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Click here to subscribeTwo gem-set rings in 9ct gold; to include a sapphire and diamond cluster ring, centred with a deep blue sapphire encircled by single-cut diamonds, with fleur-de-lis shoulders to D-section shank, London hallmarked '375', 1975, ring head measures 1.2 cm across, size N; an amethyst set ring with ropework details on textured ground, London hallmarked '375' with maker's mark 'DJ', 1995, ring size O; Total weight of items 11.3 grams (2).
An emerald and diamond half eternity ring in 18ct white gold, comprises five round brilliant-cut diamonds alternating with round emeralds, claw set to a tapering flat shank, Birmingham hallmarked '18' with Steele and Dolphin's maker's mark 'S&D', size O½, total weight of item 3.0 grams.Two emerald deficit.
A fine Garrard & Co gentleman's gold-plate-cased automatic wristwatch in good working order: gold dial with baton markers and the day-date aperture at the 3 o' clock position; signed 'Garrard Automatic - 25 Jewels'; presentation inscription to reverse of steel case; leather strap with gold-plated buckle, original Garrard & Co. Ltd presentation case.
An early 20th century diamond and sapphire set ladies 18ct gold ring, comprising three graduated round cut sapphires, the largest approx 5.5mm, with old cut diamond accents, claw set, to an 18ct gold shank, (under bezel modification strength bar) size O, total gross weight approx 3.3gms Further details: good stones present some abrasions to facets edges on sapphires, modification to bezel and solder to setting and thinning wear and tear to shank
A collection of gold rings to include a 9ct gold floral wedding band, weight approx 3.6gms size N, a 9ct gold three part diamond set ring set, size S and a 9ct gold stone set full eternity ring, size O, combined total gross weight approx 7.2gms Further details: good- all stones present, some wear and tear commensurate with age
A collection of four gold rings to include an 18ct gold pearl set ring, size Q, a Victorian sapphire and ruby star set 18ct gold ring, size R, combined total gross weight approx 6.7gms along with a 9ct gold cameo ring, size O, total gross weight approx 5.4gms and a 22ct gold D section wedding band, width approx 5mm, size U, weight approx 5.8gms Further details: good all stones intact, wear and tear commensurate with age
A collection of 9ct gold stone set jewellery to include an emerald three stone ring, size R, a emerald and diamond set ring, with baguette cut emerald within diamond set borders, size O, along with an oval amethyst set ring, size N, a pair of emerald set studs combined total gross weight approx 6gms and a 9ct gold band, size R, weight approx 2gms Further details: good all stones present, some abrasions to stones, wear and tear commensurate with age
A sapphire and diamond 18ct gold cluster ring, comprising an oval cut sapphire within a border of 14 eight-cut diamonds, size O, together with an 18ct sapphire and diamond three stone ring, size L, combined total weight gross weight approx 3.9 grams (2) Further details: all stones present, wear and tear commensurate with age
Miguel Ângelo Lupi (1826-1883)"O Marquês de Pombal examinando os planos da reconstrução de Lisboa"Oil on canvas70x60 cmFollowing the 1863 fire, the Lisbon Municipality commissioned the artistMiguel Ângelo Lupi to paint a large historical allegory, to be displayed inthe city’s Town Hall, alluding to the Marquess of Pombal (1699-1782)intervention in Lisbon’s reconstruction in the aftermath of the big earthquakeof 1755. The contract for the painting’s execution was signed on May 31st,1881, but, almost two years later, on the artist’s death, on February 26th,1883, the work remained unfinished.This famous painting would in fact become the last work of one of the greatest19th century Portuguese painters, and one that reveals his preference forhistorical subjects, combined with a particular taste for portraiture, a genre inwhich Lupi excelled.To best complete this commission, the artist moved his studio to a room in theTown Hall, where he intended to produce twenty-four preparatory studies, ofwhich five are known. Although never fully completed the painting was hungin the building’s Great Hall, where it remained until 1997.TIAGO FRANCO RODRIGUES
