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Click here to subscribeA Chinese blue and white Klapmuts bowl, Qing dynasty, Kangxi period painted with on the inside with children playing and figures in the landscape on the exterior. On the underside a Chenghua mark 16 cm diameter, 7.8 cm highCondition Report: Some firing flaws, some chips on the rim, some traces of wear and spots of abrasion of the glaze body, one light hairline
A Chinese blue and white square / octogonal bowl Qing dynasty, Kangxi period decorated with differents characters, a Xuande mark under the base 10 cm high, L. 19 cm Condition Report: Some firing flaws , some chips and fleabites on the rim , Two hairlines , one about 8 cm on the inside and outside. The second one about 3 cm from the inside and outside , some light traces of wear on the glaze body.
Chinese Blue and White Matched Pair of Vases, Kangxi period. The vases are decorated with three rows of cartouches enclosing chrysanthemum and peony. With underglaze blue double circle to undersides. 25 cm and 24.5 cm high. A similar single vase sold at Christies 6 Nov 2019, The van Daalen Collection, Lot 72. Condition Report: Some firing flaws, one hairline on the rim neck of the smaller vase (3 cm on the inside and about 1 cm on the outside neck ) , some light traces of wear on the glaze body.
A Chinese Embroidered Purple Woman Jacket. Late Qing dynasty106 cm LongCondition Report: The gown is in excellent condition commensurate with age and wear with some grubby marks on the sleeves, on the shoulders, and around the neck. No holes or tears. Colours are bright and vibrant. Slight faded patches but nothing significant.No brass buttons missing.Blue silk lining is in good condition with light faded marks and some small holes. Possibly moth. The seams are showing signs of wear with some splits and there are some (three) neat patch repairs
A Chinese Embroidered Blue Woman Jacket, Late Qing dynasty/Early Republic period. 92 cm LongCondition Report: The outside of the gown is in excellent condition commensurate with age and use. The colour is also excellent. Not faded. No holes or tears.The lining shows some light fading with some further faded and grubby marks at the back of the neck. Some faint insignificant rust-coloured marks.One of three brass buttons (middle) is missing.
William Bromley III (Fl.1835-1888) British, 'Picking Fruit', large oil on canvas, 70 cm x 90 cm in a giltwood frame.Haynes Fine Art of Broadway label versoGood overall condition with no apparent damage. Likely to have been re-lined, with evidence to edges visible under UV light, as well as some further areas of marks or later additions visible under UV. Frame generally good with minor wear in places
A presentation cased Harry Stinton for Royal Worcester porcelain demitasse coffee set for six persons, painted with highland cattle in misty landscapes and contrasting gilt handles and interiors each signed and bearing the factory cypher for 1924. Accompaned by six silver coffee spoons.One saucer repaired, with crack visible, Some minor gilt loss to rims, but no other apparent damage or repair. Light crazing visible under close inspection under a bright light
Horace Van Ruith (1839-1923) British/German, 'Malabar Point, Bombay', oil on board, signed to lower right corner, 26.5 cm x 64.5 cm in a gilt frame.Some surface cracking evident on close inspection. Probable later splashes of white emulsion paint in places (on the beach and the mast of the boat, as per the additional images). No signs of repair visible under UV light. Minor losses and wear to the frame
19th century school, 'Simeon with the infant Jesus', oil on canvas, 55 cm x 47 cm in a gilt frame, together with Follower of Raphael, 'Madonna Della Seggiola', small circular oil on canvas, 19 cm in a giltwood frame.Qty: 2Evidence of overpainting to both visible under UV light. Scratches and wear to the edges of the large work, probably from previous framing. Some losses to frames.
A large KPM Berlin oval porcelain plaque, after Bartolomé Esteban Murillo (1617-1682) Spanish, 'The Holy Family' ('The Seville Virgin'), impressed marks verso, 42 cm x 34 cm in a carved giltwood frame.No chips or cracks to the panel. Small sports showing up in places under UV light (see images). Some losses and wear to the frame.
