalwork, and p.202-6 for photographs of Falize's cloisonné jewels of the late 1860s, bearing his maker's mark.Cf.: Charlotte Gere and Judy Rudoe, Jewellery in the Age of Queen Victoria: A Mirror to the World, British Museum Press, 2010, p.314, no.270 and 271, for shakudo-style jewels made in Britain in the 1880s, and p.315 no.272 for a selection of Tiffany & Co. jewels in a comparable style from the Hull Grundy collection in the British Museum
Lot 65
A collection of jewels, including a mourning brooch and a patch box, 19th century, comprising: a lozenge-shaped gold plaque centring on a carnelian and glass composite cameo of Apollo, within a filigree openwork border, circa 1810, 7.4 x 6.3cm; a gold necklace centring on a gold pendant with a painted sepia enamel portrait of Mars, to a later gold chain, length 40cm; a blue glass plaque with a scene of classical ruins in cut gold, within a border of pastes, 4.7 x 5.7cm, possibly composite, frame adapted from a shoe buckle; a wooden patch or toothpick case applied with the initial D beneath a viscount's coronet, opening to reveal a mirror and a piece of paper with the gilt crowned monogram of Queen Victoria, 6.1 x 2.2 x 1.1cm; a mourning brooch of navette outline, centring on an enamelled urn inscribed 'Grieve not she rests in peace', on a ground of hairwork, length 3cm, likely later adapted from a mourning ring; and a foliate gold plaque set with green pastes, 7.0 x 4.0cm
Lot 127
A rare cut gold and enamel ring, late 18th century, of elongated oval outline, the central glazed panel containing sheet gold, cut in silhouette to depict the entwined initials LL beneath two flaming hearts on an altar, a festoon of flowers and two doves, on a blue guilloché enamel ground, within an engraved gold mount applied with green and white enamel, to a fluted band with shoulders modelled as acanthus leaves, size N1/2, front measuring 3.1 x 1.5cmCf.: Anna Beatriz-Chadour, Rings: Anna and Louis Koch Collection, Routledge, 1994, no. 995-998 for 18th century rings in a similar technique
Lot 86
Six wedding bands and a pair of earrings, 19th and early 20th century, comprising: two gold bands engraved with floral decoration, sizes K and N1/2, smaller ring with British hallmarks for 18ct gold, date 1828; a platinum ring engraved with laurel wreaths, size M; and an 18ct gold bicoloured ring, size M1/2, British hallmark; together with two plain gold wedding bands, sizes U1/2 and O, British hallmarks for 18 and 22ct gold respectively; and a pair of gold drop earrings, hook fittings, length 3cm each
Lot 137
λ A Georgian mourning ring, circa 1789, designed as an oval glazed compartment containing a Neoclassical funerary urn initialled SC, accented with seed pearls and gold, on a ground of woven hairwork, the surround applied with black enamel, the dedicatory inscription 'Samuell Chettle Died 15 Nov 1789 Aged 27' in reserve, to a plain gold mount, size V
Lot 144
A George III gold and enamel mourning ring, circa 1790, of cut-cornered rectangular outline, centring on a glazed compartment with a funerary urn in black and white enamel, to a ground of woven hair, within an outer border of black and white enamel, mounted in gold, the reverse with dedicatory inscription 'Helen Long, Obt Decr 1790 Aet', size M1/2, front measuring 2.7 x 1.8cm
Lot 153
λ A superb pearl, enamel and diamond mourning ring, circa 1791, of oval outline, centring on a funerary monument composed of an ivory panel initialed ID, surmounted by a pearl, to a rose-cut diamond base, beneath a three-dimensional weeping willow set with rose-cut diamonds, on a blue enamel ground, covered by a glazed panel, to an outer border of cushion-shaped diamonds, the reverse with a glazed compartment containing hairwork, bordered by the dedicatory inscription 'Ja.s Duberly Esq died 4 July 1791 Aged 64', mounted in silver and gold, size Q1/2, front measuring 3.5 x 2.1cm, pearl untested
Lot 145
An enamel and diamond mourning ring, circa 1880, set with a cushion-shaped diamond in a square border, the setting and shoulders applied with black enamel, mounted in 18ct gold, the interior with commemorative inscription 'Eliza Brown, Born 17th Nov 1813 died July 14th 1880', size P, British hallmarks, date letter for 1880, sponsor's mark EE
Lot 165
A sapphire and diamond ring, mid 19th century, designed as a coiled snake in gold, its head set with a pear-shaped sapphire, its eyes set with rose-cut diamonds, size V1/2The sapphire, measuring approximately 7.9 x 4.6 x 3.1mm, is of Sri Lankan origin, with no evidence of heat treatment, according to a verbal report from GCS
Lot 184
