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Lot 240
An 18ct gold single stone green tourmaline ring,with diamond set shoulders. A square cut green tourmaline, with a stated weight of 0.94ct, four claw set in a plain collet, with pairs of princess cut diamonds, channel set to each flat section solid shoulder to an incised shank. 13.50 x 6.40mm including shoulders, 4.68g.Finger size O
Lot 246
A yellow sapphire and diamond cushion-shaped cluster ring,with a cushion cut yellow sapphire, rub set to the centre. A border of old Swiss cut diamonds, milligrain set to a scalloped edge to a pierced basket, fleur-de-lys shoulders and a plain shank. Tested as approximately silver and 9ct white gold. 6.80g.Finger size O (approximately)
Lot 271
An 18ct white gold four stone diamond crossover ring,with two trilliant cut diamonds, possibly fancy light yellow, with a stated weight of 0.50ct total, rub set in plain collets. Sweeping curved shoulders, each one rub set with a brilliant cut diamond to a plain shank. London 2013. Head 13.90 x 10.10mm, 3.94g.Finger size O½
Lot 69
A Victorian gold five stone opal carved head ring, with diamond set points. Five graduated oval cabochon opals, all claw set with pairs of rose cut diamond points. Tested as approximately 18ct gold. Head 19.5 x 7.10mm, 4.20g.Finger size O½Condition report: Some surface wear to the opals.Second opal from one end has a small chip at one end.Wear to the setting edges of the diamonds.7293 engraved to the underside of one shoulder.
Lot 119
An Art Deco single stone diamond ring,with an old European cut diamond, estimated as approximately 0.79ct, double claw set to a sea scroll collet. Three old eight cut diamonds, milligrain set to each chenier shoulder, to a plain shank. Marked P. 15.70 x 6.20mm (including shoulders), 2.68g. Case by 'Goldsmiths' & Silversmiths' Company Ltd., 112 Regent Street, London W.'. Diamond assessed as approximately:Colour: H/IClarity: VS1/VS2.Finger size O½
Lot 138
A pair of diamond set waterfall drop earrings, c.1940,of night and day style, with detachable pendant drops. Each earring composed of three arched, graduated rows of old European cut, brilliant cut and baguette cut diamonds, claw, grain and channel set to a diamond set hoop. A detachable three row waterfall drop of rub set baguette cut diamonds in articulated collets, each culminating in a claw set graduated, old brilliant cut diamond. Concealed box clasp fittings with post and spring earring fittings. Tested as approximately platinum and 9ct white gold. 47mm long, 24mm without drops, 20.52g. Case by 'Antrobus 6-8 Old Bond Street, London, W1' (2)Condition report: Light surface marks commensurate with their age.Fittings secure.Claws all appear secure.It is possible the post fittings are later, but they neatly fit through the clip backs.The waterfall detachable drops appear to be of the same period as the top sections.No obvious damage.Nothing easily visible under 10x magnification.Some facet edge wear to the O/EU cuts.Diamonds facing up - white and bright, no hint of yellow to colour.Please view additional images.Total estimated diamond weight of approximately 4.10ct.
Lot 139
A white gold single stone Colombian emerald ring,with a square emerald cut emerald, four claw set at the corners, in a plain collet, with a baguette cut diamond, rub set to each shoulder, with a plain shank. Tested as approximately 18ct gold. Head 15.70 x 12.20mm, 4.65g.Finger size OAccompanied by a laboratory report from Gemmological Certification Services dated 19/02/20, no.80254-90, with an estimated weight of 4.20ct. Origin Colombia. Indications of minor clarity enhancement.Condition report: Facet edge wear and scratches under 10x magnification.A few significant scratches to the table.Some wear to the claws.x1 baguette, cracked at the corner.Replacement shank.
Lot 17
A Georgian gold amethyst memorial ring, c.1747,with a cushion-shaped flat cut foil-backed amethyst, in a cut down collet at the centre, with a gadroon dome back setting. A scalloped shank with black champlevé enamel decoration to read 'Dr ABM Sequeira OB:5 Aug.1747 AE:82'. Tested as approximately 18ct gold. Head 6.9 x 6.00mm, 3.60g.Finger size O½Condition report: Facet edge wear and light scratches to the amethyst.Scratches and wear to the enamel.Tarnished.
Lot 21
A gentlemen's Edwardian gold hardstone signet ring,with an oval cornelian tablet, intaglio engraved with the profile of a 17th century gentleman. The hardstone claw set to a plain collet, with a four row flat section shank. Tested as approximately 9ct gold. Head 19.90 x 17.2mm, 8.11g.Finger size O (approximately - not round)Condition report: The four row shank has a join at the bottom of the shank, the outer two rows have popped the solder join.Light surface marks throughout.Porousity at the point where the claws meet the shoulder and the collet.A chip to the cornelian from the bridge of the nose to the hairline on the front of the head. Surface scratches to the cornelian.
