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Helmuth Stone Gallery
Lot 431

Steve Ferguson (American, B. 1946) "F-84G Thunderjet" Signed lower left. Original Acrylic painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands 33c F-84G Thunderjet stamp issued February 10, 2000. First introduced in 1946, the Republic F-84G Thunderjet was used throughout much of the Korean War, with only 122 lost in more than 86,000 sorties. The first jet fighter to be employed by several nations, the Thunderjet was used extensively by NATO and other countries friendly to the United States. Image Size: 16.5 x 13.75 in. Overall Size: 20 x 15 in. Unframed. (B13882)

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Helmuth Stone Gallery
Lot 404

Robert Seabeck (Wyoming, B. 1945) "1903 Model a Roadster" Signed lower left. Original Mixed Media painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Republic of the Marshall Islands 60c 1903 Model A Roadster stamp issued June 4, 1996. In 1903, Ford Motor Company produced its first automobile -- the Model A Roadster. A simple, two-seat runabout with a 72-inch wheelbase, the Model A featured a 100.5-cubic-inch, opposed-twin engine that developed eight horsepower at 1,000 rpm. The Model A sold for $850 and had a planetary transmission with two forward speeds. For $100 more a detachable rear tonneau, with two-person seating and back door access, was included. The Model A had a right-hand steering wheel, as opposed to the tiller used to steer earlier automobiles, including Ford's 1896 Quadricycle. The standard color for the Model A was bright red with black fenders. A small carriage step was used to load passengers into this high profile automobile. The Model A could reach speeds of 30 mph and was proclaimed to be "the most perfect machine on the market." Image Size: 7.75 x 12 in. Overall Size: 15 x 22.5 in. Unframed. (B15398)

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Helmuth Stone Gallery
Lot 450

Barry Wilkinson (British, B. 1923) "Monaco -- 1929 Bugatti Type 35B" Signed lower right. Original Watercolor painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood Europa Cover for the Monaco 3,00 Europa stamp issued May 10, 1984. The idea of a "Grand Prix" was introduced by the French in 1906. It was to become the most prestigious form of motor racing ever devised. With a formally laid-out course and spectators restricted in enclosures, the Grand Prix was unique in that it tested cars on ordinary roads, avoiding artificially constructed track. In 1929, Antony Noghes of the Soci?t? des Bains de Mer of Monaco joined with the Automobile Club de Monaco to found the Monaco Grand Prix -- the most durable and romantic of all Grand Prix events. The three kilometer circuit was the first "round-the-houses" route. And the star of that race was none other than the Bugatti Type 35B. Created by Ettore Bugatti -- said to be one of the greatest makers of racing cars ever -- the Type 35B was an elegant, finely proportioned vehicle. Its chassis was called "a masterpiece of design, the depth swelling out from the delicate front spring supports to meet the varying stresses, then tapering down again at the rear, while it conforms to the body shape." Inside, the 35's were powered by the Bugatti straight eight single overhead camshaft engine while twin carburetors fed the angular powerpack. The artwork depicts a recreation of the first Monaco Grand Prix, won by W. Grover Williams driving a Type 35B Bugatti. The car -- with its pointed tail and familiar horseshoe radiator -- was destined to become the most prolific race winner of the 1924-1939 era. Image Size: 10.75 x 9 in. Overall Size: 13 x 11.5 in. Unframed. (B08907)

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Helmuth Stone Gallery
Lot 504

Tom McNeely (Canadian, B. 1935) "Edward G. Robinson; Legends of Hollywood Series" Signed lower right. Original Watercolor painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 33c Edward G. Robinson stamp issued October 24, 2000. The Warner Brothers gangster triumvirate of the 1930s included Edward G. Robinson, James Cagney and Humphrey Bogart. Edward G. Robinson was born in Rumania in 1893 with the birth name of Emanuel Goldenberg. To escape persecution, his family managed to scrape together enough fare for steerage passage to America. "At Ellis Island I was born again." Robinson wrote. "Life for me began when I was 10 years old." Growing up on New York City's jam-packed Lower East Side, he learned English and began reciting speeches to family and friends. He planned to become a criminal lawyer and defend the abused and exploited, but his love of performance drew him into acting. In 1913 Robinson made his professional debut in a career that spanned 50 years of silent films, "talkies," theater, radio and TV. A versatile actor who played a wide range of roles in 40 Broadway plays and more than 100 films, he is best remembered as the curled-lip, cigar-chomping gangster, Enrico Bandello, in Little Caesar (1931). In Depression America, anyone who could quickly scale the ladder of success became a hero, even cold-blooded killers. Robinson's prototypical performance as "Rico" was so convincing that real gangsters affected his screen persona. Typecast as a hood, Robinson actually was a gentle, cultured man who spoke eight languages, had a world-famous Impressionist art collection, and contributed generously to many philanthropic and humanitarian causes. Edward G. Robinson died of cancer in 1973. Image Size: 17.75 x 15.25 in. Overall Size: 24.25 x 21.25 in. Unframed. (B16870)

