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Lot 144
Color stamped circles on vellum. 3 sheets with white circles, 3 sheets with yellow circles, 3 sheets with light blue circles and 3 sheets with dark blue circles. Decorative pieces used for the 2001 Bass Museum of Art Globe >Miami Dimensions: 110"L x 36"W, eachProvenance: The Bass Museum of Art Condition: Good condition.
Lot 20
Oil painting on canvas possibly representing one of the founders of the United States, Statesman and Virginia planter, George Mason IV (1725-1792). This painting embodies 18th century American Colonial portraiture with the depiction of the stately sitter (possibly George Mason) looking straight at the viewer in a close-up view. The artist conveyed the importance of the sitter by placing him above the viewer who must look up to see the features emphasized by the whiteness of the carefully knotted white scarf around his neck. His hair falls on on his brown overcoat with gold buttons and richly elaborate vest. The light focuses on his forehead and eyes to emphasize a man of thought. Canvas glued to cardboard and white board. Minimal paint loss throughout. Artwork dimensions: 21.25"L x 26.75" H.  Condition: Age related wear.
Lot 3
Kanazawa Series. Cut and laminated clear glass sculpture with hard edge geometric forms that Michael Taylor makes with a cold cut glass technique and laminated translucent colored glass resulting in interplays of color and light. Each piece is considered a prototype and is one of a kind. This glass sculpture rests on a Lucite pedestal. Signature and date on side of base: Michael Taylor, 04. Pedestal dimensions: 10"L x 10"W x 30"H. Artwork dimensions: 17"L x 11"W x 20"H. Artist: Michael TaylorIssued: c. 2004Country of Origin: United StatesCondition: Age related wear.
Lot 352
Ezra Stoller (American, 1915-2004) is an international recognized leader of Modern architecture photography. This highly detailed photograph exemplifies Stoller's preponderance for sharply defined angles and curves and plays between shadows and light. Modernist architect Alfred Browning Parker (American, 1916-2011) redesigned the Miamarina (Miami + Marina) in Bayside Miami, Florida in 1971. This silver print photograph is represented in the 1991 book, 70 Years of Miami Architecture, by Millas J. Aristides, published by the Bass Museum of Art. Housed with a white mat. Mat size: 20"W x 16"H. Photo size: 14"W x 11"H. Artist: Ezra StollerIssued: c. 1970Country of Origin: Miami, FloridaProvenance: The Bass Museum of Art Condition: Good condition.
Lot 52
This exceptional watercolor and graphite on paper with tones of greens, ocher and light blues represents a French village observed from the outskirts, created by Impressionist and Neo-Impressionist leader Camille Pissarro. "Scene de Village" focuses on houses partially hidden by greenery where a church steeple is the focal point. This watercolor may have been a preparatory study for an oil painting as Pissarro used graphite to frame the composition and to emphasize the salient parts of the landscape, the steeple, and the path to the village. Housed in a handsome brown wooden frame. Signature in brown ink on lower right: C. Pissarro. Frame size: 27.80"L x 23.75"H x 2"W. Artwork dimensions: 11.40"W x 7.30"H. Certificate of Authenticity included. Artist: Jacob Abraham Camille PissarroIssued: c. 1880Country of Origin: FranceCondition: Age related wear.
Lot 873
British School, late 19th century- Still life with books and a violin; oil on canvas, signed with initials 'B.S.C' (lower right), 45.8 x 66.3 cm. Provenance: Private Collection, UK. Condition Report: Framed, not examined out of frame. Some marks and chips to the frame generally. Fine and settled craquelure in areas. An area of significant abrasions and losses to the paint surface towards the centre of the canvas. Evidence of further light abrasions in areas, particularly towards the edges, due to contact with the frame. Possible browning/discolouration of the varnish in areas. Light surface dirt generally. Otherwise in fair to poor condition overall.
Lot 155
Creed III (2023) - multi-signed 11x14" colour poster photograph from the movie, signed by Michael B Jordan, Tessa Thompson, Ryan Coogler and Tony Bellow. All signed in black ink to light areas of the image. All obtained during the UK Premiere in London. Supplied with certificate of authenticity from an AFTAL member.
