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Lot 6
WW1 Royal Navy Battle of Jutland Veterans Group of Three Medals.Awarded to “K.14351 E PENNY ACT L STO. RN”. Comprising: 1914/15 Star “STO 1 RN”, British War Medal, Victory Medal, “ACT L STO RN”. Mounted as originally worn. Acting Leading Stoker Edward Penny from Hampstead London joined the Royal Navy in 1912. At the Battle of Jutland he was serving onboard the Orion-class dreadnought battleship HMS Conqueror.
Lot 78
WW1 1st Bn King’s Royal Rifle Corps 1915 Casualty Mons Star Group of Medals.Awarded to “5672 PTE R DAVIES K R RIF C”. Comprising: 1914 Star “PTE 1/K.R. RIF. C.”, Tailor’s Clasp, British War Medal, Victory Medal, Bronze Momorial Plaque “RICHARD DAVIES”. Private Richard Davies landed in France on the 22nd August 1914 and is confirmed as being awarded the clasp. He was Killed in Action on the 5th December 1915.
Lot 5
WW1 Royal Navy Long Service Group of Four Medals.Awarded to “K.19312 J.T. LITTLETON STO 1 RN”. Comprising: 1914/15 Star “STO1 RN”, British War Medal, Victory Medal “STO 1 RN”, Royal Fleet Reserve Long Service & Good Conduct Medal (GVR) “K.19312 (CH. B. 19126) J.T. LITTLETON STO 1 RFR”. Stoker John Thomas Littleton joined the Royal Navy in 1913 and joined the Royal Fleet Reserve in 1925.
Lot 260
Royal Navy NGS Medal Roll Limited Edition Signed by the Author.A rare example of the Limited Edition of 250 Copies of “The Naval General Service Medal Roll 1793-1840” published 1982. This example is numbered 20 and with clear ink signature of “K J Douglas-Morris September 1982”. Spine cover absent boards loose. Pages secure.
Lot 3098
Autographs A Collection Of 110 Assorted Autographs including Rory Bremner, Julian Clary, Steve Coogan, Neil Innes, Paul Merton, Peter Hall, Ken Russell, Michael Winner, Terry Gilliam, Sam Mendes, Nick Hornby, Jonathan Miller, J K Rowling, Jack Charlton, Malcolm McDonald, Stirling Moss, Henry Cooper and others (each autograph was collected in person by the vendor and is on an individual file card)
Lot 851
A yellow metal, diamond, and ruby ring, set with a cabochon ruby (treated), four-claw set in a rectangular mount, the shoulders each set with three round-cut diamonds, shank unmarked, size K.Condition report: 6.3 grams. Shank unmarked, likely 18ct. Ruby showing heavy signs of resin treatment.
Lot 1086
Edwardian coral and diamond three stone ring, hallmarked Chester 1903, ring size P, with an Edwardian diamond ring with scroll decoration, hallmarked Birmingham 1901, size N, both mounted in 18 ct, and signet ring testing as 9 ct, size K 18 ct gross weight 5.1 grams9 ct gross weight 1.8 gramsDiamond set ring hallmarked Birmingham 1901 is missing a stone on both shoulders, only central diamond remains.