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Helmuth Stone Gallery
Lot 300

Chuck Ripper (American, B. 1929) "Grey Wolf Howling" Signed lower left. Original Gouache/Watercolor painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork was originally published on the Fleetwood First Day Cover for the United Nations S7 Grey Wolf stamp issued March 3, 1993. At one time the lonely, spine-chilling howls of wolves echoed through all the world's forests north of the equator. Today wolves roam a tiny portion of their former range. Grey Wolves -- often called timber wolves -- once wandered throughout the woods, prairies and grasslands of North America. Hunted to near extinction, these magnificent beasts are today relegated to Alaska, Canada and Minnesota, although a few isolated packs survive in Michigan and Wisconsin. The Endangered Species Act protects Grey Wolves in the lower 48 states, but they are still hunted from airplanes in Alaska. Grey Wolves will eat nearly anything -- birds, fish, reptiles, even fruit. However, their survival depends on large animals such as deer, caribou, elk and moose. A pack of wolves may chase a caribou herd for miles, waiting for a sick or aged animal to fall behind, whereupon they quickly and efficiently dispatch it. Every wolf pack includes two dominant wolves known as the alpha male and female. The dominant male leads the pack, while the female takes charge of other females and young males. The leaders choose when to hunt and are usually first to eat after a kill. Most often they are the only members of the pack to mate and bear young. However, the entire pack takes part in raising the pups, bringing them food and protecting them when the parents are hunting. That wolves continue to survive, despite the relentless persecution inflicted upon them, is testimony to their extraordinary fortitude. Image Size: 14.5 x 12.75 in. Overall Size: 17.75 x 14.75 in. Unframed. (B14185)

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Helmuth Stone Gallery
Lot 296

Mark Schuler (American, B. 1951) "First Flyby of Jupiter 1973" Signed lower left. Original Watercolor painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork was originally published on the Republic of the Marshall Islands 45c First Flyby of Jupiter stamp issued November 24, 1989. The Pioneer 10 spacecraft was launched March 3, 1972, and a similar Pioneer 11 was launched about one year later on April 5, 1973. Both highly instrumented, they had a common mission: make a close approach to the mysterious planet Jupiter, while performing sophisticated and detailed examinations of its atmosphere, gravity, radiation, and magnetic fields. After its swing around the great planet, Pioneer 10 headed for a rendezvous with the star Aldebaran -- light years away! Pioneer 11 made an even closer examination of Jupiter, barely surviving the hostile radiation belts, and was then whipped on its way to its future rendezvous, in 1979, with the great ringed planet Saturn. Pioneer 10 became the first man-made object ever to escape our solar system. Image Size: 13 x 13 in. Overall Size: 20 x 20 in. Unframed. (B12231)

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Helmuth Stone Gallery
Lot 417

Dean Ellis (1920 - 2009) "Life of JFK / Inauguration - 35th Anniversary" Original Oil painting on Masonite. Signed lower right. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the First Day Cover for the Republic of the Marshall Islands 55c Inauguration stamp issued May 29, 1995. "Ask not what your country can do for you; ask what you can do for your country." John F. Kennedys inaugural address capsulized the integrity of man dedicated to the nation he loved. Kennedy's road to the presidency had not been easy. He had grappled with a shrewd politician named Richard Nixon and only barely survived the fight, winning the election by a razor-thin margin of just over 100,000 votes. But on January 20, 1961, he proudly took the the Constitution. "I do solemnly swear that I will truthfully execute the Office of President of the United States, and will to the best of my ability, preserve, protect and defend the Constitution of the United States." Image Size: 11.5 x 14.75 in. Overall Size: 14 x 16 in. Unframed. (B14940)

