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Lot 3477
Neagu, Paul (1938 Bukarest - London 2004) "The flying horse (of Kansu)", so re. o. in der Darstellung betitelt. Lithographie/festem Papier (Altersspuren, fleckig, Knicke und Ecken mit kl. Montagelöchern), re. u. mit Bleistift sign., dat. 1974, Künstlerstempel und li. u. num. 3/75. Plattenrand 45x 60,5 cm, Blattmaß 50,5x 69 cm.
Lot 3497
Picasso, Pablo (1881 Malaga - Mougins 1973), nach "Joueur de Flûte et Femme couchée". Lithographie/Velin d'Arches (l. gebräunt bzw. l. Altersspuren) re. o. im Stein sign. und dat. (19)23 (entstandenen nach einer Zeichnung Picassos zu Jaime Sabartés, "Dans l'Atelier de Picasso"), um 1957. Bildmaß ca. 22,5x 30,5 cm, Blattmaß ca. 43,5x 32,5 cm. R.
Lot 3555
Visscher, Nicolas Karte von Böhmen und angrenzenden Gebieten: "Regnum Bohemiae eique Annexae Provinciae ut Ducatus Silesiae Marchionatus Moraviae et Lusatiae Vulgo Die Erb-Länderen", so re. o. in Wappenkartusche betitelt und bez. Amsterdam als Erscheinungsort. Kupferstich mit Grenzkolorit (fleckig, gebräunt und wohl rest., nicht ausgerahmt). PP.-Ausschnitt 50,5x 59,5 cm. R.
Lot 3676
Erhard, Johann Christoph (1795 Nürnberg - Rom 1822) "Eingang in Pillenreuth von innen.", so li. u. in Feder betitelt und re. u. bez. "Desfinée d'après Nature de J.B. Erhard" (Nach der Natur entworfen bzw. gezeichnet) sowie mittig o. schwach leserlich dat. 14. September. Wohl um 1814. Lavierte Federzeichnung/Bütten (gebräunt, Montagespuren und obere Kante etwas eingerissen). Blattmaß 17,7x 27,8 cm.
Lot 3861
Grützner, Eduard von (1846 Karłowice Wielkie - München 1925) Mönch bei der Weinprobe. Öl/Holz (Spannunsgriss mittig o.), li. u. sign. und dat. (18)83. Ca. 36x 27,5 cm. Wohl originaler, verglaster Goldstuckrahmen (teils rep. und li. o. Ecke l. besch.). Beigegeben: Handschriftlicher Brief "Haben Sie herzlichen Dank für Ihr Interesse an meinen Bildern! Mit besten Grüßen Ihr Eduard Grützner, München 29.1.87".
Lot 4073
Watenphul, Max Peiffer (1896 Weferlingen - Rom 1976) "Stilleben mit zwei Blumensträussen", so im Wertgutachten der Galerie Neher betitelt. Öl/Lwd., li. o. sign. und dat. 1930. Ca. 68x 74,5 cm. R. Beigegeben: Unterlagen der Galerie Neher aus 1987 mit Wertangabe von DM 59.000,- und Verweis auf die Aufnahme ins Werksverzeichnis Watenphul/Pasqualucci.
Lot 4080
Wislicenus, Hans (1864 Weimar - Berlin 1939) Musizierender Jüngling, umgeben von Raubtieren, am re. Bildrand junge Schönheit. Öl/Lwd. (min. Fehlstellen, li. o. Fleck von weißer Wandfarbe), li. u. sign. und dat. 1901. Rückseitig Reste eines Aufklebers "Leipziger Kunstverein" mit nicht mehr lesbarer, dreistelliger Nr. Ca. 50x 157 cm. R.