Cristóvão de Figueiredo (c. 1490-c. 1555) and Diogo de Contreiras (c. 1500-1563), Attrib.Royal Painting StudioOil on oak panelLisbon, ca. 1530Restored at Edmundo Silva Workshop, Lisbon, ca. 1970121x59 cmA Bella ManieraVítor SerrãoArt HistorianProfessor at the School of Arts and Humanities of LisbonARTIS-IHA-FLULThe ‘Resurrection of Christ’ herewith described, with provenance from a private collection in São João do Estoril, near Lisbon (l), is a prime testimony to Lisbon produced art under the royal patronage of King João III.Nothing is known about its origin, but it is unquestionable that it was once part of an altarpiece composed of various other scenes of the ‘Passion of Christ’, which was eventually dismantled from a now extinct and unidentified convent. The number 66, painted in black on the back of the painting, together with a red wax seal of an unknown proprietor (m), suggest 19th century ownership and imply that the painting (most certainly considered as it was current practice in the 1800s, a “Portuguese primitive from the Grão Vasco School”), might have belonged to an important private collection, as can be inferred by its high inventory number and by the quality of the painting itself.It remains a mystery, considering the stupendous quality of the panel and its exceptional execution, how it had remained completely unknown to Old Master’s specialists and scholars until the end of the last century, and that it was not even referred in the literature about art auction sales and domestic collecting. Such is indeed an astonishing and unexplained void.The painting’s importance was recognised on the occasion of a 1999 International Seminar at the José de Figueiredo Institute, in Lisbon, after a preliminary assessment by Art Historian Dagoberto L. Markl and by the undersigned. The assumption that it represented a precocious work by Diogo de Contreiras was at once accepted as viable, based on affinities of style, of models and of execution, when compared with other paintings of undoubted authorship by the same artist, such as those from the churches of São Silvestre of Unhos (1537-1538), of São Quintino of Serramena (ca. 1540), and of Santa Maria of Almoster (1542-45) (n). The manner of portraying the heads (of the soldiers on the lower section) and the characteristic treatment of hands for instance, find similarities in the above mentioned Contreiras paintings, allowing for the authorship attribution of at least a substantial part of this ‘Resurrection’. As we have written in 1999, “it was only from that moment onwards that the panel was granted its study in the historical-artistic context of Portuguese paintings dating from the reign of King João III, and was hence brought stylistically close to the ‘first period’ of the painter Diogo de Contreiras (ca. 1500-1568), considered by Joaquim Oliveira Caetano, the key personality of the generation that marked the twilight of the late Renaissance canons and the rising of the new language of International Mannerism” (o).We are indeed in the presence of a painting of depurated artistic conception, evident brushstroke elegance, with figures and other plastic richness’s, as well as weaponry, architectures, and backgrounds, distributed on a spatial organization that adheres to rules of Renaissance perspective. In addition to this exemplary effect there is also obvious elegance of execution, so much so in the drafting of the human figures (particularly the soldiers sleeping by the open tomb, with their suits of armour of Dutch ornamentation) as well as in the transparency of atmospheres, the mastery of colours, the poetry of the landscape background to the left (emphasizing the detail of the Noli me tangere - the apparition of the resuscitated Jesus to Mary Magdalene by the fountain in the garden), an in the general unearthly light effects that shroud the whole scene.If it is certain that Jesus Christ’s pose over the tomb confirms full adherence to an orderly and precise canon of elegance that finds acceptance in the paintings produced by the Lisbon Royal Studio, directed by the painter Jorge Afonso and continued by his followers (see the Resurrection of Christ from the Monastery of Jesus in Setúbal, attributed to Jorge Afonso (p), that from the altarpiece of Funchal’s Cathedral, produced in the Royal Studio (q), and that from the former altarpiece of the Monastery of the Santíssima Trindade, by Garcia Fernandes (1537), now at the Museu Nacional de Arte Antiga in Lisbon, as well as that of the Monastery of Ferreirim, from 1533-34, by his followers Cristóvão de Figueiredo and Garcia Fernandes (r)), it is also clear that the excellence of drawing of the three soldiers, the one on the right with remarkable expression and surprised gesture, the ones on the left still asleep, is assertive of a new, clearly Mannerist dynamic, under which they