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Lot 205
A COLLECTION OF BROOCHES, to include A LATE VICTORIAN FIVE STONE DIAMOND AND GOLD BAR BROOCH, the five graduating old brilliant-cut diamonds claw set above a pierced mount, hallmarked for 9 carat gold; AN AMETHYST, EMERALD, SEED PEARL AND GOLD BROOCH, CIRCA 1900, the central circular mixed-cut amethyst millegrain collet set within a scroll border set with five circular cut emeralds and five seed pearls, (two lacking), on brooch pin fitting. Marks worn; A LATE VICTORIAN SEED PEARL AND DIAMOND TIE PIN, the old cut diamond within a surround of seed pearls; A RUBY AND SEED PEARL ROUNDEL BROOCH, CIRCA 1900, the seven circular-cut rubies spaced by a floral cluster of seed pearls, brooch pin fitting; A BLUE ZIRCON ROUNDEL BROOCH, the six circular mixed-cut zircons millegrain collet set and spaced by pairs of petals, brooch pin fitting; AND A PASTE SET BROOCH OF FLORAL DESIGN.
Lot 226
A DIAMOND SET ENAMEL HORSE AND JOCKEY BROOCH, CIRCA 1880, depicting the horse at full gallop, set throughout with graduating rose cut diamond highlights with a ruby set highlight for the eye, the jockey with black, white and pink enamel detailing. In fitted box. Length approximately 4.5cm. Weight 7.9gms.
Lot 291
A SAPPHIRE, RUBY AND DIAMOND ETERNITY RING, the five sets of three brilliant cut diamond highlights alternately and evenly spaced by five sets of a single square cut ruby highlight between two square cut sapphire highlights, all set between a subtly engraved detail mount. Ring size O. Weight 1.8gms.
Lot 1231
A quantity of mixed Cigarette Cards, part sets including Wills 'Cinema Stars', 'Infantry Training', 'The Boyhood of Raleigh' in sections, 'Between Two Fires' in sections, 'The Laughing Cavalier' in sections, 'Wonders of the Past', Ruby Queen exotic birds, plus large format Cigarette Cards incl. Players 'Mount Everest', Wills 'Famous British Liners', 'Old Inns' and odds, a large quantity of 'Animalloys' cards by Wills, plus quantity of Red Letter wartime 'Midget Message' cards, etc.
Lot 116
A collection of 19th Century and later oil lamps to include Art Nouveau style oil lamp with clear cut glass bowl raised on metal base to four ball feet and with green clear glass etched shade, a 19th Century oil lamp with columnar base, clear cut glass bowl and floral decorated glass shade, an oil lamp on a cast metal base with yellow glass bowl and clear glass shade and a further oil lamp with cast metal base and clear cut glass bowl, together with a collection of nine miniature oil lamps to include cranberry glass examples, ruby glass example, etc, and a collection of glass chimneys CONDITION REPORTS Shades and chimneys appear to be associated. The tallest oil lamp with the black circular base has various damage and cracks and breaks to base, tarnish to column, the metal mount is stamped "Hinks & Son's Patent". The art nouveau style tall oil lamp on four ball feet has tarnish and dirt to stand. All glass items throughout have some frits, chips and losses, wear and scuffs. Height of tallest lamp is approx 50cm. from foot to top of metal mount but excluding shade. The three large glass shades - the clear one with the etched decoration has some frits and chips to edge of underside, some general wear and scuffs. The large shade with green rim, some frits and roughness to rim to underside, some chips to top rim, does not ring when tapped so possible crack or fault line. The large shade with polychrome floral decoration has some chips and roughness rim to underside and some small chips to top rim.
Lot 58
A collection of Royal Commemorative wares to include Mason's Patent Ironstone plate commemorating "Silver Jubilee 1977", two Wedgwood collector's plates for The Daily Mail celebrating "The Life of Queen Elizabeth The Queen Mother 1900-2002", a Crown Devon Fieldings musical mug to commemorate "The Coronation of George VI and Elizabeth May 12th 1937", inscribed "Presented by The Mayor Robert Bath Esq. to Commemorate The Visit of Their Royal Highnesses The Prince and Princess of Wales ... 1909", etc. together with a ruby overlaid glass ewer with gilt decoration, a glass vase decorated with flowers and a box containing a collection of onyx desk items and three mantel clocks
Lot 377
Gerry Anderson's Thunderbirds, a unique opportunity to acquire the mould and samples for the never produced Somerville Models Lady Penelope's FAB 1. This excellent lot is offered by the widow and business partner of Doug McHard, owner of Somerville Models, and all items relate to the proposed joint project between Somerville Models and Gerry Anderson to produce a FAB 1 model in silver or gold with diamond and ruby lights for the luxury market. A brass master was produced and it was proposed to produce the model in solid silver; the master was taken to a silversmith and disappeared, which led to the abandonment of the project. Lot includes: a pink pre-production mock up model (one of two, the other was sent to Gerry Anderson); wooden pre-production mock up model painted silver; nickel plated information plaque; vulcanised rubber mould for use in casting the model parts; 14 x body castings; 10 x seat pan castings; 13 x front seat castings; 28 x wheel castings; 20 x windshield castings; nine base castings; 26 x radiator castings; nine instrument panel castings; window mould with seven mouldings; sample set of unassembled body castings painted gold; nine items of related correspondence from 1977-1988, several items signed by Anderson and his wife Mary, and a draft licensing agreement. Together with an ITC folder containing typed synopsis of Space:1999 episodes.