Lot 1168
Two vintage rings, one set with oval cabochon cut amethyst, rub over set with textured shoulders, makers mark PJV, ring size M and 1970's textured band, both testing as 9 ct, size L 9 ct gross weight 12.5 gramsengraved inside texture band 'K to J - 1951-76'light scratches to amethyst surface, 12 x 8mm1970's texture band 6.5mm width
Lot 1169
Ruby and old cut diamond dress ring, set with four old cut diamonds, and three round cut rubies, in diamond shaped mounts along a wide band, 8.2mm width, with wirework decoration, testing as 18 ct white and yellow gold, ring size K Gross weight 7.2 gramsOne diamond has small chips to surface and rubies surface are lightly scratched
Lot 1019
Sapphire dress ring, central oval cut sapphire, high set, with a white metal textured surround, with a double border of round/oval mixed cut sapphires, decorative shoulders, set in tested 9 ct, with a higher grade plating, ring size K 1/2 Gross weight approximately 8.74 gramsCentral sapphire and white metal surround are free moving and attached by a bolt through the centre of the ring
Lot 1028
Single stone synthetic corundum ring, oval cut synthetic corundum measuring an estimated 22.5 x 16.4 x 9.6mm, in a four claw setting, signed A.Kat, ring size K, mount stamped 18 ct, Gross weight approximately 10.67 gramssynthetic corundum is set securely, a few very very small chips to girdle and light scratches to gemstones surface
Lot 1043
Victorian key brooch, 5.1 x 1.4cm, in 15 ct, with a pin and catch fitting, Dragon brooch, 5.8 x 2.7cm, stamped 14 ct, Claddagh Irish love ring, size N, diamond illusion set single stone ring, size K, engraved bangle, 21st birthday pendant, pair of hoop earrings and half hoop earrings, princess cut cubic zirconia pendant, three chains and a single earring, all testing as 9 ct 15 ct gross weight 4.8 grams14 ct gross weight 5.6 grams9 ct gross weight 15.6 gramsone pair of hoop earrings are missing butterfly fittings
Lot 1225
A jewellery box, containing French woven bangle and a French square ring, both in 800 silver, ring size K, cubic zirconia set bangle marked 925, three other rings and Russian religious brooch all testing as silver, two silver pocket watches and a plated torque bangle Gross silver weight (excluding pocket watches) 59.9 gramsGross weight of two silver pocket watches: 71.6 grams
Lot 1069
Selection of jewellery, including a black and white diamond set pendant, a 1960's cabochon amethyst ring, size K, an expanding baby bangle, a single hoop earrings and a pair of drop earrings, all in 9 ct, together with a garnet set cross stamped 900 and tested as silver and a gold plated rope necklace 9ct gross weight 10.29 gramsBangle is badly dented and misshapen
Lot 1167
Early 20th C ruby and diamond ring, in 18 ct, hallmarked Birmingham 1918, ring size N 1/2, with a blue and white sapphire cluster ring, size K 1/2 and red paste dress ring, size L 1/2, both stamped 9 ct 18 ct gross weight 3 grams9 ct gross weight 4.7 gramsRuby and diamond ring makers mark A.W.O, all three rubies have small chips to surfaceBlue and white sapphire ring all stones have scratches and small chips to surface
Lot 1235
Modern ring, set with an oval cabochon cut emerald, ring size K, stamped 14 ct, with a sapphire and diamond set bracelet, mounted in gilt metal, multi-coloured titanium necklace, a quartz and paste necklace in stamped silver, a multi-stone emerald necklace in silver, labradorite necklaces, a tigers eye necklace, an agate bead necklace and blue hard stone bead bracelet a base metal pendant on cord and a base metal and a green paste ring, size R 1/2 Titanium necklace 42cm in length with 4cm pendant drop. Titanium gross weight 6.1 grams. Silver gross weight 19.2 grams. 14ct gross weight 7.06 grams
Lot 190