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Helmuth Stone Gallery
Lot 429

Dean Ellis (New York, 1920 - 2009) "Roman God Mercury" Signed lower right. Original Oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands 50c Mercury stamp issued July 20, 1994. The planet Mercury orbits so near the Sun that many ancient astronomers -- including Copernicus -- never saw it. Because it appears and disappears at will, it was named after the fleet-footed Roman god Mercury, who the ancients believed influenced travel, trade, thievery and invention. Because of its smaller mass, a 150-pound Earthling visiting Mercury would weigh only 55 pounds. Within the past few years, through the findings of Mariner 10, we've learned a great deal about this planet. It has even been suggested that a mobile space station be established on Mercury's slowly rotating equator to study the solar system and the universe. This remarkable painting depicts Mercury's astrological sign symbolizing youth and good looks, and captures the messenger of the gods leading souls to the nether world with his lighted caduceus. Image Size: 12.75 x 16 in. Overall Size: 15.75 x 18.75 in. Unframed. (B14639)

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Helmuth Stone Gallery
Lot 432

Steve Ferguson (American, B. 1946) "LB-5 Pirate" Signed lower left. Original Acrylic painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands 32c LB-5 Pirate stamp issued November 1, 1996. The Huff-Daland LB-5 Pirate, with modifications to the tail, engine and wing, over its service life proved to be the mainstay of the U.S. Army bomber force during the budget-lean years of the late 1920s. Image Size: 16.5 x 13.75 in. Overall Size: 20 x 15 in. Unframed. (B13747)

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Helmuth Stone Gallery
Lot 113

Don Balke (North Carolina, B. 1933) "Wild Turkey" Signed lower left. Original Watercolor painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 37c Wild Turkey stamp from the Northeast Deciduous Forest set issued March 3, 2005. The Wild Turkey (Meleagris gallopavo) is native to North America and found in every state except Alaska. Abundant in the deciduous forests of the northeast even before the arrival of the early settlers, its range began to shrink in the 1800s as more and more timbered land was cultivated for farming. With no regulated hunting season to prevent it from being killed year-round, the Wild Turkey disappeared in the northeast for 100 years. However, today large populations of the Wild Turkey are again found in its ancient habitats. The Wild Turkey is distinguished from its domestic cousin by a longer neck and legs, a more slender body, smaller head and darker plumage. Jakes, or yearling gobblers, weigh around 12 pounds, reaching an average of 18 to 21 pounds as adults. In spite of their size, they can run at least 12 miles per hour and fly at speeds of up to 55 miles per hour. Known as opportunistic omnivores, wild turkeys eat various plant and animal matter wherever and whenever they can, but about 90 percent of their diet comes from plants and cultivated crops, including the green foliage of grasses, vines, acorns, buds, seeds, ryegrass, chufa and clovers. Capable of scratching through four to six inches of snow during the winter, they can fast for over two weeks in areas of deep snow and survive in spite of losing up to 50 percent of their body weight. This painting shows a Wild Turkey strolling in the forest. Image Size: 7 x 6 in. Overall Size: 14 x 13 in. Unframed. (B17377)

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Helmuth Stone Gallery
Lot 100

Brian Sanders (British, B. 1937) "HMS Exeter at the Battle of the River Plate" Original Oil Painting on Canvas Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Republic of the Marshall Islands 45c Battle of the River Plate 1939 HMS Exeter stamp issued December 13, 1989. Heavy cruiser HMS Exeter was first of the three attacking British warships to fall within range of the Graf Spee's guns. She sustained grave damage but continued forward, diverting fire from her sister ships and firing as she could. Only with all guns out of action, a fire raging amidships, steering reduced to manual and a gaping hole in one side did the Exeter break off action. By then, the Graf Spee was fleeing. The battered Exeter limped to the Falkland Islands where she was repaired and refitted, seeing action in the Pacific before being sunk by Japan in 1942. Image Size: 11.5 x 18.5 in. Overall Size: 14.25 x 20 in. Unframed. (B12240)

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Helmuth Stone Gallery
Lot 285