An Art Nouveau diamond ring, France, circa 1900, of whiplash design, set with circular-cut and cushion-shaped diamonds, mounted in silver and gold, size M1/2, French assay mark for 18ct gold, caseCf.: Henri Vever, French Jewelry of the 19th Century, English edition translated by Katherine Purcell, London, 2001 (originally Paris, 1906-8), p.1035, for a selection of comparable rings by Maison Péconnet
Lot 132
An enamel and diamond mourning ring, circa 1793, of oval outline, centring on a glazed compartment containing a funerary urn in white enamel, decorated with festoons of rose-cut diamonds, to a deep blue guilloché enamel ground, within an outer border of blue and white enamel, mounted in gold, the reverse with a dedicatory inscription reading 'Elizh Ann & Edwd Horn ob in 1792 & 1793', size P, front measuring 2.9 x 1.8cm
Lot 149
A diamond and blue glass ring, 'bague au firmament', late 18th century, of cut-cornered rectangular outline, centring on a blue glass panel set with a vertical line of circular-cut diamonds surrounded by smaller cushion-shaped diamonds, within an outer border of cushion-shaped diamonds, to plain shoulders, mounted in silver and gold, size L1/2, front measuring 2.5 x 1.6cm
Lot 131
λ An ivory and enamel sentimental ring, late 18th century, of cut-cornered rectangular outline, the glazed panel with a carved ivory scene depicting a man and woman holding hands over a burnt offering on an altar, while Cupid flies above, festooning the couple with a garland of flowers, to a blue glass ground, mounted in gold, size O, front measuring 2.6 x 1.6cm Hugh Tait ed., The Art of the Jeweller: A Catalogue of the Anne Hull Grundy Gift to the British Museum, London, 1984, p.50, no.187-192, for rings intricately made in a similar technique, attributed to French origin, late 18th century.
Lot 140
An enamel and gold memento mori ring, England, dated 1824, the gold band applied with a band of sinuous floral decoration concealing a skull in black enamel, the interior inscribed '102 P 23 Verse 27 Decr 1824', size R1/2The inscription on this ring possibly references Psalm 102, verse 23, which reads 'He hath broken my strength along the way; he hath shortened my days'. For a similar, 18th century example of this design, see an early 18th century ring in the British Museum by William Coles, collection no.AF.1549
Lot 136
λ An ivory mourning ring, possibly American, circa 1789, of navette outline, set behind glass with an ivory miniature depicting a shepherdess in a pastoral scene with a basket and crook, to a gold mount with a stippled border and engraved decoration to the shoulders, the reverse with a dedicatory inscription 'Hannah Grey 18 Jan 1789 AEt 51/2', size R, front measuring 3.4 x 1.9cmCf.: Diana Scarisbrick, Rings: Jewelry of Power, Love and Loyalty, London 2007, pg. 178 for a ring of similar design set with an ivory miniature, with comparable engraved decoration to the mount, from Baltimore, Maryland, and Martha Gandy Fales, Jewelry in America, 1600-1900, Antique Collectors' Club, 1995, p.149, for a mourning brooch with similar decoration from Philadelphia, circa 1792
Lot 133
λ Two enamel and ivory sentimental rings, late 18th century, comprising: one ring of cut-cornered rectangular outline, the glazed compartment containing a putto placing a spray of flowers on an altar in ivory and gold wire, to a blue glass ground, mounted in low carat gold, size J1/2, front measuring 2.0 x 1.1cm, indistinct maker's mark, stamped 6K; and a similar ring of oval outline, depicting a winged putto dropping a spray of flowers onto a pair of burning hearts atop an altar in carved ivory and gold, to a blue glass ground, mounted in gold, size O, front measuring 2.5 x 1.3cmCf.: Diana Scarisbrick, Jewellery from Renaissance to Art Deco: 1540-1940, Tokyo, 2003, p.94, and Hugh Tait ed., The Art of the Jeweller: A Catalogue of the Anne Hull Grundy Gift to the British Museum, London, 1984, p.50, no.187-192, for rings intricately made in a similar technique, attributed to French origin, late 18th century. Depictions of twinned flaming hearts on altars are a popular romantic symbol in 18th century sentimental jewels, often referred to as the 'Altar of Love'.
Lot 155
λ A diamond and ivory mourning ring, circa 1792, of oblong outline, centring on a glazed panel containing a funerary monument in ivory bordered with rose-cut diamonds, painted with an urn and the initials JY, to a ground of hairwork, the outer border of black and white enamel, mounted in gold, the reverse with dedicatory inscription 'James Young ob 25 Septr 1792 At 55', size P, front measuring 3.1 x 1.7cm
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563972 item(s)/page