Adolf HölzelFenster "Lesende" Bleiverglastes Glasfenster, teils mit Schwarzlot bemalt 107 x 33 cm Gerahmt (jüngere Bleirahmung 109 x 36 cm), mit Aufhängevorrichtung. Unten rechts datiert und bezeichnet: "Ausgeführt W. v. [Werkstatt von ] A. SAILE STGT. 1926" - Stellenweise mit einigen kleinen fachmännischen Restaurierungen.Venzner G III 1.1 (dort irrtümlich "1929" datiert, "offenbar nicht erhalten")ProvenienzDr. Willi Fulda, Lauta-Werk, Lausitz; 1947 durch Erbschaft an den Vorbesitzer; Lempertz Auktion Moderne Kunst 684, 21.11.1992, Los 193; Privatsammlung Nordrhein-Westfalen; seitdem in FamilienbesitzLiteraturWolfgang Venzmer, Die Glasfenster für Stuttgart und zeitgleiche Pastelle, in: Adolf Hölzel, Leben und Werk, Stuttgart 1982, S. 164-166 mit Anm. 317 S. 210, Abb. S. 273; vgl. Annika Plank, "Farben - Kinder des Lichts", Zu Adolf Hölzels Glasfenstern, in: Kaleidoskop Hoelzel in der Avantgarde, Auss. Kat. Kunstmuseum Stuttgart/ Kunstforum Ostdeutsche Galerie, Regensburg, Heidelberg 2009, S. 90 ff., insbesondere S. 92 f.Wie Katharina Erling hervorhob, stammt das seinerzeit verschollen geglaubte Fenster - wie auch der dazugehörige angebotene Entwurf (siehe Los 191) - für das Bibliothekszimmer von Dr. Willi Fulda im Lauta-Werk, Lauta/Lausitz, aus Hölzels wichtiger und letzten Schaffensperiode. In zahlreichen Pastellen beschäftigte der Künstler sich damals bekanntlich mit den Gesetzmäßigkeiten und Wirkungen von Farben und Formen im Licht, erscheinen sie doch wie leuchtende abstrakte Entwürfe für imaginäre Glasfenster. Die Gestaltung mit transparentem Glas krönte seine künstlerischen Bestrebungen. „Denn wenn Hölzel eine absolute Malerei, in Analogie zur Musik ganz aus den Mitteln heraus entwickelt, oder, um einen anderen Terminus zu gebrauchen, eine ‚musikalische Malerei' vorgeschwebt hat: Hier haben seine Intentionen die reinste Verwirklichung gefunden, konnten Beabsichtigtes und Erreichtes zu weitgehender Deckung kommen“ (Wolfgang Venzmer, Adolf Hölzel, op. cit S. 127). 1973 hatte Adolf Saile von der Werkstatt Saile in Stuttgart den Verfasser des Werkverzeichnisses auf das Fenster im Bibliothekszimmer in Lauta, dem damaligen Aluminiumwerk „Albert Zimmermann“, aufmerksam gemacht. Es war nur in einem Schwarz-Weiß-Foto dokumentiert. Wie K. Erling hervorhob, ist das vorliegende, 1926 datierte Werk nach dem frühen Auftrag von 1918 für die Glasfenster-Gestaltung im Festsaal der Firma Bahlsen in Hannover „das erste in der traditionellen Art der Bleiverglasung ausgeführte Glasfenster von Adolf Hölzel. Wie der Forschung bisher unbekannt geblieben ist, leitet dieses Fenster Mitte der 20er Jahre eine erneute Auseinandersetzung Hölzels mit dem Medium Farbglas ein. (…) Kurz nach Fertigstellung des Fensters war es in Stuttgart ausgestellt.“ (zit. nach dem Kat. Moderne Kunst, Lempertz Auktion 21. 11. 1992, S. 46/47). Die zeitgenössische Kritik zeigte sich von der Wirkung des kristallinen Werkes mit seiner rhythmisierten, wie metaphysischen Farblandschaft förmlich bezaubert. Hölzel gewichtete die pyramidale Komposition sowohl durch die Farbverteilung wie durch eine verschmelzende Integration von motivisch-figurativen und kosmisch-landschaftlichen Elementen. Das Stuttgarter Tagblatt vom 26. Oktober 1926 kommentierte: „Im Ausstellungsraum der Glasmalerei-Werkstätte von V. Saile, Neckarstraße, ist zur Zeit ein Glasfenster von Hölzel ausgestellt. Es ist herrlich. Hölzel hat seinerzeit mit seinen großen, in der Prachtentfaltung der Farbe ganz aus eigenen Kompositionsprinzipien geschaffenen Glasfenstern für Hannover viel Aufsehen erregt. Nun verwendet er in kleinerem Rahmen seine vielfach neuen und verfeinerten Erfahrungen über das Leben und Wirken der Farbe. (…) Als echte Kinder des Lichtes nehmen diese Farben jeden Strahl der Sonne auf und steigern ihn zu märchenhaftem Glanz. In Stufungen von warmem und kaltem Grün, vollem Rot und kühlem Rosa, dunkelglühenden Tönen und scharfem, hellem Gelb. Das ganze aber bekommt durch blaue Scheiben, die in größeren ovalen Formen mit sicherster Ökonomie verteilt sind, die bestimmende Note, die dieses Glitzern und Funkeln, Leuchten und symphonische Rauschen, schön und beruhigt zusammenfaßt. Es ist meisterlich.