Red Grooms (American, b. 1937). Lithograph in colors on wove paper titled "Mid-Rats," depicting a rat approaching a trap in a beam of light. Hand signed and dated 1981 along the shadow beneath the mousetrap; numbered 79/88 along the edge of the trap.Provenance: Distinguished corporate collection, Minnesota.Sight; Height: 22 in x width: 30 in. Framed; Height: 27 1/4 in x width: 35 1/4 in.
Pair of French old Paris Sevres style porcelain lidded urns decorated throughout with hand painted floral wreaths and gilt accents against a light green ground. The handles shaped into gilded faces. Marked along the underside with a Sevres mark indicating a date of 1768.Each; height: 15 1/2 in x width: 8 1/2 in x depth: 7 in.
Hiroshi Yoshida (Japanese, 1876-1950). Japanese shin-hanga double oban size woodblock print titled "Morning Mist on the Taj Mahal, No. 5" depicting a scene of the Taj Mahal in Agra, India in the early morning light. Marked along the lower right; pencil signed along the lower right margin. Marked with Yoshida's jizuri seal to the left margin, indicating this was printed by Yoshida himself. Titled along the lower left.Height: 15 3/4 in x width: 22 in.
Group of three Bohemian cut overlay white to light blue glass objects including one lamp and a pair of lustres. All hand painted with lovely floral motifs and gilt accents. The lustres' hanging glass ornaments are included but detached.(Vases, each) height: 12 1/2 in x diameter: 6 1/4 in. (Lamp) height: 24 1/2 in x diameter: 5 in.
Ann Thornycroft (British, b. 1944). Watercolor on paper titled "Untitled 2" depicting a burst of loose abstract brushstrokes in blue, green, red, and yellow on a light blue background. Signed and dated 1987 in pencil along the lower right; titled in pencil along the lower left.Provenance: Distinguished corporate collection, Minnesota.Sight; Height: 30 in x width: 22 in. Framed; Height: 34 1/4 in x width: 26 3/4 in.
JAVIER RODRÍGUEZ PÉREZ (Cantillana, Seville, 1986)."Light in the windows".Oil on wood.Signed in the lower central area.Measurements: 41 x 125 cm.Javi Rodríguez began to make himself known in 2007 with his participation in the exhibition "Pequeños formatos" at the Benedito gallery in Málaga, where he will participate again in group exhibitions in 2008, 2010, 2012 and 2013. In 2008 he held his first individual exhibition in the same gallery, and before the end of the year he held his second in the Hospital de Todos los Santos in Cantillana, his hometown. He will exhibit there again in 2010 and 2012. He has also shown his work at the Aitor Urdangarín gallery in Victoria, in a group exhibition in 2009 and individually in 2013. He has also participated in various competitions, being distinguished with the acquisition prize in the Virgen de las Viñas 2014 and finalist in its 2015 edition and in the Certamen Ciudad de Antequera of the same year. He is currently represented at the Haurie gallery in Seville.
JOAN RIPOLLÉS (Castellón, 1932)."Woman lying down".Bronze patina resin sculpture.Stamped with the logo of the Caja de Ahorros del Mediterráneo (CAM).Signed and stamped in the lower left corner.Measurements: 18 x 32 x 12 cm.Known by his second surname or as "the Blessed Ripo", Joan García Ripollés discovered his passion for painting when, while still very young and in the middle of the post-war period, he started working in an industrial painting workshop. From then on he devoted himself to painting at night, and later took drawing classes at the Ribalta secondary school in Castellón. After his debut in a group exhibition held in 1951 at the Caja de Ahorros de Castellón, 1954 was a turning point in his career, as a result of a trip to Paris where he made contact with the city's artistic circles. However, he was unable to give up industrial painting until 1958, when he joined the Drouand David gallery in Paris, one of the most prestigious in the world. He organised his first major solo exhibition at MACBA in 1962, and in 1967 he travelled to New York, where he exhibited and sold his entire collection to The William Haber Art Collection. That same year, the New York dealer Leon Amiel, of the Larrouse gallery, acquired all his work, something which was repeated on his trip to Japan. From that moment on, he embarked on a dazzling international career that has taken his work all over the world. He has organised solo exhibitions not only in Spain, Paris and New York, but also in Mexico, Holland, Belgium, Italy, Switzerland, Sweden, various American cities, Germany and Japan. He is currently the exclusive artist of The William Haber Art in New York and the Galerie Drouand in Paris. In 2000 he was awarded the Premio de las Artes de la Comunidad Valenciana. Ripollés defines himself as an "immature adult" and, above all, "light-hearted, a little mischievous and with some naivety", words that reflect his exuberant creative spirit, his simple and extroverted character and his childlike soul. Ripollés is, today, one of the most international Spanish artists, and also one of the most complete, as he has worked brilliantly in painting, sculpture and engraving. He is represented in the IVAM, the MOMA in New York, the Museum of the University of Alicante, the Museum of Fine Arts in Seville and the MACBA.