Lot 25
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Olokun Dancers signed and dated 'BEN ENWONWU/ ILE-IFE 1974' (lower right)oil on canvas 67.5 x 47.3cm (26 9/16 x 18 5/8in).(framed)Footnotes:ProvenanceA private collection.LiteratureOgbechie, S. O., 'Portrait of an Artist: The Queen to Sit for Ben Enwonwu', Ben Enwonwu, the making of an African modernist, (New York: University Rochester Press, 2008), p. 128.In response to the romanticised account written by Geoffrey Gorer in his book Africa Dances published in 1935, Benedict Enwonwu concluded that, although Gorer's account critiques colonial rule, very little was in fact understood about the role dancing had in ritualistic performances. It was this travelogue that prompted Enwonwu's African Dances series, beginning in the 1940's, which aimed to evoke and emphasise the conceptual symbolism of dance forms, movement and cultural identity. Completed in 1974 at a time when the artist was generating a large number of paintings for the series, Enwonwu was also serving as a Professor of Fine Arts at the University of Ife between 1971 and 1975. It was during this period, S.Ogbechie observes, that the Africa Dances series took a direction that pointed away from more literal representations affiliated with his 1940's work. More informed by the Negritude ideology and during a period where subject use of the female figure took a front seat in Enwonwu's work, the series took a more conceptual angle, away from naturalistic notions of dance. It was Enwonwu's opinion, Ogbechie writes, that female representations in his work were displays of idealisation within African culture. During this time period, Enwonwu met the granddaughter of the former Ooni (king) of Ife, Adetutu Ademiluyi and would complete the first of his monumental Tutu works, completed in 1973. As perhaps a continuation of using the female form as ideological figures of power, the present work was completed only the following year from the Tutu series.'In our rising nation, I see the forces embodied in womanhood; the beginning, and then, the development and flowering into the fullest stature of a nation- a people!'The present work is unique in composition in comparison to other works of the 'Africa Dances' series as the posture of the women is hunched over, contrasting the more fluid and open postures of dancing women in works preceding it such as Africa Dances (1973). This comparison allows us to identify the dance presented as 'Olokun'. Enwonwu would, on occasion, visit the Ori Olokun Performing Arts Centre in Ife which was co-founded by Peggy Harper, a choreographer who studied and championed traditional forms of Nigerian dance. Indeed, the date of the present work and the Ife clothes the dancers are wearing, suggests that this painting may well have been completed at Ori Olokun Performing Arts Centre.Resonating with the compositional approach that Enwonwu had used in earlier works of his Africa Dances series in terms of mirroring and repetition of the figures in this present work. While the figural repetition may be literal to the dance being depicted, it could also be a technique given by the artist to imbue a sense of movement throughout the work, contributing to a sense of rapid motion. The use of repetition is thematic of the artist's wider oeuvre and can also be seen in his Negritude series, the subjects of which, while more metaphysically conceptual given the exaggerated curvature of the forms, are rhythmic in depiction due to this similar echoing technique.BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu, the making of an African modernist, (New York: University Rochester Press, 2008)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 18
Yusuf Adebayo Cameron Grillo (Nigerian, 1934-2021)Blind Minstrel inscribed, signed, titled and dated '15/BLIND MINSTREL/OIL ON BOARD/by/Y. GRILLO/ 1966' (verso)oil on board90 x 53.5cm (35 7/16 x 21 1/16in).(framed)Footnotes:ProvenanceAcquired in Lagos in the 1960's;A private collection. ExhibitedLagos, Goethe-Institute, (9-31 December 1966), 15.London, Commonwealth Institute Art Gallery, Contemporary Nigerian Art, (20th June - 21st July 1968), 62.LiteratureIkpakronyi, Simon O., Master of Masters, Yusuf Grillo: His Life and Works, ed. Paul Chike Dike & Patricia Oyelola, (Nigeria: National Gallery of Art, 2006), pp. 65-66. (illustrated)Commonwealth Institute Art Gallery, Contemporary Nigerian Art, An exhibition assembled by the Society of Nigerian Artists, (London: Commonwealth Institute Art Gallery, 1968) (illustrated) Simon O. Ikpakronyi identifies the subject of this work as 'Kokoro', a blind musician who became well known in