Lot 9
A GOTHIC CARVED ALABASTER FIGURE OF THE VIRGIN AND CHILD 14TH CENTURY, PROBABLY FRENCH OR RHENISH The carved reddish/yellow variegated alabaster, depicting Virgin offering her child an apple, emblematic of his Christian identity as the new Adam, now displayed in a later carved tabernacle setting the figure 47cm high, 15.5cm wide- set on later labradorite style stone base- 57.5cm high overall the tabernacle 59.5cm wide, 86cm high Provenance; Frederik Muller & Co auction, Amsterdam, "Collections Camillo Castiglioni de Vienne", 17-20th November 1925, lot 86. Catalogued as "MAÎTRE FRANCAIS DU XIV SIÈCLE, LA MADONE ET L'ENFANT, Sculpture en marbre dans un bel encadrement de tabernacle a deux colonnes corintinennes du XVII siecle". And thence by family descent.Please note, the cataloguing for this lot has been revised and should now read: A GOTHIC CARVED ALABASTER FIGURE OF THE VIRGIN AND CHILD14TH CENTURY, PROBABLY FRENCH OR RHENISH The carved reddish/yellow variegated Alabaster...Camillo Castiglioni (1879-1957) was an Italian/Austrian financier, banker and aviation and automobile pioneer- and probably the wealthiest man in Central Europe during World War I. Partially instrumental in the establishment of BMW- his greatest passions were for art, antiques and the opera. In the Great Depression he suffered catastrophic bankruptcy- leading to the sale of much of his collections. Items from his collections are now to be found in The Getty Museum, The National Gallery of Art Washington and The Metropolitan Museum.Condition Report: Please note- the description has been altered to the following- not as originally printed in the catalogue: A GOTHIC CARVED ALABASTER FIGURE OF THE VIRGIN AND CHILD 14TH CENTURY, PROBABLY FRENCH OR RHENISH The carved reddish/yellow variegated alabaster, Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Restorations including but not limited to: child's neck, child's right shoulder, reverse of child's head, reverse top of head of Virgin, some plugged holes to reverse of Virgin and cut slits with paler white powder finish. The whole resisting UV light which suggests a later surface wash that may be concealing further restorations. Both lacking crowns. The restorations with some associated losses such as child's fingerTabernacle- traces of worm throughout- no visible signs of current activity but would recommend it's inspected carefully and treated. The worm damage has led to some edge damages and lossesPlease see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 101
A PAIR OF LOUIS XV ORMOLU TWO LIGHT WALL LIGHTS FRENCH, MID 18TH CENTURYModelled opposing, each with all over scroll and floral decoration 37cm high overall, 28cm wide, backplates 33cm highCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Formerly fitted for electricity and with drilled nozzles. Some wear and loss to gildingPlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Lot 356
A PAIR OF LOUIS XVI STYLE ORMOLU THREE LIGHT CANDELABRA BY ALFRED-EMMANUEL-LOUIS BEURDELEY, LATE 19TH CENTURY Each with central stem with leaf and berry finial, swagged nozzles above leaf scrolling branches on a pair of winged Naiads on bases inset with a pair of blue jasper roundels with urn decoration, on toupie feet, each with tail scroll stamped "BY"48.5cm high, bases 26cm wide Alfred-Emmanuel-Louis Beurdeley (1847-1919) was the third and last of the Beurdeley dynasty, suppliers and makers of the highest calibre furniture and decorative objects in Paris in the 19th century. Building on the success of his father and grandfather he won a gold medal at the 1878 Paris Great Exhibition and was honoured with the Chevalier de la Légion d'Honneur in 1883. A very similar pair of candlesticks with lapis mounts to the base were sold at Sotheby's New York, European Decorative Arts, 13th April 2016 Lot 546 $15,000Another pair, with 8 light candelabra and with central signed clock were sold at Sotheby's New York, 16th November 2011, lot 298 $74,500 Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. There is a small knock to left flank of the right hand figure (as you look at the two). Some surface scuffs to gilding and wear to more exposed areas of gilding. Wax and dirt deposits throughout. One screw missing to reverse of left hand figure scrolling 'tail'. Slight colour variance to junction point of base of one branch with fitment suggesting it has had remedial small repair. Branches are a little off true vertical from use.No signs of electrification. Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Lot 402