MARTIN MUGNOLO (Argentina,1973)."Reflections of your light".Oil on canvas.Size: 92 x 65 cm.Painter. He studied Fine Arts as an autodidact while he was getting his degree in Communication Sciences at Blas Pascal University. Always restless, he was interested in design, comics and illustration. He also dabbled in photography, cartoons and wrote a book (Leeme publishing house). For more than 12 years he developed numerous advertising campaigns as a designer and advertising creative. He has exhibited his work in Buenos Aires, Cordoba, Mykonos, Marbella, Malaga, Miami, New York and Barcelona (where he currently lives). His fascination for the beauty of hyperrealist figures and the mysticism of surrealism led him to develop different styles that coexist in him to express his personal experiences. His works show a refined technique and a keen sense of observation that translates into images of great beauty. EXHIBITIONS: 2017 Galleria del Duomo, Roma, ITA 2016 - Minima Galery. Mykonos, GRE. 2016 - Max & Sim Gallery. Barcelona, ESP. 2015 Javier Román Gallery. Marbella, ESP. 2015 María Elena Kravetz Gallery. Córdoba, ARG. 2013 Montcada Gallery. Barcelona, ESP. 2013 Mosaic Zoo Gallery. Mykonos, GRE.2012 Art Studio Gallery. Mykonos, GRE.2009 Sacred Art Biennial Award, Bs As, ARG. 2008 Form Gallery. Palermo Soho. Bs As, ARG. 2005 Caesarea Gallery. Boca Raton. Fl, USA. 2004 Recoleta Gallery. Buenos Aires, ARG. 2001 Marchiaro Gallery. Córdoba, ARG. 2000 Jockey Club Córdoba, ARG.
RAFAEL CANOGAR (Toledo, 1935)."Manipulo", 1961.Oil on canvas.Work reproduced in the artist's catalogue raisonné Nº 1961-001, and on the artist's website.Signed in the lower right corner.Size: 60 x 73 cm; 84 x 96 cm (frame).Based on an image of binary tonality, where abstraction becomes aware of the compositional space, Canogar confronts black and white, light and darkness, generating an open debate towards socio-cultural concepts. In this piece, where the artist's hand "manipulates colour" with a spatula, Canogar presents that pictorial deixis that resides in the gesture and the trace, which define a specific moment in his artistic production. A work that comes into contact with currents such as existentialism, and with the political situation of a Spain still under dictatorship.Rafael Canogar trained with the painter Daniel Vázquez Díaz between 1949 and 1954. During these years he worked along the lines of the avant-garde, soon moving towards abstraction. Co-founder of the group "El Paso" in 1957, during the fifties he developed a fully informalist work, which in the sixties became increasingly more narrative and complex figuration. From the 1960s onwards he achieved international recognition as a visiting professor at Milles College in California to teach the art course 1965-66, and as a guest artist at the Tamarind Lithography Workshop in Los Angeles in 1969. Between 1972 and 1974 he was also invited by the D.A.A.D. in Berlin as an artist in residence. During his mature period, from 1975 onwards, Canogar invented a new iconography, his own and personal, which he expressed through the mask, the head, the face, as a representation of man who loses his individuality and becomes a plastic sign. His work was also recognised in Spain, and during the 1980s he was a member of the Advisory Council of the General Directorate of Fine Arts of the Ministry of Culture, of the Board of Trustees of the National Museum of Contemporary Art in Madrid, and a member of the Board of Directors of the National Heritage. Throughout his career, Canogar has held countless solo and group exhibitions. Among the personal exhibitions, several have been retrospectives, including: Museo Nacional de Arte Contemporáneo and Biblioteca Nacional de Madrid, Musée d'Art Moderne de la Villa de Paris, Sonia Heine Foundation in Oslo, Konsthalle de Lund in Sweden, Paris Art Center, Bochum Art Museum in Germany, Istituto di Storia dell'Arte de Parma, Museo de Bellas Artes de Bilbao, Fundación Casa del Cordón de Burgos, Museo de Santa Cruz de Toledo, Museo Reina Sofía in Madrid, etc. Canogar has given workshops and lectures