“ (Lempertz op.cit., S. 47) Adolf HölzelFenster "Lesende" Leaded glass window, partly painted with black solder 107 x 33 cm Framed (recent lead frame 109 x 36 cm), with hanging device. Dated and inscribed lower right: "Ausgeführt W. v. [Werkstatt von ] A. SAILE STGT. 1926" - Partially with a few minor professional restorations.Venzner G III 1.1 (there erroneously dated "1929", "offenbar nicht erhalten")ProvenanceDr. Willi Fulda, Lauta-Werk, Lausitz; 1947 by inheritance to the previous owner; Lempertz Auktion Moderne Kunst 684, 21 Nov. 1992, Lot 193; Private collection North-Rhine Westphalia; since then in family possessionLiteratureWolfgang Venzmer, Die Glasfenster für Stuttgart und zeitgleiche Pastelle, in: Adolf Hölzel, Leben und Werk, Stuttgart 1982, p. 164-166 with annot. 317 p. 210, illus. p. 273; cfl. Annika Plank, "Farben - Kinder des Lichts", Zu Adolf Hölzels Glasfenstern, in: Kaleidoskop Hoelzel in der Avantgarde, exhib. cat. Kunstmuseum Stuttgart/ Kunstforum Ostdeutsche Galerie, Regensburg, Heidelberg 2009, p. 90 ff., especially p. 92 f.As Katharina Erling has emphasised, Hölzel's window - once believed to be lost - for Dr Willi Fulda's library room at the Lauta factory in the Lusatian town of Lauta is from the important final period of the artist's work, just as the corresponding design also on offer (see lot 191). It is well-known that, at that time, the artist was examining the laws and the effects of colours and forms in light by means of numerous pastels, which actually look like luminous abstract designs for imaginary stained glass windows. His compositions using transparent glass crowned his efforts as an artist. “Because if Hölzel developed an absolute painting entirely out of its own means - in analogy to music - or if, to utilise a different term, he was envisioning a 'musical painting': here his intentions found their purest realisation, here intentions and achievements could become largely congruent” (Wolfgang Venzmer, Adolf Hölzel, op. cit., p. 127). In 1973 Adolf Saile from the Saile workshop in Stuttgart drew the author of the catalogue raisonné's attention to the window in the library room in Lauta, at what was then known as the “Albert Zimmermann” aluminium factory. It was documented only in a black-and-white photo. As K. Erling pointed out, the present work dated to 1926 was - after the early commission of 1918 to design the stained glass in the reception hall of the Bahlsen company in Hanover - “the first stained glass window by Adolf Hölzel carried out in the traditional manner of leaded windows. Scholars have previously remained unaware that this window initiated Hölzel's renewed occupation with the medium of coloured glass in the mid-1920s. […] Shortly after the window's completion, it was exhibited in Stuttgart.” (cited from Kat. Moderne Kunst, Lempertz Auktion 21 Nov. 1992, pp. 46/47).Contemporary critics proved veritably enchanted with the effect of the crystalline work, with its rhythmic, quasi-metaphysical chromatic landscape. Hölzel weighted the pyramidal composition through the distribution of colour as well as an integrative merging of theFull description on lot-tissimo.com
Lot 153
Keith HaringTotem Farbholzschnitt auf Inshu-Kozu Japanpapier, 3-teilig Je 65 x 89 cm. Gesamtmaß 191,5 x 89 cm. Signiert, datiert, nummeriert und mit dem Künstlersignum. Exemplar 22/60 (+12 A.P. +X H.C. +3 P.P. +6). Edition Schellmann, München/New York.Klaus Littmann, Keith Haring, Editions on paper, 1982-1989, Das druckgraphische Werk, Ausst.Kat. Galerie der Stadt Stuttgart, Stuttgart 1993, S.158/159ProvenienzEdition Schellmann, München/New York; Privatsammlung, Deutschland„Abgesehen von Harings brilliantem Gespür für den Kontext und das Material sind es natürlich die Motive, die sein Werk so außergewöhnlich machen. Oberflächlich betrachtet sind seine Zeichnungen kindlich einfach, eher Zeichen als wirkliche Zeichnungen. Sie müssen schnell hingeworfen werden und sind für hastig vorbeieilendes Publikum gedacht. Haring kann eine Zeichnung in nur zwei Minuten ausführen, um dann den Bahnsteig runterzulaufen und gleich eine weitere zu zeichnen. Seine Zeichnungen sind für das Erfassen innerhalb eines Sekundenbruchteils konzipiert. […] Die volle Wirkung seines Werkes resultiert aus der Kombination der Elemente Kontext, Material, Bildsprache sowie ihrer Infiltration des urbanen Bewusstseins. Die einzelnen Ausschnitte können völlig unschuldig wirken, aber in ihrer Gesamtheit entwickeln Harings Arbeiten eher eine bedrohliche Qualität, vermitteln ein Gefühl von drohender Gewalt, sexueller Explosion. Sie sind ein Schauspiel des kollektiven Unbewussten der Stadt - einer Stadt, die sich unbeschwert gibt, der aber nur um Haaresbreite das Schicksal erspart bleibt, sich in der Welt des „jeder frisst jeden“ von Harings Bild zu verwandeln.