Lot 806
Follower of Hans Holbein the Younger (German, 1497-1543) Portrait of Queen Jane Seymour (1508-1537) half-length, her hands folded, wearing a pear-shaped pendant jewel of rubies and pearls oil on panel, in an elaborate frame surmounted by the Royal Crown carried by an angel's wings 64 x 48cm (25 x 19in) The angel’s wings at the top of the frame are part of the Seymour family coat-of-arms.The Seymour arms were then augmented with the lions of England with the consent of King Henry VIII himself. Provenance: Patrick Campbell Johnston, 16, St James's Place (according to a label on the reverse); Believed to have been acquired sometime in the first half of the 20th Century by the parents of the late owner. Other Notes: Jane Seymour (1509-1537) was the third wife of King Henry VIII of England and mother of the future King Edward VI. She succeeded - where Henry's previous wives had failed - in providing a male heir to the throne. Jane's father was Sir John Seymour of Wolf Hall, Savernake, Wiltshire. She became a lady in waiting to Henry's first wife, Catherine of Aragon and then to Anne Boleyn, who had married the King in 1533. On 30 May 1536, Henry and Jane were quietly married a few days after Anne's execution. In October 1537, she gave birth to Prince Edward but died a few days later and was buried at Windsor. During her life as Queen, Jane had managed to restore the Princess Mary, Henry's daughter by Catherine of Aragon, to her father's favour, presumably as the King was believed to have genuinely loved Jane and did this to please her. This portrait derives from the prime original which Holbein painted shortly after the sitter's marriage to the King, which is now in the Kunsthistorisches Museum, Vienna (also on panel, size 65 x 47cm), and for which there is a preparatory drawing now in the Royal Collection at Windsor Castle (50 x 27cm) [see K. T. Parker, The Drawings of Hans Holbein in the Collection of His Majesty The King, 1945, p.47, No.39]. Due to the Queen's untimely death giving birth to a male heir and the consequent elevation of the late Queen's Seymour relations, numerous repetitions were made in the Holbein studio for others at Court seeking the King's approval and the Seymour family's patronage (ref. K T Parker, ibid, " ... the artist seems to have used the study repeatedly"). One such, though considerably larger (on panel, 102 x 77.5cm) is at Woburn Abbey in the Bedford Collection which is believed to date between 1545 and 1550, at the very time that Jane's star during the reign of her son was in its ascendancy. The present painting is on a panel which has a felling date of post circa 1532. It is therefore perfectly possible that the present painting was worked on in Holbein's studio in his lifetime and its apparently earlier unfinished state would seem to suggest that. A version post-dating Holbein's death taken from the original or the preparatory drawing is more likely to have been completed. A copy is less likely to have been painted much later in the 16th Century during the reign of Elizabeth when the Seymours were no longer considered important or influential, and especially on a panel prepared from a tree felled in the 1530s. It would seem that the present painting was subsequently in the 19th Century "improved" by the addition of the gold and green curtain. The pear-shaped pendant-jewel, which Queen Jane is shown wearing, is that set with a table-cut sapphire and a red stone (either a ruby or a spinel) which was a piece of jewellery that Henry's fifth wife, Katherine Howard, is known to have worn. This sort of recycling of jewels was then common practice. The condition report concerning the dating of this painting and the panel, from the Hamilton Kerr Institute and the Dendrology report by Ian Tyers are both available upon request and also online.Oil on panel formed of three boards in vertical alignment. Central join has been recently repaired. Slight vertical warp to the panel. Retouching to sitter's forehead. Paint layer of face simply painted, slightly worn. Under drawings is now visible through the paint layers. Costume and curtain appear to be later reworkings, with unusual surface texture in the paint in these areas. Varnish is dull and uneven. Some wear to gilding on frame, crown decoration is insecure. Sold with a reproduction seal of the Queen's arms supported by the lion and unicorn . The condition report concerning the dating of this painting and the panel from the Hamilton Kerr Institute and the Dendrology report by Ian Tyers are both available upon request and also online. Jane Seymour, Queen of England 1536 Oil on wood, 65,5 x 40,5 cm Kunsthistorisches Museum, Vienna Label to reverse: Patrick Campbell Johnston 16 St James's Place
Lot 159
A sapphire and diamond moth brooch together with a ruby and diamond ring, the 19th century moth brooch set throughout with oval and round cut sapphires and old round brilliant and rose cut diamonds, with cabochon pink hardstone eyes, in white on yellow precious metal, assumed silver on gold, clasp with safety snap, width 2.9cm; the ring of a similar period, of unmarked yellow precious metal (tests for 18ct gold) and designed as a Celtic knot with a round cut ruby centre and the twist figure set with old round brilliant and rose cut diamonds, size L (2)
Lot 218
A ruby and diamond flower spray brooch, designed as two polished funnel form flowers set off with stems of heart shaped leaves, tied with a line of single cut diamonds, the calyces pavé set with similar diamonds and the stamens set with round cut rubies (one lacking); twin pin sprung clasp with short pin grippers; yellow precious metal tests for 9ct gold, length 6.8cm
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124080 item(s)/page