A LARGE LIMOGES ENAMEL PLAQUE FROM THE 1878 PARIS EXHIBITION IN THE 16TH CENTURY MANNER, LATE 19TH CENTURY Depicting the holy family with Elizabeth and St John and two attendant figures, inscribed in gilt to the top "L D Limoges", the reverse with exhibition label "T Goode & Co, London., Paris Exhibition 1878, Minton", ebonised frame the plaque 40 x 29.5cm, the frame 54 x 43.5cmProvenance:Woodleys, Woodstock, OxfordshireFor 141 years, Woodleys has been the much loved family home for four generations of one branch of the Ponsonby family. The grade II listed house of largely mid-late Georgian construction was originally built as a farmhouse in the 1780s and twice extended following its changes of ownership in the 1820s and 1880s. These additions resulted in the 12,800 sq. ft house comprising some 40 rooms, including 13 bedrooms. Its handsome south and east façades offer a spectacular view of the principal façade of Blenheim Palace a mere two miles to the South East beyond the noted Column of Victory.The Exposition Universelle (1878) was held from 1 May to 10 November 1878 at the Palais au Trocadéro, Paris. Minton supplied items to be exhibited through the London retailer Thomas Goode & Co's display. As the Wadsworth history of Minton indicates the emphasis "was less on the very large pieces & rather more on parian, china services, toilet ware, & ornamental pieces". Quite how a French enamel plaque came to be exhibited on the stand is more of mystery- as is the painter with research only suggesting possibly a member of the Dalpayrat family. The catalogue for the exhibition has not revealed mention of the maker- but does make mention of the Dalpayrat family and notes that there was an display of work by the Municipal School of Limoges- "famous for its enamels all over the world". Minton itself was lauded for its display with the Prince of Wales, the Grand Duke Constantine of Russia, Prince Demidov, the Duke of Westminster, and Baron Rothschild amongst those who purchased examples of their work. Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Overall- the surface seems fairly dirty. We have not attempted to clean this as the gilded details on top are generally still present- and seemingly untouched. There are some areas where the surface has become muted and other darker patches which may be surface dirt- or engrained surface dirt. Most notable damages are to lower right corner- with associated enamel loss- and to upper right corner and edge with underlying stress faults. Under strong light there are more faults visible to enamel throughout- notably the red dress of virgin. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 45
A WALNUT EIGHT-DAY LONGCASE CLOCK SIGNED FOR BROUNKER WATTS, LONDON, LATE 17TH CENTURY AND LATERThe four finned pillar inside countwheel bell-striking movement with anchor escapement and seconds pendulum, with a ten-inch brass dial with calendar aperture and subsidiary seconds to the matted centre within silvered Roman numeral chapter ring engraved Brounker Watts, London to lower edge, with pieced steel hands and winged cherub spandrels to angles, in a case with fretwork frieze over Solomonic three-quarter columns to hood, convex throat mouldings and long trunk door with book-matched veneers, on conforming plinth base with moulded skirt198cm high, 43cm wide, 25cm deep Brounker Watts is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in around 1670, he was apprenticed to Joseph Knibb from 1684/5 until 1691 and gained his freedom of the Clockmaker's Company in 1693/4. In around 1695 he married Ursula Walford and in 1696 he is recorded as working from Fleet Street, London. His name is on the company's Oath of Allegiance which was signed the following year. In 1698 Watts was living in the parish of St. Dunstan in the West and is recorded as avoiding stewardship of the Clockmaker's Company in 1711 due to being 'out of town'. Brounker Watts died in 1717 and was buried in his home parish of St. Dunstans in the West.Condition Report: The movement is in fairly clean working condition with no visible evidence of alteration or noticeable replacements it would appear that the mechanism has received a light service fairly recently. The dial is in good condition with only some slight historic light surface scuff/blemishes to the plate and slight mellowing and patchy tarnishing to the silvering. When the clock was previously sold by Bonhams (24th November 2020) they suggested that the dial plate may be a replacement however we cannot see any evidence of this in the plate itself or the movement hence would be inclined to give it the benefit of the doubt. The hands are well made and in good condition.The movement seatboard is a replacement although it rests directly onto the cheek uprights of the trunk at the correct level. The case has a pine carcass with the structure of the trunk surviving in sound condition. The upper section of the backboard (behind the movement) has been replaced with well-matched timber and a baton applied over the joint to the rear surface. The structure of the trunk continues part way down into the plinth base with the lower sections of the backboard and side panels showing historic degradation/wear/losses to lower edges. The outer box plinth base is an older restoration. The hood would appear to also be an older restoration. The fact that the case has a pine carcass (rather than oak as mostly seen on 'period' cases) together with the walnut veneers being relatively thin would indicate that the veneers are later. From this it is most probable that the case was most likely restored and veneered (around/onto a period carcass) during the early to mid 20th century. The surface presents in good condition with some slight shrinkage, bumps, scuffs, a few small veneer chips and other very minor age-related blemishes. The veneer overlap to the mask around the dial (only visible when the hood door is open) has some slight wear/losses to the edge.Clock is complete with pendulum (with butterfly-type rating nut) two brass-cased weights, a case key and a crank winder.Generally a very attractive example of fine proportions in working order. Please see catalogue images and further images available on request which are supplemental to and form part of this condition report. Condition Report Disclaimer