“ (Elisabeth Sussman (Hg.), K. Haring, Köln 1998, S.84-88). Keith HaringTotem Colour woodcut on Inshu-Kozu Japan paper, 3 parts Each 65 x 89 cm. Overall dimension 191.5 x 89 cm. Signed, dated, numbered and with artist signum. Numbered 22/60 (+12 A.P. +X H.C. +3 P.P. +6). Edition Schellmann, Munich/New York.Klaus Littmann, Keith Haring, Editions on paper, 1982-1989, Das druckgraphische Werk, exhib.cat. Galerie der Stadt Stuttgart, Stuttgart 1993, p.158/159ProvenanceEdition Schellmann, Munich/New York; private collection, Deutschland„Aside from Haring's brilliant sense of content and material, it is the natural motifs that make his oeuvre so extraordinary. On the surface, his drawings appear childishly simple, more like symbols than real drawings. They have to be jotted-down quickly and are intended for a hastily passing audience. Haring can complete a drawing in two minutes and then he runs down the platform to immediately draw the next one. His drawings are conceived to be grasped within a fraction of a second. […] The complete impact of his work results from the combination of the elements: context, material, pictorial language as well as its infiltration of the urban consciousness. Single sections may appear quite innocent but in their entirety, Keith Haring's works develop a rather menacing quality, conveying a feeling of imminent violence and sexual explosion. They are a spectacle of the city's collective unconsciousness, a city which acts carefree but which only just escapes the fate of transforming into the 'dog eat dog'-world of Haring's paintings”. (Elisabeth Sussman (ed.), K. Haring, Cologne 1998, p. 84-88)
Lot 96
A COLOURED SAPPHIRE AND DIAMOND DRESS RING Composed of an elongated octagonal-shaped pink sapphire and yellow sapphire within a four-claw setting, each weighing approximately 8.60cts, each between baguette-cut diamond shoulders and pavé-set with brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 2.65cts total, ring size K Accompanied by a report from GCS laboratory in London stating that each sapphire weighing approximately 8.60cts is of Madagascan origin, with no indications of heat treatment. Report number 81280-64, dated October 19th 2020
Lot 199
AN IMPORTANT DIAMOND SINGLE-STONE RING The round brilliant-cut diamond weighing 7.36cts within a double four-claw setting, between shoulders pavé-set with similarly-cut diamonds, ring size K¾ Accompanied by a report from the E.G.L laboratory stating that the diamond weighing 7.36cts is G colour, SI2 clarity. Report number EGL3204297229, dated December 2nd 2012
Lot 314
BINDINGS - Charles DICKENS (1812-70). A Tale of Two Cities. London: Macmillan, 1913. 8vo (183 x 122mm). Half title, wood-engraved plates by H. K. Browne. Attractively bound in contemporary burgundy prize calf gilt, spines gilt in compartments. With 35 other literary works, a few incomplete, including a very worn copy of Charles Dickens' The Posthumous Papers of the Pickwick Club (London, 1837, FIRST EDITION IN BOOK FORM), all bound in calf or morocco gilt. The lot sold not subject to return. (36)
Lot 7160