Lot 251
A TWO-DAY MARINE CHRONOMETER BY KELVIN WILFRID O. WHITE & CO. LTD, BOSTON & NEW YORK, CIRCA 1938 the 4in. silvered dial signed as per title and numbered 15540 , blued steel hands, movement with spotted plates, standard balance with Earnshaw escapement, silvered helical spring, counter-numbered on back of spring and inside bowl, gimbal-mounted within two-tier case with tipsy key and maker's plates -- 7½in. (19cm.) (cubed)
Lot 7
A 9CT GOLD BANGLE AND TWO RINGS, the hollow flexible bangle with diamond cut engraved decoration, the first ring a sapphire and diamond cluster, the oval sapphire within a single cut diamond surround, ring size Q, the second a band ring set with single cut diamonds each interspaced by diamond cut engraved star detail, ring size O, all with 9ct hallmarks or import marks, approximate total weight 11.5 grams
Lot 412
Zhenhua Wang (Chinese, 20th C.) "Red & Black Tulips" Signed and stamped upper left. Watercolor on Rice Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork originally appeared on the Fleetwood First Day of Issue Maximum Card for the U.S. 29c Tulip Booklet stamp issued January 22, 1991. "Clean as a lady, cool as glass, fresh without fragrance the tulip was," wrote poet Humbert Wolfe in 1924. His words aptly describe the crisp lines and austere elegance of this garden perennial. In 1554 O. de Busbecq, the Austrian ambassador to Turkey, spied tulips growing in a garden near Constantinople and brought a few bulbs back to Vienna. Conrad Gesner, a botanist of the era, began his own cultivation of tulips near Augsburg and soon word of this unusual flower spread throughout Europe. British and Dutch colonists brought the tulip to the Americas, and it has remained tremendously popular with serious and "week-end" gardeners alike. Lacking the heady perfume of a gardenia or tuberose and the dense, velvet blossoms of a rose, the tulip is a hardy but refined flower. Properly planted, it grows profusely but tidily. The tulip prefers moderate temperatures, well-drained soils and an occasional light shower. Like other bulb varieties, the tulip cannot withstand harsh winters. Conscientious gardeners must dig up the bulbs before the season's first hard freeze and store them in a cool, dry place. Perfect in floral arrangements, the tulip is equally impressive artfully placed in ornate bouquets or simply scattered in crystal vases. Size: 9.75 x 14 in. Unframed. (B12932)
Lot 552
* GREGORY RANKINE (SCOTTISH b 1971), CUTTY SARK oil on board, signed 14cm x 20cm Mounted, framed and under glass. Titled on Compass Gallery, 178 West Regent Street, Glasgow label verso3 Note: In Burns' poem Tam o' Shanter (first published in 1791) the drunken Tam, riding home on his horse, happens upon a witches' dance. Among the dancing figures is a particularly beautiful young witch named Nannie (Scots pet form of Anna), "ae winsome wench and wawlie" (line 164). She is wearing a harn (linen) sark (nightshirt) which fitted her as a child (a "lassie") but is now rather too short for her. Artist: Gregory Rankine graduated from Glasgow School of Art in 1996 and since that time has exhibited in the UK and abroad, including London, Glasgow, Edinburgh, Dublin, Limassol and New York. He undertook a six-month residency in Cyprus, exhibits at the RGI and RSA and was awarded the N.S. Macfarlane Trust Award at the Royal Scottish Academy in 2007. Rankine’s horses are not portraits of bloodstock, but evocations of the strength, elegance and movement embodied by the animal. Widely collected across the UK, Ireland, France, Finland and the US, Rankine’s work is in private and public collections, including The Woolwich, The Prince’s Trust and the University of Strathclyde.
Lot 67
A MORGAN SILVER DOLLAR DATE SET (1878 - 1921) & Carson City, New Orleans, San Francisco, Denver The Morgan Dollar was a United States dollar coin minted from 1878 to 1904, and again in 1921. It was the first standard silver dollar minted since production of the previous design, the Seated Liberty Dollar, which was discontinued due to the passage of the Coinage Act of 1873, which also ended the economy policy of free coining of silver. There was no real public demand for the return of the silver dollar but those that worked in silver-mining lobbied Congress forcefully for its return. The coin is named after its designer, United States Mint Assistant Engraver George T. Morgan. The design features a left-facing portrait of Miss Liberty on the obverse while the reverse depicts an eagle. The dollars were produced every year between 1878 and 1904 at a total of 4 different mints. Each mint, apart from Philadelphia, has its own mint mark. In 1921 production was resumed for one year only, with this year being the only one where the Denver mint was used. The mint marks appearing on the coins are CC for Carson City, S for San Francisco, O for New Orleans and D for Denver. Interest in the Dollar set amongst numismatists was low throughout its production years. However, in the 1960s things changed and it became highly sought after by collectors becoming one of the most widely pursued U.S coins, with complete sets proving to be very rare.
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175434 item(s)/page