Lot 179
A LOUIS XV AUBUSSON PASTORAL TAPESTRY AFTER JEAN-BAPTISTE HUET OR JACQUES JUILLIARD, THIRD QUARTER 18TH CENTURYWoven with figures of young man and a young shepherdess leading a ribbon lead sheep, in a landscape setting, within a four-sided frame pattern floral border with clasp corners approximately 270cm high, 229cm wide Condition Report: Measurements: 228cm across the top, 229cm across the bottom, 270cm along left side, 268cm along right side. Not level across the lower edge. Tapestry is not lined. Cotton strips attached along vertical edges, and visible. Lower edge is not straight. Cut wefts along both vertical edges, outside the original dark brown selvedge. Areas of weakness and loss, especially to light areas of sky. Some horizontal splits in areas which need consolidation. Faded colour overall. Cuts on outer edge of top left and bottom left border which need attention. Weak structurally. Needs a professional clean and attention. Condition Report Disclaimer
Lot 26
A BLACK LACQUER AND DECORATED CABINET ON SILVERED STANDTHE CABINET 18TH CENTURY AND LATER ADAPTED, THE STAND LATE 17TH CENTURY158cm high, 114cm wide, 54cm deepProvenance: Sotheby's Olympia, London, Furniture and Rugs, Thursday 9 May 2002, Lot 131Condition Report: Both with the marks, knocks, scratches and abrasions commensurate with age and and use. Both with various old splits, chips, and losses. Cabinet:Doors do not close flush and there is some movement within the hinges. The surface of the cabinet with various chips, cracks, flaking, wear, losses and evidence of old worm - see images. Various knocks and wear to metal elements. Some small securing nails are lacking and there as some later nails. The interior of the cabinet has been re-lined and fitted with glass shelves. There is a later electric light fixture to the interior. This is not in working order and we advise that it is checked by a qualified electrician if potential client intend to use it. A holes has been drilled in the backboards for the wires of the light. Stand:The silvered surface of the stand has significant age but it does possibly appear to have been gilded and not silvered at some point. The surface has the expected significant wear, flaking, chips and losses - see images. The surface of the stand could possibly be concealing some old repairs or replacement elements.Old but later baton of timber to the inside of the rear frieze - see image. Some later nails and screws securing the joins between the back legs and the rear frieze. Various splits and some old repairs. Section of replacement timber inset to one rear foot - see image. Please refer to additional images for visual reference to condition. Additional measurements:Cabinet - 79cm high, 93.5cm wide, 43cm deep overall. Stand - 78cm high, 119cm wide, 54cm deep overall. Condition Report Disclaimer
Lot 156
A French diamond set plaque brooch/pendant, c.1920-1925,of pierced curved tonneau form. A pair of old European cut diamonds, milligrain set in plain collets at the centre, with triangular panels, grain set with rose cut diamonds. An open hexagonal frame with graduated keystone plaques to each side, each with an old European cut diamond, milligrain set in a plain collet with lines of milligrain set graduated rose cut diamonds. Radiating lines of rose cut diamonds all millgrain set to a shallow guage detachable brooch pin and roller catch. With a pair of later concealed pendant bales. Tested as approximately 18ct gold, faced with platinum. 45mm x 26mm, 10.38gCondition ReportDiamonds bright and lively. Light surface marks commensurate with its age. Slightly dirty.White gold very slightly creamy in colour.Pin kinked.
Lot 167
An American Art Deco, odeonesque, citrine, onyx and diamond brooch/pendant, c.1935,a rectangular step cut citrine, end set with pierced arched claws to a bevelled onyx frame, with a row of eight cut diamonds, grain set in a stepped bar at each end. A fold down diamond set bale, which locks in place when being worn as a brooch, a brooch pin and roller catch, together with a concealed wire slide, so that it can also be worn on a bracelet. Suspended on a snail chain with a bolt ring clasp, marked 18 and 18K. Chain marked 14K and 585, 55mm x 21mm,18.68g, 6.34gCondition ReportLight surface marks commensurate with its age. Glue present under the claws that secure the citrine.A pale creamy colour, does not look as though it has been rhodium plated.The chain is very white in comparison.Minor marks to the citrine under a 10x loupe.
Lot 170
A three colour gold diamond and ruby spray brooch, c.1940,with a trefoil cluster of old European cut and old Swiss cut diamonds, claw set in white collets, to an open yellow bloom. A spray of rose gold bell type spring flowers, with pairs of cabochon rubies, claw set to the centres, with incised leaves, to a sprung white gold hinge, curved pin and roller catch, with a pair of support hocks. Tested as approximately 14ct gold. 61mm x 35mm, 15.48gCondition ReportLight surface marks commensurate with its age. Diamonds and gemstones bright and lively.Tarnish is areas.