Wakizashi, Japan, um 1750 Klinge Shinogi Tsukuri, Torii Zori, Chu Kissaki, Hamon, Boshi und Hada verputzt und fleckig. Nakago Ubu mit einem Mekugi Ana und Sujikai Yasurime, Korrosionsspuren, unbezeichnet. Niju Habaki mit Nekogaki aus Kupfer. Nademarugata Eisentsuba Fuchi Kashira aus Eisen mit Tiger und Bambusdekor. Menukis aus Kupfer mit Dekor eines Samurai in einem Boot, schwarze Leinenbindung über Same. Kotsuka fehlt. Amidayasurime Saya in Aogai-Lackfassung (bestoßen) mit Metallbeschlägen. Länge K/M 43 cm, Gesamtlänge 63 cm. Zustand: III + A Japanese wakizashi, circa 1750 Klinge Shinogi Tsukuri, Torii Zori, Chu Kissaki, Hamon, Boshi und Hada verputzt und fleckig. Nakago Ubu mit einem Mekugi Ana und Sujikai Yasurime, Korrosionsspuren, unbezeichnet. Niju Habaki mit Nekogaki aus Kupfer. Nademarugata Eisentsuba Fuchi Kashira aus Eisen mit Tiger und Bambusdekor. Menukis aus Kupfer mit Dekor eines Samurai in einem Boot, schwarze Leinenbindung über Same. Kotsuka fehlt. Amidayasurime Saya in Aogai-Lackfassung (bestoßen) mit Metallbeschlägen. Länge K/M 43 cm, Gesamtlänge 63 cm. Condition: III +
Lot 7158
Kogatana, Japan, um 1780 Klinge Shinogi Tsukuri, Chu Kissaki, Torii Zori, Hada, Hamon, Boshi stark verputzt und korrodiert. Nakago Ubu mit einem Mekugi Ana, Higaki Yasurime, unbezeichnet. Niju-Habaki aus Kupfer. Beschädigte Schwarzlacksaya mit Resten von Goldlackmalerei, Hornbeschläge fehlen. Same belegte Tsuka mit schwarzer Seidenbindung und teilvergoldeten Kranichmenukis. Fuchi Kashira aus Shakudo mit Dekor auf Nanako-Grund. Eiserne Tsuba, beschliffen und depatiniert, mit etwas verputzten Einlagen in Form von zwei Reihern, Lotusblättern und Wellen. Länge K/M 60 cm, Gesamtlänge 94 cm. Zustand: III - IV Kogatana, Japan, um 1780 Klinge Shinogi Tsukuri, Chu Kissaki, Torii Zori, Hada, Hamon, Boshi stark verputzt und korrodiert. Nakago Ubu mit einem Mekugi Ana, Higaki Yasurime, unbezeichnet. Niju-Habaki aus Kupfer. Beschädigte Schwarzlacksaya mit Resten von Goldlackmalerei, Hornbeschläge fehlen. Same belegte Tsuka mit schwarzer Seidenbindung und teilvergoldeten Kranichmenukis. Fuchi Kashira aus Shakudo mit Dekor auf Nanako-Grund. Eiserne Tsuba, beschliffen und depatiniert, mit etwas verputzten Einlagen in Form von zwei Reihern, Lotusblättern und Wellen. Länge K/M 60 cm, Gesamtlänge 94 cm. Condition: III - IV
Lot 208
AN OPAL AND DIAMOND CLUSTER RING, designed as a flowerhead cluster of oval cabochon opals enclosing a central old-cut diamond, bordered by smaller single-cut diamonds, two colour precious metal mounted, stamped '18ct', total diamond weight approximately 0.20ct, setting diameter 1.6cm, ring size P½ Condition report: Opals are slightly variable with subtle play of colour, displaying pinks, greens and blues to a whiteish ground. All have scuffs, nicks and chips to the surface, some with surface-reaching fractures. Diamonds have slightly variable colour and clarity but an overall lively appearance, with estimated SI1 to P2 clarity and H to K colour, assessed mounted. The mount has general wear, with fine splits to the edges of the setting and dark solder repairs to the sides of the gallery. The shank is possibly replaced. Diameter of setting approx. 1.6cm. The setting requires cleaning. Gross weight approx. 3.9gm.
Lot 70
TWO DIAMOND SET GYPSY RINGS, the first a ruby and diamond three stone ring, 18ct gold mounted, the second a diamond single stone ring, yellow precious metal mounted, ring sizes J and H½ respectively (2) Condition report: First ring - scuffs, nicks and chips to ruby, which measures approx. 3mm length x 2.5mm width. Diamonds are well matched, bright and lively, but one of the stones has a large surface-reaching fracture, estimated I to J colour and SI2 to P2 clarity, assessed mounted. Total diamond weight approx. 0.08ct. The mount has general wear, scuffs, scratches and nicks and a solder join to the shank. The hallmark has capital ‘F’ date letters to the interior and exterior (on one shoulder) but we cannot see an assay office mark. Width of band at top approx. 6mm. Gross weight approx. 4.2gm. Second ring - the diamond has a bright and lively appearance, with estimated SI1 to SI2 clarity and J to K colour, assessed mounted. Diamond weight approx. 0.15ct. The mount has general wear, scuffs, scratches and nicks and solder joins to the shank. Width of band at top approx. 7.8mm. Metal standard is untested. Gross weight approx. 5.2gm.