in several European and American countries, and has participated in juries of international prizes and biennials. He has also been awarded various prizes and distinctions, including the Grand Prize at the São Paulo Biennial (1971), the Grand Prize at the Sofia International Painting Triennial (1982), the National Prize for the Plastic Arts in Madrid (1982), etc. He has also been named Chevalier de l'Ordre des Artes et Lettres of France, has received the Encomienda de la Orden de Isabel la Católica, is a numerary member of the Academia de San Fernando and Doctor Honoris Causa by the U.N.E.D. Canogar is currently represented in the most important modern art collections around the world, such as the Museo Reina Sofía, the MoMA in New York, the Neue Nationalgalerie in Berlin, the Carnegie Museum in Pittsburgh, the Museo Rufino Tamayo in Mexico and the Chicago Art Institute, among many others.
MANUEL MATEO CUENCA (La peraleja, Cuenca ,1951)."El peinado".Bronze and stone base. Exemplary 2/8.Enclosed author's certificate.CAPA FoundationSigned and justified.Measurements: 29,5 x 13,5 x 18 cm; 5 x 11 x 14,5 cm (base).Round work made in bronze where he plays with the combination of empty spaces, transparency, lightness and solidity. In such a way that it reminds the spectator of the sculpture Apollinaire wrote about. The author thus demonstrates that "his artistic premises are linked to a whole range of cultural problems with deep European roots which have been with us since the end of the 19th century and which are continually enriched with new contributions in the 20th century", as Sanchez Rojas Fenol points out in relation to the work of Mateo Cuenca. Manuel Mateo Cuenca began his artistic training in his youth and worked with artists such as Antonio Galán del Amo, José Carrilero, Venancio Blanco, Joaquín García Donaire, José Castro Llamas, Cristino Mallo, Otero Besteiro, Jesús Valverde, Pablo Palazuelo. He began to exhibit in 1973 when he held a group exhibition at the Banco Americano (Ameribank) in Madrid. He also exhibited at the Tolmo Gallery in Toledo, and that same year he was awarded the National Salcillo Prize in Murcia. With regard to his first individual exhibition in 2000, in the Ra del Rey gallery in Madrid, it is worth mentioning that the artist already had a long career as an exhibitor. Both nationally and internationally, with his participation in exhibitions such as Avant Premiere. Capa Esculturas, Brussels in 2015, Affordable Art Fair London Spring Edition, London in 2008 or Estampa, the International Exhibition of Contemporary Art Printmaking and Publishing. Capa Sculptures. Madrid in 2004 among others. These exhibitions, which have confirmed his artistic recognition, have been followed by various awards, such as the II Prize for Sculpture at the II International Biennial El Baloncesto en las Bellas Artes in 2000, the XXVII Special Mention for Sculpture, the Plastic Arts Competition in Getafe, (Madrid) in 1979, the gold medal at the XVIII National Sculpture Exhibition and the Julio Antonio Prize, Tarragona in 1974, among many others. Nowadays his works are divided in different private collections such as the Ros Urigüen collections (Madrid), and many artistic centres of great cultural relevance among which the Diputación de Cuenca, the Pedro Ferrándiz Foundation in Madrid, the Eduardo Capa Foundation in Alicante, the Ministry of Culture in Madrid, the Reina Sofía Museum and the Museum of Cuenca stand out, his work is characterised by an approach to geometric constructivism that is never confused with a rigid schematism. Even in his most voluptuous volumes, line, light or shadow, and sometimes the hollow, mark a geometric counterpoint that orders and gathers the composition and enriches his points of view. Through an expressive and successful play of volumes and lines, of tones and textures, of supports and challenges to gravity, Manuel Mateo's sculpture transmits an artistic serenity that is instantly transmitted to the spectator. Within a stylistic schematism that inevitably recalls the avant-garde movements of the last century.