Lot 176
A pair of emerald earrings, c.1940, each designed as a three part wing or leaf, with a rectangular emerald cut emerald claw set towards the base. The mount of two colour gold, yellow and rose, stamped 750 and tested as 18ct gold with clip fittings. Length 22mm, 7.64gCondition ReportEmeralds measure 7.26 x 6.60 x 5.00mm, and 7.47 x 6.35 x 4.56mm.Both are light bright green with good transparency, and well-matched, with some light surface scratching, some light facet edge abrasion, and one has a chip off the corner of the table.A verbal report from G.C.S. that both the emeralds are of Colombian origin.
Lot 177
A French diamond set twisted wire knot brooch, c.1950, with strands of twisted wire gathered to a knot. Graduated brilliant cut diamonds claw set in white collets at each terminal to a pin and roller catch. Marked 18K DES. In FRANCE. A later case by Sandra Cronan Ltd. 65mm x 33mm, 19.94gCondition ReportDiamonds bright and lively. Areas of tarnish.Light surface marks commensurate with its age. Damp has affected the exterior of the case.
Lot 180
A pair of sapphire and diamond spray style clip earrings,with a pair of flower heads with trap cut sapphires, set with cover claws at the centres. A border of petals, all grain set with Swiss cut diamonds, to a crescent of trap cut sapphires, all end set to one side. A pair of diamond set stems to clip fittings. Tested as approximately platinum with 18ct white gold fittings. 19.40mm x 18.00mm, 13.61gCondition ReportPost for pierced ears could be easily added. Gemstones bright and lively.Diamonds bright and lively.Light surface marks commensurate with its age. Minor marks to the table or crown facet edges under 10x magnification.Cartier silicone comfort pads fittted.
Lot 182
A pair of turquoise cluster earrings, c.1950,with a flower head cluster of cabochon turquoise claw set to the centre. Radiating spiral wires to an outer frame of rub set turquoise cabochons, to clip fittings. Marked 14 and tested as approximately 14ct gold. 20mm diameter, 7.71gCondition ReportLight surface marks commensurate with its age.
Lot 183
A Continental gold turquoise set sunburst brooch/pendant, c.1960,with an oval cabochon turquoise, claw set to the centre in a landscape position. Radiating rows of graduated cabochon turquoise, all claw set to looped wires with a brooch pin and roller catch, and a 'V' shaped bale. 57.00mm x 50.00mm, 23.62gCondition ReportTested as approximately 18ct gold.The bale, pin, roller catch tested as approximately 14ct.Minor variations in the colour, tone, saturation of the turquoise.1x paste replacement.Light surface marks commensurate with its age. Visible inclusions to the naked eye.
Lot 186
An Italian gold graduated necklace and bracelet, by UnoAerre, c.1960,with a two row block link necklace with chevron caps to a single row back chain, with a box clasp and figure of eight safety catch, together with a matching seven row bracelet, with a concealed box clasp, with two figure of eight safety catches. Both with Italian official national marks for 750 standard for Arezzo. 460mm longest row. 190mm long. 28.25g. 50.30gCondition ReportLight surface marks commensurate with its age. Safety clasps require some adjustment to the bracelet.
Lot 188
An 18ct gold eleven row brick link bracelet, by Payton Pepper Ltd., c.1966,probably retailed by Kutchinsky. Flat section brick links with a bark textured finish and a concealed slide action and T-bar clasp, with two figure of eight safety catches. London 1966. 177mm long, 27.80mm wide, 94.18gCondition ReportThe makers mark is very feint and does not show up in the photograph.The hallmark is as described.The bracelet does not appear to have been worn very often and has no damage or issues.Light surface marks to the polished surface of the underside.The clasp is not closing properly at the moment, which is strange as there is no damage to it. There could be a very small burr on the inside of the tube to stop the tapered bar from sliding the whole way down, but this is a small job for a workshop to correct.Please view additional images.
Lot 190
A cased 18ct gold diamond set necklace and bracelet suite, by Asprey & Co. Ltd., c.1970,the necklace composed of a geometric two row knot centrepiece, grain set with rows of brilliant cut diamonds, with an incised and textured finish. Matching looped two row back links with plain polished joining links to a gadroon hinged safety clasp. An import hallmark London 1974. Together with a matching bracelet, signed Asprey, London, and with the Asprey maker's mark. Fitted Asprey & Co. Ltd. case. 59.89g and 38.43gCondition ReportDiamonds bright and lively.Light surface marks commensurate with its age to some of the polished areas.Would benefit from being cleaned.
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534325 item(s)/page