Lagos. Ikpakronyi documents him as travelling around neighbourhoods, knocking on doors and collecting money. With some people paying him lots of money in order to support him, it can be concluded that Kokoro became a familiar face of the community. Remembered today in music circles Kokoro, who became blind from the age of 10, left a legacy in Yoruba music circles, particularly for being an early pioneer for juju, a popular music genre, singing about urban life, love, poverty, and conflict.It could be concluded that, in line with the artist's own love of music and interest in musical instruments, Grillo saw KoKoro as an appropriate subject given his fascination with social documentation, as he said:'I used to go close, watch and join the music, look at the dancers and join them too. They made a very, very strong impression, an indelible impression. And what interests me most is what the drummers do when they are not actually playing. That is, when they have an interval at which time they try to re-tune their instruments, that is, the drum skins, which they place over a small fire. They wold get some rough paper together, light it and place the drum over it so that the skin would be taut. The fact is that when they have been drumming, the skin goes a little slack, so the sound is not what it should be. Hence, they do all that just to warm it and make it taut, to bring back the desired sound. These are some of the things in traditional drumming that interest me most.' (Professor Yusuf Grillo, 13th November 2005). Indeed, the role of the male drummer is a recurring theme within the artist's work as seen in 'Drummers and Dancers' 1964, throughout his career to Lead Drummer (2003-09). In respect to the prior mentioned paintings, a commonality is detectable within these works in that the drummers are usually male figures in groups. Thus, the present work is rare example under this subject matter as it is a portrait of a strikingly identifiable character within the artist's body of work. Grillo's seemingly preferential use of the drum above other instruments may be due to its rhythmic interplay as with Yoruba language, hence why the traditional drum iya ilu translates to the 'talking drum'. Therefore, the artist's patronage to his Yoruba heritage may also indicate his desire to include a musical and performative element of specifically the drum to this work. Furthermore, in keeping with the iconic blue palette that distinguishes the artist from his contemporaries, Blind Minstrel holds a prominent and important position in the artist's oeuvre. A fantastic example of his geometrically compositional works, where by planes of blue hues assemble to create an image, the present work is indicative of the dynamism that is catalysed by Grillo's love of mathematics and art. BibliographySimon O. Ikpakronyi, Master of Masters, Yusuf Grillo: His Life and Works, ed. Paul Chike Dike & Patricia Oyelola, (Nigeria: National Gallery of Art, 2006)Toyin Falola, Culture and customs of Nigeria, (London: Greenwood Press, 2001)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 17
Yusuf Adebayo Cameron Grillo (Nigerian, 1934-2021)The Seventh Knot, 1969 signed and dated 'Y GRILLO/ 69' (lower left); inscribed '22/ THE SEVENTH KNOT/ OIL ON BOARD BY/ Y.A GRILLO 1969' (verso)oil on board 121 x 75cm (47 5/8 x 29 1/2in).(framed)Footnotes:ProvenanceAcquired directly from the artist in 1969;Thence by descent to the current owner. Arguably one of the most prominent post-colonial modern artists and advancer of the subject, Yusuf Grillo's (1934-2021) influential and meticulously executed oeuvre encapsulates the vivaciousness of modern Lagos life. The Seventh Knot (1969) is characteristic of some of Grillo's most famous and successful work, yet prominent in its dynamic composition and scale. As a key figure of the Zaria Art Society, Grillo, and his contemporaries such as Demas Nwoko, Uche Okeke and Bruce Onobrakpeya, directed the trajectory of what post-colonial African art would look like. Coining the term 'natural synthesis', Uche Okeke presented the ideology of Modern West African art as an informed incorporation of pre-colonial and Western art motifs, displaying an evolvement in subject matter, medium, and execution. Challenging colonial interference which attempted to eradicate pre-colonial practices and depictions, the society aimed to take ownership of their culture, history, and art. In Grillo's view, he criticised the nationalist efforts made by some post-colonial artists to out rightly reject the impact colonisation had as to do so would consciously limit instinctive creative intuition within artistic practice. The priority for Grillo, was to produce work with a heightened emphasis for the process of painting itself and vigorous study of palette and form. 