Lot 295
A DIAMOND SINGLE STONE RING, the cushion-shaped old-cut diamond in eight claw setting, between engraved shoulders, two colour precious metal mounted, stamped '18ct Plat', diamond weight approximately 0.80ct, ring size N Condition report: The diamond is fairly bright and lively but has a large surface-reaching fracture and small chips/nicks to facet edges and the girdle, with estimated P2 to P3 clarity and K to L colour, assessed mounted. The diamond is set at a skewed angle to the mount. The mount has surface wear and scuffs, patchy tarnishing, with heavier wear to the sides of the setting and shank due to friction against another ring. Metal standard is untested. Gross weight approx. 3.5gm.
Lot 161
AN EMERALD AND DIAMOND CLUSTER RING, the octagonal step-cut emerald claw set within a border of round brilliant-cut diamonds, two colour precious metal mounted, indistinctly stamped '18ct', total diamond weight approximately 0.40ct, ring size M½ Condition report: The emerald has a light green hue and contains fracture, fissure and needle-like inclusions, with surface wear and small chips to facet edges and the girdle. The emerald measures approx. 7.5mm length x 6.7mm width x 5.2mm depth. Diamonds have variable colour and clarity but give an overall lively appearance, some stones containing dark mineral inclusions, estimated SI1 to P3 clarity and H to K colour, assessed mounted. The ring mount has general surface wear, patchy tarnishing and the shank has been re-sized. Setting measures approx. 1.3cm length x 1.15cm width. Metal standard is untested. Gross weight approx. 4.2gm.
Lot 151
A SUITE OF DIAMOND, SAPPHIRE AND CULTURED PEARL JEWELLERY, comprising a triple strand uniform cultured pearl necklace, with a cultured pearl and single-cut diamond cluster clasp, suspending a detachable pear-shaped mabe pearl and diamond drop, accompanied by a pair of cultured pearl and round brilliant-cut diamond cluster ear studs, also with detachable pear-shaped mabe pearl drops, on post fittings, an interchangeable sapphire and cultured pearl cluster necklace clasp and matched ear studs, and a pair of cultured pearl ear studs, white precious metal mounted, total diamond weight approximately 1.40ct, ear pendants length 4cm, necklace shortest length 39.5cm Condition report: Cultured pearls to the necklace have considerable wear and losses to the nacre finish, possibly caused by degradation of the nacre due to perfumes/creams. Most of the pearls also have surface blemishes, scuffs, pitting and creases. Average diameter of cultured pearls to necklace approx. 7mm. Mabe pearls and cultured pearls to the earrings and clasps have surface wear, blemishes and scuffs. Diamonds are well matched, bright and lively, but occasional stones have small surface-reaching fractures. Estimated H to K colour and VS1 to P1 clarity, assessed mounted. Sapphires are well matched but dark in hues, one sapphire to the earrings is chipped to the corner and all sapphires have surface wear, scuffs and occasional nicks/chips. The mounts have general wear, scuffs, scratches and nicks/chips throughout. The fittings are currently functioning. Metal standard is untested and cannot be confirmed, due to the absence of hallmarks. Approximate gross weights: sapphire & c/pearl earrings 9gm, sapphire and c/pearl clasp 6.3gm, three mabe pearl drops 8gm, diamond and c/pearl clasp 6.5gm, diamond and c/pearl earrings 6.7gm, c/pearl ear studs 3.7gm, c/pearl necklace 85gm.