Andrew Holmes (b. 1947), two photolithographs from the China series: 'Silkworm Tray', signed, titled and numbered 72/110 in pencil to margin, 36 x 24cm, and 'Plum Tree Commune', signed, titled and numbered 105/110 in pencil to margin, 24 x 36cm. (2)Condition Report: Generally very good condition overall, with minimal visible damage to the main images. Light wear to the edges of the sheets.
Mark Spain (British, b. 1962), 'Jumping Horse I', oil on canvas, signed lower right, framed, 60 x 80cm.Condition Report: Canvas in very good condition overall, with minimal visible wear. Frame comes in professional packaging from vendor, with light signs of wear (i.e. small surface scratches to wood).
GREENE (Graham): 'Our Man in Havana': London, Heinemann, 1958: FIRST EDITION, publishers blue cloth with dustjacket, very light edge wear and some soiling to lower panel, 8vo: LEE (Laurie): 'Cider with Rosie', FIRST EDITION, Hogarth Press 1959, dustjacket with a few small chips and abrasions, a good copy: with 23 others on one shelf, 20th century fiction, majority in dustjackets. (25)
WATKINS PITCHFORD (Denise): 'Tide's Ending by BB': London, Hollis & Carter, 1950: FIRST EDITION: publishers grey cloth gilt, light wear and a few minor marks: VESEY-FITZGERALD (Brian) 'It's My Delight', illustrations by Watkins Pitchford, London, 1947: publishers blue cloth with dustjacket, a good copy: together with 10 other volumes by BB. (12)
MANUSCRIPT RECEIPT BOOK, VET AND FARM: a pair of 19thc manuscript volumes, relating to veterinary care and management of livestock on the farm, contemporary half morocco commonplace books, light wear, 8vo: together with a carton of misc. pencil diaries/notebooks of same period, photography etc. (Box)
INSCRIBED FROM TED HUGHES TO HENRY WILLIAMSON: DOUGLAS (Keith) 'Alamein to Zemzem': London, Faber & Faber, 1966, inscribed in black ink to FFE 'To Henry with love from Ted Monosyllabicus..New Year 1967...'Hair by hair you can pluck a tiger bald': 8vo, publishers blue cloth with dustjacket, light rubbing and a few minor marks else VG. (1)
TRADE CATALOGUE: GRAND DEPOT, PARIS: 'La Ceramique Moderne par la Grand Depot', Paris, 21 Rue Drouot, n.d (late 19th century): fine catalogue of porcelain, glass and other ceramic ware, numerous full page chromolithographic illustrations, publishers blue cloth gilt lettered to upper board, light external wear else in very good condition. (1)
MUDIE (Robert): 'Hampshire: its past and present condition, and future prospects...', Winchester, James Robbins, n.d (1838): 3 vols, large 8vo, contemporary green half calf gilt with marbled sides: numerous steel engraved plates, hand coloured folding maps, light toning and scattered foxing but a smart set. (3)
ARABIAN NIGHTS: 'Le Livre des Mille Nuits et une Nuit...', Paris, 1926-32: translated by J C Mardrus, illustrations by Leon Carre: in the original parts, 88 fascicules, original printed wrappers in various colours numbered 1-88, final part split, otherwise generally in very good condition with light wear to extrems, contained in 3 drop-back marbled boxes with labels to spines. (3 vols)
EVELYN WAUGH'S FIRST BOOK: WAUGH (Evelyn): 'P.R.B: Essay on the Pre-Raphaelite Brotherhood 1847-1854': London, Alastair Graham, 1926: FIRST EDITION, 1 of 50 copies, with extensive 16 line inscription from writer John Heygate to Henry Williamson on FFE beginning: 'not having a book of my own to give my old friend, Henry Williamson, on the occasion of his first visit...': publishers cloth backed boards, spine gilt lettered, some light wear and marking, contained within old brown envelope addressed to Williamson in Heygate's hand, black wax seal to verso. A dedication copy of Waugh's first book, inscribed from the man who stole the author's first wife at a party given by Anthony Powell and Constance Lambert in 1929. (1)