'This politically desirable aim often forms the philosophy of many a contemporary artist, with the sad result that sincere creative urges are replaced by over consciously chauvinistic syntheses.' Yusuf A. Grillo,'Appreciations of Felix Idubor', African Arts 2:1 (autumn 1968), p. 33.Characteristic of some of the most successful pieces of Grillo's oeuvre, The Seventh Knot (1969) displays the geometrical forms and shapes that acknowledge Grillo's love of mathematics, a theme that has been stimulated in a wide body of the works created by the artist. This abstraction technique presents us with a female raising both arms behind her head, seemingly with effort to assemble her head piece. Following his education at the Nigerian College of Arts, Science and Technology in Zaria in 1951, Grillo was fascinated not only by the visual aesthetic that these planes of colour could achieve but also the way they could convey a metaphysical world beyond realistic notions of painting was quintessential of Grillo's creative process. Here, we can see these bold geometric planes differentiated by thick black brushstrokes and varying tones of blue and purple, creating the movement and dynamism throughout the work. This work may be compositionally reminiscent of a figure in Pablo Picasso's Les Demoiselles d'Avignon(1907) which could well have informed his work. However, this also neatly acknowledges Yoruba sculpture as the route of inspiration as Picasso's cubist work, allowing 'natural synthesis' to come full circle.Perhaps the most consistent element of Grillo's work that can be seen to span the course of his career (albeit in phases or recurring years) is his palette of blues and purples at their varying depths and derivatives. Possibly aesthetically influenced by both Picasso's 'blue period' (1901-1904) and more significantly adire dye (commonly used in Yoruba communities for dying clothes), Grillo has not explicitly confirmed his colour inspiration. However, by having a coherent colour palette system, Grillo allows a conversation to be formulated between colour and compositional form which dominates his work allowing extensive narrative possibilities within the aesthetic cohesion of this painting. Heavily influenced by his Yoruba heritage and traditions, a subject that is thematically consistent within his paintings, the work depicts a woman tying the final knot in her gele (headscarf) as was traditional form of attire for Yoruba women. Painted during the years of the Nigerian/Biafran war (1967-1970), Nigeria was a conflict zone, Grillo used the female symbol to illustrate struggle, endurance and stoicism, intrinsic motifs in his work at the time. Bookended by works such as Blue Moon(1966) and African Woman in Gele(1975) we can see the thematic interest in how the Yoruba woman presents herself, eyes downcast or turned away from the viewer. In comparison to these works, it can be concluded that the The Seventh Knot is synonymous in palette, execution, and subject, whilst holding an outstanding position as one of the artist's most dynamic works in composition. We are grateful to Chika Okeke-Agulu for his assistance in our compilation of this footnote.BibliographyYusuf A. Grillo, 'Appreciations of Felix Idubor', African Arts 2:1 (autumn 1968)Simon O. Ikpakronyi, Master of Masters, Yusuf Grillo: His Life and Works, ed. Paul Chike Dike & Patricia Oyelola, (Nigeria: National Gallery of Art, 2006)For further information on this lot please visit Bonhams.com
Lot 6
Algernon Cecil Newton R.A. (British, 1880-1968)Country Lane oil on board23 x 31cm (9 1/16 x 12 3/16in).Painted in April 1959Footnotes:ProvenanceWith Ash Barn, Hampshire, where acquired by Mrs M. ArchdallPrivate Collection, U.K.Algernon Newton painted a number of paintings entitled Country Road and Country Lane in the 1950s and 60s. It is believed that this was painted in April 1959 and may initially have been entered in his records as Country Road. We are grateful to Sir Mark Jones and Nicholas Newton for their assistance in cataloguing this lot. Sir Mark is currently preparing the forthcoming catalogue raisonné of the Artist's work and would like to hear from owners of any work by the Artist so that these can be included in this comprehensive catalogue. Please write to Sir Mark Jones, c/o Modern British and Irish Art, Bonhams, Montpelier Street, London, SW7 1HH or email britart@bonhams.comThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 162