Mel Crawford (Canadian, B. 1925) "A Winter Sleigh Ride" Signed lower left. Original Oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Canada 35c Merry Christmas Joyeux Noel 1980 stamp issued October 22, 1980. The hustle and bustle of cities has always added a special excitement to the Christmas season. All across North America, cities and towns annually don their holiday veneer of lights and tinsel to celebrate the season. And, each Christmas the decorations seem to become more elaborate as individual homes decorate doorways or roofs and lawns blossom with lights of red, blue, green, and orange. Merchants, always at the forefront of the fun, create fanciful wonderlands for their customers with store front windows soon ablaze with enchanting exhibitions of tinsel and glitter. Indoors and out, the decorations call out a city-wide Merry Christmas to all who pass by. In most cities, Christmas turns parking lots into crowded Christmas tree forests and often a grand parade honors the Yuletide season for all who dare venture out in the frigid weather. Throughout America holiday excitement abides in every heart and a Christmas greeting stirs on every lip. In Canada's Montreal, the excitement is as intense as in any other city on the continent. And though the painting on this First Day Cover recalls Montreal in a quieter time, the festivities were just as heartfelt then as they are today. The particularly delightful scene on the stamp, no doubt a nostalgic one for modern day Canadians, first appeared on Canada's early Christmas cards. Created in the 1930s by the renowned Couttes Company, these Christmas cards soon became a favorite Canadian Christmas tradition that endures even today. Image Size: 14 x 12 in. Overall Size: 17.25 x 14.75 in. Unframed. (B06721)

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Helmuth Stone Gallery
Lot 121a

Dennis Lyall (American, B. 1946) "Bennington Flag" Signed lower left. Original Oil painting on Canvas board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 33c Bennington Flag Classic Collection Series stamp issued June 14, 2000. On display at the museum in Bennington, Vermont, the Bennington flag features 13 red and white horizontal stripes, with white stripes at both top and bottom. A distinctive arch on the blue canton is comprised of 11 six-pointed white stars. Two additional stars are seen in the upper comers. The number 76 is displayed beneath the arch and refers to the date of the Declaration of Independence. Although this flag is believed by some to have flown at the Battle of Bennington in 1777, evidence suggests that it was probably created during the 1820s, perhaps to honor General Lafayette when he visited the United States in 1824. Whatever the origins of the flag, it is named for the American Colonial army's historic victory over the British at the Battle of Bennington. In early August 1777, British General John Burgoyne dispatched a regiment to Bennington, where he planned to overwhelm the Colonial army and capture much-needed supplies. German colonel Friedrich Baum led a force of 800 troops consisting of British, Germans, Loyalists and Indians. American general John Stark led 1,600 Colonial troops gathered from neighboring militia. The British suffered a decisive defeat. This victory enhanced American morale, uniting the Colonial army. Image Size: 13.5 x 11.5 in. Overall Size: 19.5 x 15 in. Unframed. (B16805)

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Helmuth Stone Gallery
Lot 122a

Dennis Lyall (American, B. 1946) "Peace Flag" Signed lower left. Original Oil painting on Canvas board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 33c 48-Star Flag Classic Collection Series stamp issued June 14, 2000. In 1912, two new states joined the Union -- New Mexico and Arizona. Congress had established New Mexico Territory in 1850, a region that included what is now Arizona and parts of present-day Colorado, Nevada and Utah. When the Arizona and Colorado territories were organized in 1863, New Mexico received its present-day boundaries. By the late 1800s, railroads had linked the territory to the rest of the nation and New Mexico enjoyed a prosperous cattle and mining boom. Arizona Territory progressed as gold and silver discoveries brought miners and settlers to the region. Ranching and farming enhanced economic prosperity, especially when the Southern Pacific Railroad linked Arizona to California in 1877. Because both the New Mexico and Arizona territories developed simultaneously, Congress considered bills in 1905 and 1906 that would form one large state from these two regions. Both bills were defeated, however, and two separate states were created. New Mexico became the 47th state on January 6, 1912, while Arizona joined the Union as the 48th state a few weeks later, on February 14. The 48-star flag was officially established by Congress on June 24, 1912, and included two new stars representing New Mexico and Arizona. Image Size: 13.5 x 11.5 in. Overall Size: 19.5 x 15 in. Unframed. (B16867)

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Helmuth Stone Gallery
Lot 290