were conceived, and one which evidences differing modelling processes and a formal boldness that overcomes the normative seemingly suggested by the basic compositional model. Particularly attractive is the pose of the sleeping soldier leaning on his helmet, with a wonderful facial expression, and the drafting of the hand on which the face rests, which is repeated on the panels from Unhos and São Quintino. On the other side the powerful surprised expression of the soldier on the right-hand side has an almost portrait-like quality.In other words, to a model within the Jorge Afonso tradition, that softly merges the Northern European influences from Bruges and Antwerp, was juxtaposed a new Italian breeze, that is evident in the Mannerist resourcefulness with which the proposed model was, in practice, executed. Such incongruity values even more this painting, by suggesting that it might relate to an early commission, from circa 1530, faithful to the canons of the Royal Painting Studio, but painted by a younger artist of that “school” that was familiar with works by Cristóvão de Figueiredo and Garcia Fernandes. It is thus understandable why, amongst other details, the marble tomb, close to which the soldiers sleep, includes in its decoration two classical tondi depicting, on the left, ‘Joseph thrown into the pit’ and on the right, ‘Jonah being swallowed by the whale’, both themes precisely featured in the renowned ‘Deposition in the Tomb’ panel by Cristóvão de Figueiredo (1522-1530), originally from Coimbra’s Monastery of Santa Cruz and now at the Museu Nacional de Arte Antiga, in Lisbon. The presence of these two circular medallions featuring episodes from the Old Testament, beyond reflecting a discourse of association of the figure of Jesus Christ with themes from those texts, according to the system of biblical conformity that Christian Humanism then pursued, does also evidence that the artist that executed the essential of this painting was acquainted with models from Cristóvão de Figueiredo’s workshop, and had learned under the light of the so called “Masters of Ferreirim”, albeit with enough originality to free himself of such tutelage and assert his own style and individuality. The result is indeed glaring: the Renaissance compositive order giving place, with greater clarity in the lower section of the painting, to the restlessness, whims, and formal elongations of the Mannerism. A Bella Maniera perceived in fact by two approaches; the Romanised Northern fiamminghi (Jan Van Scorel, for instance) and the Rafaelesque tenderness that, if it is already suggested in Garcia Fernandes, it has here a deeper meaning of appropriation. […]Full text available at https://veritas.art/en/lot/royal-painting-studio-628630212/?chosen=1
WWII, RAF Bomber Command Crew multi-signed photo card featuring signatures from W/O John Banfield, W/O Arthur Smith, F/Lt Gordon Mellor, W/C John Bell, F/Lt George Dunn, W/O Harry Irons and W/O Dave Fellowes. This 10x8 colour photo pictures the veterans at the RAF museum in Hendon on the 17th Feb 2012. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Comedian, Jimmy Edwards vintage signed 6x4 black and white photograph. Edwards, DFC (23 March 1920 - 7 July 1988) was an English comedy writer and actor on radio and television, best known as Pa Glum in Take It from Here and as headmaster Professor James Edwards in Whack-O! Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
The award of the distinguished flying cross multi signed. Signed by Sir Ivor Broom, Neville Duke, K S Batchelor, J F O Edwards, H C Rigby, F D Hughes and Robin Hooper. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
WW2 RAF W/O Denis Oldman Signed Air Mashal Harold Martin MA4 FDC. 20 of 20 Certified Copies. British 1st Class Stamp with 3rd Nov 1998 Postmark. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
WW2 RAF W/O Leopold Doyle Signed The Dambusters Special Flown FDC MA2 with Stamps and Postmarks. 8 of 20 Certified Covers. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
WW2 RAF F/O Wilf Bickley Signed Dambusters FDC With Stamps and Postmarks. 13 of 20 Certified Covers. Dam Busters Postmark with British Stamp. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Dutch school (17th/18th century)A fishing boat at sea with man o' war yonder, oil on panel, 35 x 47.5cmThere is a horizontal split through the panel, with old wedge joints to the back. Some overpainting/retouching to the sky, some minor scratches and abrasions, and marks. Surface dirt and heavy discolouration to the varnish. Not examined under UV.