Robert O. Lenkiewicz (British, 1941-2002)Study, Mrs Clieve twice signed, titled, dated and inscribed 'R.O. Lenkiewicz/Study Mrs Clieve/Education Project./R.O. Lenkiewicz/1986' (on canvas verso)oil on canvas112 x 91cm (44 1/8 x 35 13/16in).Footnotes:ProvenanceSale; Christie's, South Kensington, 15 July 2010, lot 136This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 161
Robert O. Lenkiewicz (British, 1941-2002)Self Portrait in Private Studio signed, titled and inscribed 'Self-Portrait in/Private Studio/R.O. Lenkiewicz/Non Project Piece' (on canvas verso)oil on canvas61 x 61cm (24 x 24in).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 128
Eliot Hodgkin (British, 1905-1987)Snail Shell, Onion, Feather, Daisies signed 'Eliot Hodgkin' (lower centre)tempera on board 9cm (3 1/2 in) diameterPainted in April 1952Footnotes:ProvenanceThe Artist, by whom gifted toMr and Mrs K. AultPrivate Collection, U.K.We are grateful to Mark Hodgkin for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Mark Hodgkin, c/o Bonhams, Modern British Art Department, 101 New Bond Street, London, W1S 1SR, or email britart@bonhams.comThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 159
Robert O. Lenkiewicz (British, 1941-2002)Diogenes signed 'Lenkiewicz' (lower right)oil on canvas25.5 x 61cm (10 1/16 x 24in).Footnotes:ProvenanceSale; Bonhams, London, 30 November 2004, lot 114, where acquired by the present owner 'Diogenes' was the name given to vagrant Edward Mackenzie, who was living in a concrete barrel when found and befriended by Lenkiewicz. He was a regular model for the artist's project 'Vagrants'.Mackenzie's embalmed body was found in a drawer in Lenkiewicz's studio in Plymouth after the artist's death in 2002. Having died 18 years previously, it is believed it was Mackenzie's dying wish to be embalmed as a work of art.Diogenes wasn't the only corpse discovered in Lenciewicz's possessions. He had also purchased the remains of the 16th Century witch, Ursula Kemp, in the late 1990s from Cecil Williamson, founder of the Museum of Witchcraft at Boscastle, Cornwall.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 113
Austin Osman Spare (British, 1886-1956)The Nascent Soul (Portrait of Walter Warren) signed and dated 'Austin O. Spare 1928.' (lower left); further signed, titled, dated and inscribed 'Original drawing by/Austin O Spare/No. 5 Date: 1928/Title: The nascent Soul' (on Artist's label attached to backboard)pencil and chalk on paper 38 x 28cm (14 15/16 x 11in).Footnotes:ProvenanceFrederick R. Koch (1933–2020)Sale; Christie's, South Kensington, 12 May 1994, lot 79Alan Michael HarrisIn tracing early influences upon Spare's philosophy, Walter Warren (1869–1942) stands apart. An amateur artist and skilled engraver for the gun-makers James Purdey and Sons, Warren lived opposite the Spare family in Kennington Park Gardens, circa 1901, before moving to Thornton Heath in Surrey. In 1927, Spare assisted Warren in self-publishing The Youth and the Sage, a slim volume of poetry in the manner of the Rubaiyat of Omar Khayyam. In addition to recommending a printer, Spare provided a frontispiece for the volume, and a pen and ink self-portrait with Warren profiled as his shadow. The title of this fine pencil drawing of Warren, seen in profile with his distinctive moustache, draws upon Eastern philosophies concerning the rebirth of the soul.We are grateful to Robert Shehu-Ansell for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 110
Austin Osman Spare (British, 1886-1956)Aura Contact signed with initials 'AOS' (lower left); further signed, titled, dated and numbered 'No 106 'Aura contact'/by Austin O Spare 1952.' (on Artist's label attached to backboard)pencil, watercolour and chalk on paper34 x 38.5cm (13 3/8 x 15 3/16in).Footnotes:ProvenanceSale; Christie's, South Kensington, 18 March 2008, lot 635Alan Michael HarrisExhibitedLondon, Archer Gallery, Paintings and Drawings by Austin Osman Spare, 25 October–26 November 1955, no. 106Since the late 1920s, Spare retained a fascination with the Theosophical idea of the human aura. He produced several aura portraits around 1927–28, usually executed with bands of colour outlining the subject. By the late 1940s, his depiction of auras takes a more symbolic quality, with finely drawn abstracted forms suggesting layers and fragments of the self.We are grateful to Robert Shehu-Ansell for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 1046