BINDINGS: ALDIN (Cecil): 'Old Manor Houses', London, Heinemann, 1923: recent crushed half morocco gilt, VG, 4to: VILLARI (Madam Linda) 'The Life and Times of Niccolo Machiavelli', London, T Fisher Unwin, 1898: period green half morocco, spine gilt lettered, teg, light wear: with 24 other books in calf bindings, largely 19th century 8vo, a few smaller format. (26)
SCOTT (Sir Walter): 'Marmion..a tale of Flodden Field..', Edinburgh, A & C Black, 1855, 8vo, publishers green blind stamped bevel edge boards ornately gilt, aeg, light wear and a few nicks to spine ends else VG: together with 12 other volumes, 19th century to modern, including 4 early editions of other works by Scott, an attractively bound French book of hours 1841 with metallic cruciform closure, a few Folio Society and others. (13)
INDIA: DUKE OF CORNWALL'S LIGHT INFANTRY, BAREILLY 1915: small album of 24 regimental photographs associated, printed red card covers string-bound, oblong 8vo, together with a small collection of ephemera including military buttons, a few postcards and an old embroidered armorial coat of arms. (Sm Qty)
SHOOTING: GREENER (W W): 'The Gun and its Development with notes on shooting..', London, Cassell, n.d (circa 1890), 4th edition: thick 8vo, publishers blue cloth blocked in red black and gilt, endpaper joints cracked, some light marks and wear: THOMAS (B) 'The Shooter's Guide; or Sportsman's Companion: containing every possible instruction for the juvenile shooter...', London, Gale & Curtis, 1811: later half calf, some early 19thc ms shooting tallies loosely inserted, 8vo: ST JOHN (Charles) 'Short Sketches of the Wild Sports and Natural History of the Highlands', London, John Murray, 1847: later full calf gilt by Sotheran, teg, small 8vo: with 9 others, shooting and field sports, 19th-early 20thc, to include Frank Barton's 'Pheasants in Covert and Aviary', 1912, front FE inscribed by Henry Williamson and dated 1947 (from the estate of the Williamson family). (12)
FISHING: HENRY WILLIAMSON'S COPY: CUTCLIFFE (H C): 'The Art of Trout Fishing on Rapid Streams..' South Molton, W Tucker, 1863: with bookplate of Charles Hibbert, below which written in black ink 'Henry Williamson's father-in-law, a gift therefrom..', period black half morocco gilt, a little rubbed, 12mo: HALFORD (F M): 'Floating Flies and How to Dress Them..', London, 1886: half title with brown ink inscription 'CRC Hibbert gave this book to Henry Williamson Shallowford, 1932..' publishers brown cloth, 8vo, light wear: REYNOLDS (W F R): 'Fly and Minnow..common problems of trout and salmon fishing', London, Country Life, 1930, red ink ownership of Henry Williamson to front FE, Shallowford 1932: 4to with dustjacket, a bit browned and chipped to extrems: with 13 other fishing books from the estate of the Williamson family, 19th-earlier 20thc, a few others bearing Henry Williamson's ownership markings. (16)
THOMAS (Edward): 'In Pursuit of Spring..', London, Nelson, 1914: FIRST EDITION, publishers blue cloth gilt, light wear and marking: 'Collected Poems, with a foreword by Walter de la Mare': London, 1929: inscribed on FFE to Henry Williamson ...'to HW, in remembrance of things past, and of E.T., and his 'daughter the younger'', probably in Walter de la Mare's hand, publishers red cloth with dustjacket (chipped to extrems), 8vo: 'The Icknield Way', London, Constable, 1913: FIRST EDITION, publishers green cloth gilt, 8vo: with one other related, from the estate of the Williamson family. (4)
A fancy-link collar necklace, designed as a series of graduated and part-textured crossover links, two colour precious metal mounted, stamped '750', length 46cmLight surface wear, scuffs and nicks throughout, commensurate for occasional use. The links are hollow and have occasional shallow dings/creases. The clasp is currently functioning. Width graduates from approx. 13.8mm to 7.5mm. Metal standard is untested. Gross weight approx. 28.4gm.