Tom McNeely (Canadian, B. 1935) "Bringing Home a Christmas Tree" Signed lower right. Original Watercolor painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 22c Village Scene Christmas stamp issued October 24, 1986. If the celebration of the birth of Christ were compacted into one year, the tradition of the Christmas Tree would be but days old. Though the exact date of origin is disputed, it is widely recognized that the Christmas Tree is a German invention dating roughly from the 16th or 17th centuries. Early legend has it that the first Christmas tree was cut down by Martin Luther and decorated with candles to represent the star-filled Holy Night in Bethlehem. This beautiful and moving symbol caught on and soon became a tradition, with German immigrants bringing their ways -- including the Christmas Tree as a holiday tradition -- to the New World. In 1856, the first White House Christmas Tree was decorated by U.S. President Franklin Pierce. Once the Christmas Tree found its way into the nation's most prominent home, the moving image rapidly spread, becoming a Christmas tradition in nearly every home across the nation, dazzling all who gazed upon its beauty. France and Great Britain adopted the tradition in the 1840s; Queen Victoria kept a tree at Windsor Castle during the holidays. Today, it is the centerpiece of Christmas celebrations across the nation, and can take on many sizes and shapes: from giant saguaro cactus in sunny, dry Arizona to rich, green fir trees in the snow-frosted New England states. Image Size: 20.25 x 13.5 in. Overall Size: 22 x 17.5 in. Unframed. (B10203)

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Helmuth Stone Gallery
Lot 115

Don Balke (North Carolina, B. 1933) "Blue Jay" Signed lower right. Original Watercolor painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 13c Blue Jay stamp issued June 10, 1978. One of the most easily recognized and best known birds in North America is the handsomely crested Blue Jay. Originally a bird of the woods, the Blue Jay has now adapted itself to urban parks and gardens. Well known for its mimicry, the Blue Jay is particularly adept at imitating the harsh screams of several hawks. It often screeches at cats and snakes or merely for the pleasure of making a raucous shout. The Blue Jay displays its versatile vocal repertoire most often in autumn, when other birds are quiet. Most familiar of all is the fretful shriek of jay, jay, jay. Henry Thoreau remarked on the "unrelenting steel-cold scream of a jay, unmelted, that never flows into a song, a sort of wintry trumpet, screaming cold; hard, tense, frozen music, like the winter sky itself." However, Blue Jays become silent and furtive during the nesting season. After a courtship in which the male ceremoniously feeds his mate, the pair collect twigs which they haul around until a suitable nest site is found. Unlike many birds, Blue Jays eat almost anything from acorns to mice. In fact, Blue Jays have acquired a dishonorable reputation as devourers of eggs and the young of songbirds. Occasionally, Jays do attack and kill other birds, but they do not endanger the survival of any species. Cunning, inquisitive, full of mischief in the woods, the Blue Jay is part court jester and part colorful, blustery prince. Image Size: 13.5 x 14.5 in. Overall Size: 14 x 17 in. Unframed. (B05054)

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Helmuth Stone Gallery
Lot 416

Chris Calle (B. 1961) "John Glenn Souvenir Sheet Surround" Signed lower right. Mixed Media painting on Illustration Board. This painting originally appeared on the Republic of the Marshall Islands John Glenn - Hero in Space $3 U.S. Project Mercury Stamp 1962 Souvenir Sheet issued October 29, 1998. Explaining the importance of NASA's Project Mercury, historian David Lawrence said, "The event was historic, not merely because of the conquest of space by an American astronaut, but because of the worldwide manifestation of an impulse that came from the hearts of millions of human beings everywhere. It was probably the most universal expression of the spiritual feeling of mankind that we have witnessed in our time." On that eventful February 20, 1962, astronaut John Glenn piloted Friendship 7 around the Earth and watched the sun set three times. The sun will never set, however, on the accomplishments of this extraordinary man -- United States marine, senator, space pioneer, role model for young and old alike, and all-American hero. Image Size: 15.25 x 18.5 in. Overall Size: 16 x 20 in. Unframed. (B16202)

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Helmuth Stone Gallery
Lot 505