Sir William Strang, G.C.M.G., K.C.B., M.B.E. (1893-1978) and Sir Winston Leonard Spencer Churchill (1874-1965) letter.A typed letter from Winston S. Churchill to Sir William Strang, on 10 Downing Street letterheaded paper, dated November 24, 1953, inscribed:"My dear Strang, I have it in mind on the occasion of the forthcoming list of New Year Honours to submit your name to The Queen with a recommendation that Her Majesty may be graciously pleased to approve that the dignity of a Barony of the United Kingdom be conferred upon you. I should be glad to know if this would be agreeable to you, andn I will take o steps until I have your reply. Yours sincerely, Winston S. Churchill"After the First World War, in which he fought as an Officer in the Worcestershire Regiment, in 1919, he joined the Diplomatic Service and served at the British embassy in Belgrade from 1919 to 1922, at the Foreign Office from 1922 to 1930 and at the embassy in Moscow from 1930 to 1933. During his time in Moscow he played an important role in the Metro-Vickers engineers trial, in which six British engineers were accused of spying. He returned to the Foreign Office in 1933, and held office as head of the League of Nations section until 1937 and of the Central Department from 1937 to 1939.During the 1930s he was an adviser to the government at the major international meetings, and met Mussolini, Hitler and Stalin. He was a tacit opponent of appeasement, but always stayed loyal to the government. Strang was present at the major conferences between the Allied leaders during the Second World War. In 1943 Strang was appointed the British representative on the European Advisory Commission, with the rank of ambassador. The commission was established by the Allies to study the possible post-war political problems in Europe and make recommendation but was dissolved at the Potsdam Conference. In June 1945, Strang became political adviser to the Commander-in-Chief of British forces in Germany, Bernard Montgomery.Strang again returned to the Foreign Office in 1947 and served as Permanent Under-Secretary of State for the German section from 1947 to 1949 and as Permanent Under-Secretary of State for Foreign Affairs from 1949 to 1953. The six years Strang served as Permanent Under-Secretary of State saw the gradual recovery of Europe through the Marshall Plan, the establishment of the Western European Union and NATO and the breaking of the Berlin blockade. He retired from the Foreign Office in December 1953 due to ill health, following an incident where he fainted during Queen Elizabeth II's coronation ceremony at Westminster Abbey.While serving as an army captain, Strang was appointed a Member of the Order of the British Empire (MBE) in 1918. He was made a Companion of the Order of St Michael and St George (CMG) in 1932, a Companion of the Order of the Bath (CB) in 1939, a KCMG in 1943, a GCMG in 1950 and a KCB in 1953. In 1954, he was raised to the peerage as Baron Strang, of Stonesfield in the County of Oxford. He later served as a Deputy Speaker and Deputy Chairman of Committees in the House of Lords and as Convenor of the Crossbench Peers.
![B. A. Branfill(19th Century)Portrait of "Champion Edward Bramfill, 3rd K. O. [King's Own] Dragoons, b. July 13 1769 d. Oct 7](https://cdn.globalauctionplatform.com/ba593ef4-cdcf-4e4c-95ee-af2600f5279b/74b54053-7302-48dc-a452-afc101217619/468x382.jpg)
Lot 83
A COLLECTION OF 20TH CENTURY GOLD JEWELLERY a gold chain, the links made up of round discs. Unmarked tests as 9ct Length 61cm Weight 10gms A shell cameo depicting the bust of a lady with twisted wire border, with pendant bail. Marked 9ct, date mark worn Measures 4cm total drop, 2.5cm across Weight 4.4gms A Victorian style ring, claw set with five black stones, split engraved shoulders. Marked 9ct, London, 1979 Ring size O 1/2 Weight 2.3gms A garnet cluster ring with claw set, round cut garnets, to a straight shank. Marked 9ct, Birmingham, 1968 Ring size P Weight 3.2gms
Lot 106
A COLLECTION OF THREE DIAMOND SET RINGS an illusion set diamond set solitaire ring to a tapering shank. Marked 375, Birmingham, DIA Ring size M Weight 2.1gms an art deco style ring, with illusion set diamond cluster in a rectangular setting, to a tapering shank. Marked 18ct & PLAT Ring size O Weight 2.1gms a five stone diamond and emerald ring claw set with two round cut diamonds and two round cut emeralds. Marked 375 Ring size L Weight 1.6gms
Lot 249
A 9 ct gold ring with inset oval moss agate, gross weight 8.9 grams. CONDITION REPORT: The ring Size is O. The condition is generally extremely good. We have looked at the stone under magnification and there are no cracks. The stone has a nice glossy surface and only very minor scratches of little significance. The stone is secure in the mount and the shank is substantial and solid with no significant scratching or wear.
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175434 item(s)/page