A pair of sapphire and diamond earrings, each accented with channels of graduated square step-cut sapphires, edged with round brilliant-cut diamonds, on hinged post and clip fittings, yellow precious metal mounted, length 1.85cmSapphires are well matched, of mid blue hues, some stones with areas of whiteish colour zoning. All have light surface wear, scuffs and nicks. Diamonds are well matched and bright, occasional stones with small chips/fractures. The mounts are relatively modern, with light surface wear, scuffs and nicks. Each is numbered 30-10. The posts are hinged, so that the earrings can also be worn as clips, and both the posts and clips are functioning. Metal standard is untested. Gross weight approx. 6.5gm.
A pair of sapphire and diamond earrings, each designed as a tiered spray of navette-shaped sapphires and round brilliant-cut diamonds, on hinged post and clip fittings, white precious metal mounted, stamped '14K', total diamond weight approximately 0.25ct, length 2.3cmSapphires are well matched, of deep blue hues, some stones with areas of whiteish colour zoning and small natural inclusions that are visible under magnification, all with light surface wear. Diamonds are well matched, bright and lively, one stone with a surface-reaching fracture. The remaining diamonds have estimated VS2 to SI2 clarity and H to K colour, assessed mounted. The mounts are modern, with surface scuffs and nicks, and the posts hinge downwards so that the earrings can be worn as ear clips. The clips are currently functioning. Metal standard is untested. Gross weight approx. 10gm.
An emerald and diamond bangle, of hinged oval form, the tapered frontispiece with channels of square step-cut emeralds and round brilliant-cut diamonds, yellow precious metal mounted, stamped '750', inner diameter 5.75cmEmeralds are mostly well matched, of light to mid green hues, most stones with fracture, fissure and mineral inclusions, some of the fractures surface-reaching. All have surface wear, scuffs and nicks and occasional stones are chipped. Diamonds are well matched, bright and lively, total weight approx. 0.12ct. The mount is relatively modern, with surface wear, scuffs, chips and nicks, and patchy tarnishing. The clasp is currently functioning. Metal standard is untested. Width of bangle at centre of frontispiece 7.5mm. Gross weight approx. 16.3gm.
A pair of emerald and diamond earrings, each designed as three interlocking hoops, accented with graduated step-cut emeralds and round brilliant-cut diamonds, on post fittings, yellow precious metal mounted, length 2.5cmEmeralds are mostly well matched, of light to mid green hues, most stones with fracture, fissure and mineral inclusions, some of the fractures surface-reaching. All have surface wear, scuffs and nicks. Diamonds are well matched and bright. The mounts are relatively modern, with surface wear, scuffs and nicks amd the posts are slightly mis-shapen. Metal standard is untested. The butterflies are numbered 175-10 and stamped '750'. Gross weight approx. 6.7gm.
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