Russia 1927 Surcharge postage dues SG491 used; SG 493, 494b, 494f m/m; type B SG 385b used, 1927 Surcharges SG495 used, SG496-497 m/m; Env Perlovskoe in Moscow Oblast to Leningrad cancel 10.9.1927 o SG 497; Rev 11.9.1927 Leningrad machine cancel, 12.9.1927 cds Leningrad and 1927 Surcharge Definitives SG523-528 m/m set; SG523, 525 used
* Clothing. A girl's silk dress, circa 1910, hand-made cream silk dress, with bodice hand-embroidered with floral tendrils, and gathered to a high frilled neck, leg o' mutton long ruched sleeves terminating in a frill, and close-gathered long skirt, bodice lined with cream silk (perishing), and skirt lined with cream muslin, rear opening with metal hooks and eyelets (2 hooks missing and 1 replaced), hem turned in and pressed but not stitched (hem of lining raw), some marks, damp-staining to hem, bust 64 cm (25 ins), waist 62 cm (24.5 ins), sleeves 46 cm (18 ins), length 93 cm (36.5 ins), together with other 19th and early 20th century garments, comprising: a cream satin and lace Edwardian gown; a 1930s cream devoré long dress; a hand-embroidered silk nightdress, circa 1920s; a long white cotton skirt with wide scalloped border of leaves and flowers composed of broderie anglais hand-stitched in pale blue; a white cotton and lace embroidered Edwardian tea dress with decorative bullion stitch buttons to front and back; a heavily beaded satin blouse; and a Victorian purple-sprigged skirt, various sizes and conditionQTY: (8)
* Sörensen (Jacobus Lorenz), 1812-1857. A Woman in contemplation in an interior, holding a Jug, 1839, red chalk drawing, signed lower left, inscribed further by the artist verso ‘Z…../ Dedicatory Artist / No18 1839', 268 x 194 mm ( 10 5/8 x 7 5/8 ins), framed and glazed, 39 x 31 cm QTY: (1)NOTE:This is the only known drawing by the artist to have come up at auction. He is known primarily for his painted landscapes, with a predilection for moonscapes.
* Rings. An 18ct gold cluster ring, set with a green stone bordered by small diamond stones, stamped 18ct, size P/Q, together with an 18ct gold ring, set with a table cut amethyst, stamped 18ct, size O, plus 18ct gold ring set with three small reds stones and two small diamonds, Chester hallmark, stamped 18, size MQTY: (3)
Dambuster 617 Squadron F/O Ray Grayston signed Dambusters 617 Squadron Formation 21st March 1943 commemorative FDC PM The Cenotaph Whitehall London conflicts of the 20th century we will remember 21 Mar 07. Raymond Ernest Grayston was born on 13 October 1918 in Dunsfold, Surrey, and worked as an automobile engineer before the war. Like many young men of his generation, Grayston was fascinated by flying and volunteered for the RAF at the beginning of the war. In a TV documentary to mark the 60th anniversary of the Dams Raid he described how he loved riding a motorbike at speed, and that this was one of the things which encouraged him into the air force. Initially he served as ground crew but then, along with many others who were mechanically minded, he was selected to train as a flight engineer on the new generation of heavy bombers which needed more personnel. He was posted to 50 Squadron in October 1942, and teamed up with Les Knight, who had just formed a new crew. He flew on some 18 operations with this crew before they were posted en bloc to 617 Squadron in March 1943. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
A mixed lot, comprising a Georg Jensen stainless steel letter opener in leather sheath, a sterling silver "Yard o' Led" fountain pen with 18ct gold nib, three other pens, a set of WW2 ARP uniform buttons, miniature dagger, leather-cased Kodak camera, early-C20th binoculars by Otto Thiems, various Ordnance Survey maps, a Japanese Popeye lighter, postage stamps etc. Condition Report:Available upon request
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