A WWI Medal Trio, comprising 1914 'Mons' Star with Bar and two silver roses, War Medal and Victory Medal trio to 3-10072 Pte J. O Wesley, 1/Northamptonshire Regiment, plus Silver War Badge, discharge and medical papers, two Christmas 1914 tins and assorted badges. John Charles Wesley was born in 1894, records indicate he enlisted on 9th August 1914 in Northampton. He was injured on or around 15th May 1916, probably somewhere on the Somme, he was transferred back to England with shrapnel wounds to the back, and discharged on 5th February 1919.
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Mark Speight - Black ink fine line pen, 14cm x 18.5cm. Framed and glazed. Mark Speight was born in Wolverhampton. He was a TV presenter and host of children?s art programme SMart alongside Jay Burridge and Kirsten O?Brien. Provenance: Acquired by Dorothy Claxton at the ArtWorks competition at the Tate Modern on 5th May 2000.
A diamond octagonal cluster white gold ring, diamond set shoulders, central square emerald-cut diamond approx 1ct, assessed colour approx H, assessed clarity appox VVS, rub-over set channel set surround, comprising a total of twelve tapered baguette cut diamonds, a further fourteen baguette cut diamonds to channel set shoulders, with a calculated total diamond weight approx 3.7cts, size O, total gross weight approx 8.9gmsCondition: very good, minor wear and tear only
A diamond three-stone platinum ring, three round brilliant-cut diamonds, centre diamond weighing approx 2 carats, assessed colour J/K, assessed clarity SI2/I1, two round brilliant cut diamonds either side weighing a total of approx 0.80ct, split claw setting, ring size O, gross weight approx 4.1 gramsCondition: good, claws intact, wear and tear only
A 9 carat gold and amethyst fob; a porcelain panel ring, stamped '9CT', finger size O; a Victorian gem set brooch, unmarked, length 7.5cm ; and a turquoise cross pendant on chain, chain length 44.5cm . Fob and ring - 18.96 grams. Victorian brooch - 15.48 grams. Cross pendant on chain - cross unmarked, chain with applied plaque stamped '9C' , 9.01 grams.
A 9 carat gold cased propelling pencil by Yard-O-Led, London 1955, the Lady Yard-O-Lette; a 9 carat gold mounted penknife by Cohen & Charles, Birmingham 1956, each engraved N.H.B.; a partially hallmarked 18 carat gold curb link chain connecting the two, in a case from Wilson & Gill, Regent Street
An Edwardian silver and enamel envelope card case by Boots Pure Drug Co., Birmingham 1904, the flap red enamelled with a cross pattée, 2.7cm (1 1/8in) long; a silver and enamel vesta case, applied with a roundel Oriana with the flag of P&O shipping line, 5cm (2in) long; and a blue hardstone inset silver coloured rectangular box, stamped 925 only, of recent manufacture, 4cm (1 1/2in) long (3)
A diamond crossover ring, the crossover oval panels pavé set with brilliant cut diamonds, approximately 0.44 carats total, finger size O 1/29.2g gross, together with a two colour dress ring, the shaped front with two colour applied wire decoration with a central band of eight cut diamonds, approximately 0.10 carats total, the shank stamped 750, finger size M 1/2, 6.5g gross
A graduated coral bead necklace, beads graduating from 4.5mm to 8.5 mm; a 19th century coral ring, the rectangular coral plaque with smaller circular coral stone surround, finger size O 1/2, 7.5g gross; a pair of branch coral earclips, 20mm width, metal clip fittings; a 19th century gold memorial brooch, the locket compartment within an enamel surround 'in memory of', personal inscription on reverse, 2.4cm long; a quizzing glass with engraved stem, 6.5cm long; a collection of five gilt metal fob seals and a watch key variously set with hardstones
A 9 carat gold serpent ring, the two coiled serpent with vacant eye settings, hallmarked Birmingham 1957, finger size O; together with a cubic zirconia set dress ring, the circular cut cubic zirconia within a star setting, hallmarked Birmingham 1990, finger szie M; and a 9 carat gold band ring, finger size M 1/2; 14g gross
A diamond serpent ring, the coiled ring set with brilliant cut diamonds, to the snake's head set with brilliant cut diamonds and two marquise cut diamonds, approximately 0,35 carats total, finger size C 1/2; a sapphire and diamond ring, finger size M; and a pieced foliate wide band ring, finger size O 1/2
Boxed "The Dinky Collection" 1939 Triumph Dolomite, Dinky Silver Jubilee taxi (241), Dinky six pounder anti tank gun (625), Dinky 1948 commer van (DY8-B), Corgi Bedford O Series Pantechnicon and Brumm Bentley (1928) and Vanwall (1957). Condition reports are not available for our Interiors Sales
Mary Swanzy HRHA (1882-1978)The White Tower (c.1926)Oil on canvas, 101 x 81cm (39¾ x 32)SignedExhibited: IMMA, 'Mary Swanzy - Voyages', Dublin Oct 2018 - Feb 2019; IMMA, 'Analysing Cubism', 2013, Dublin, Cork, Banbridge; Belltable Arts Centre, 'Towards the World's Edge', Limerick 1981; University of Limerick, 'Familiar Faces', 2008; Clifden Arts Week.Literature: S.B. Kennedy, 'Irish Art and Modernism', illustrated with colour plate; 'Analysing Cubism', IMMA, illustrated p.85; IMMA, 'Mary Swanzy - Voyages', illustrated p.121 and 211.White Tower combines architecture and environment in a powerful example of Swanzy’s interpretation of cubism, perhaps the only Irish cubist painter of landscape, Swanzy is not one of the students of Lhote or Gleizes that dominate the later modernist school in Dublin. She slowly develops her singular interpretation of the emerging trend on a study trip to Paris in 1906 where she witnessed Picasso’s unframed portrait of Gertrude Stein in her apartment. Swanzy first exhibited at The Salon des Indépendants in 1914 when Robert and Sonia Turk Delaunay were both strongly represented with their influential lyrical style of Salon Cubism known as Orphism.Her visit to New York in 1925 returning from Samoa and Hawaii produced many drawings of skyscrapers and she is also known to have visited the Italian town of San Gemignano with its skyline of medieval towers; this painting is perhaps a layering of those historical and modernist concerns. The portrait format heightens the scale of the towers while Swanzy anchors the viewpoint with natural forms and an earthy palette in the foreground. The airy brushwork of the blues framed by the white geometrics allows the subject to soar. Her use of perspective goes against the strict cubist concern of flattening of the picture plane however it illustrates Swanzy’s independence of vision and ability to see things from her own point of view. The circular motif she adopts has something of the dynamism of futurist concerns with movement while also containing an element of Celtic interlace in the swooping elliptical lines she employs. Her economy of colour and the use of pinks and violets to balance the palette is Swanzy at her most confident. The use of flowers is somewhat reminiscent of her contemporary Georgia O Keefe (1887-1986).Liz Cullinane, September 2019
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