Lot 219
A SAPPHIRE AND DIAMOND CLUSTER RING, the round brilliant-cut diamond claw set within a border of circular mixed-cut sapphires, stamped 'Plat 18ct', (one sapphire deficient), together with a pair of rectangular panel cufflinks, stamped '15ct', a 22ct gold wedding band, a white metal wedding band, stamped 'Platinum', and two signet rings, first ring size K (6) Approx. gross weights only: 22ct wedding band 2.3gm, white metal wedding band 3.3gm, larger signet ring 2.5gm, broken signet ring 1gm, cluster ring 2.4gm, cufflinks 6.2gm
Lot 373
A LADY'S DIAMOND SET COCKTAIL WATCH, the circular silvered dial with Arabic numerals, to a manual wind movement and case stamped 'platinum', with single-cut diamond set bezel and shoulders of openwork geometric design, on an expanding bracelet stamped '9 .375', together with a lady's 9ct white gold bracelet watch, of bark textured finish, the square dial signed Accurist, first watch case width 1.65cm (2) Condition report: Diamond watch - Dial – patinated, crystal scratched, case with age related wear marks, deep scuffs and pitting to winder, case hinge is loose, movement winds and runs but not tested or guaranteed, bracelet – good. Diamonds are mostly well matched and bright, estimated VS2 to SI2 clarity and H to K colour, assessed mounted. Case is numbered 1088.Accurist – Dial – patinated, crystal scratched, case – good, movement winds and runs but not tested or guaranteed, bracelet – good. Approx. gross weight for both 39.7gm
Lot 229
A LATE VICTORIAN/EDWARDIAN RUBY, DIAMOND AND PEARL CRESCENT BAR BROOCH, centred with a crescent of graduated oval mixed-cut rubies, edged by old and single-cut diamonds, enclosing a single pearl, on a knife edge bar with ruby and diamond terminals, gold and silver mounted, (later fitting, pearl untested for origin), total diamond weight approximately 0.25ct, length 5.1cm Condition report: Rubies have slightly variable mid to deep purplish-red hues, most stones containing small mineral, fracture/feather and colour zoning inclusions that are visible under magnification. Rubies graduate from approximately 4.5mm x 3mm down to 1mm in length x width and have surface wear and occasional chips/fractures. Diamonds are well matched, fairly bright and lively, some stones with chips or fractures, estimated SI1 to P2 clarity and H to K colour, assessed mounted. The pearl has a creamy-white hue and surface wear. The brooch mount has general surface wear, nicks and chips and some of the outer pinched claws are broken. The brooch pin is functioning but later replaced. Gross weight approx. 6.8gm.
Lot 323
A LATE VICTORIAN DIAMOND CLUSTER BROOCH/PENDANT, designed as a flowerhead of old-cut diamond clusters in pinched claw settings, with detachable brooch fitting and hinged pendant loop, gold and silver mounted, in fitted Carrington & Co retailer's case with inscription to cover dated 1896, largest diamond weight approximately 0.45ct, total diamond weight approximately 2.80ct, diameter 2.45cm Condition report: Diamonds are well matched and bright and lively, occasional stones with small nicks/chips and surface-reaching fractures, with estimated VS1 to SI2 clarity and H to K colour, assessed mounted. The largest diamond measures approximately 5.3mm in diameter (depth unknown due to setting restrictions). The bordering six largest diamonds measures approx. 4.4mm to 4.5mm in diameter each. The mount has general surface wear, with chips and scuffs to the sides. Occasional claws are broken and may require re-tipping, and the settings have patchy thinning to the edges. The brooch pin is functioning. The case has an aperture for an additional fitting below the cushion (possibly an aigrette fitting, which is missing). Metal standard is untested. Gross weight approx. 6.4gm.
Lot 231
A DIAMOND STAR BROOCH, the principal old-cut diamond bordered by graduated old, single and rose-cut diamond set rays, two colour precious metal mounted, with later brooch fitting, principal diamond weight approximately 0.12ct, length 2.9cm Condition report: Diamonds are generally well matched, bright and lively, some stones with small chips/nicks and surface-reaching fractures, estimated VS1 to P1 clarity and H to K colour, assessed mounted. Total weight of old and single-cut stones approx. 0.30ct. The mount has general surface wear, with fine seams/areas of pitting to the sides, patchy tarnishing and some wear/thinning to the edges of the settings and grains. There is a small drill hole to the reverse tip of one ray, and solder joins to the back of the panel. The brooch pin is later replaced and functioning. There is a small jump ring fitting to the reverse of another ray which may also be later added. Metal is untested but possibly gold and silver combined. Gross weight approx. 4gm.
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