Tom McNeely (Canadian, B. 1935) "North American Indians" Signed lower right. Original Mixed Media painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Canadian 34c North American Indian stamp issued August 29, 1986. During the great Ice Age, when Asia and North America were joined by a land bridge, men and animals moved freely between the continents. These ancient people were Indians from Asia, and were cut off from returning there as the huge sheets of ice gradually melted away, submerging the natural bridge. The Indian population then moved into the northern forest regions of Canada and became known as the people of the Snowshoe. This population could have possibly been as large as 50,000 people although the northern people did not think of themselves as part of this enormous group. They lived primarily in little bands of a few families, except for the rare occasions when a few hundred or perhaps a thousand gathered at one time for a dance or feast. Almost all of the Indians of Northern Canada spoke the same dialect, and practiced many of the same customs. Since they were new to the land, the Indians adopted ways of life that insured their survival. Some roamed the grasslands hunting the ample game, while others settled into small agricultural communities. For thousands of years their customs have served them well, and still today some of these ancient ways of life remain in Northern Canada. The Indians from Asia were the first real explorers of what is today called Canada, for they ventured across the Bering Strait 40,000 years ago to begin a new life in North America. Image Size: 21 x 17 in. Overall Size: 28.75 x 22 in. Unframed. (B10278)

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Helmuth Stone Gallery
Lot 284

Jim Butcher (American, B. 1944) "Building a Snowman" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 29c Snowman ATM stamp issued October 28, 1993. "On the front lawn rises that art form surely older than the Parthenon -- the snow man, complete with pipe and lumps of coal for eyes." The words of author Donald Culross Peattie vividly bring to mind an image familiar even to those who have never faced the challenge of creating such a wonderful character. Those fortunate enough to have experienced the thrill of building a snowman will recall the fun of rolling that first small ball of glistening crystals into a boulder much too big to handle. When that base was completed, construction moved along rather quickly, for the next two sections decreased in size. Once the body was complete, the young artist was then left with the task of bringing his creation to life! With a few well-placed pieces of coal, a bright orange carrot and an old top hat, the snowman took on a character of its own. And what a sense of achievement to see how all this hard labor had turned into such a fine lawn ornament! Sadly, this feeling of accomplishment -- and the snowman itself -- was often short-lived. For when the temperatures rose and the sunlight shone down upon it, the fragile snowman would quickly dissolve into a lonely, damp pile of coal, hat and carrot. Yet all was not lost. For the tale of Frosty the Snowman promises, he'll be back again some day. Image Size: 16.5 x 14 in. Overall Size: 20 x 18 in. Unframed. (B07757)

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Helmuth Stone Gallery
Lot 409

R.G. Finney (Wyoming, B. 1941) "Bengal Tiger" Signed lower right. Original Oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands 55c Bengal Tiger mint stamp issued March 8, 1997. The tiger is the largest member of the cat family, with a mature male standing over three feet tall at the shoulder and weighing up to 500 pounds. Despite its size, formidable strength and ferocity, the tiger is a wary creature that lives a solitary existence in jungles or forests. This caution is justified since six of the eight tiger subspecies are today either extinct or endangered. Once extending from Turkey to China, the tiger's range is now reduced to parts of India, Manchuria and Southeast Asia. Of all big cats, the tiger seems to have taken the strongest hold on mans imagination. This is demonstrated in such disparate expressions as the famous poem by William Blake that wonders at the creature's "fearful symmetry," and in the language of mountain people in northeastern China for whom the terms for tiger and God are synonymous. Overall Size: 12 x 12 in. Unframed. (B15292)

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GRISEBACH GmbH
Lot 1478

(See English version below)David Hockney (Bradford 1937 – lebt in London und Los Angeles). Photography is dead. Long live painting. 1995Farbiger Inkjetprint auf Karton. 83 × 105,5 cm (88,5 × 110,8 cm) ( 32 ⅝ × 41 ½ in. (34 ⅞ × 43 ⅝ in.)). Signiert, datiert und nummeriert. Mit dem Stempel des Herausgebers.Eines von 45 nummerierten Exemplaren. Los Angeles, Nash Editions, 1995. [3557]Provenienz: Ehemals Unternehmenssammlung, DeutschlandZustandsbericht: Ex. 40/45. In sehr gutem Zustand. Die Farben frisch und leuchtend. Die Blattkanten ohne Einrisse oder Fehlstellen. Am unteren Blattrand mittig und rechts unter dem Buchstaben H. jeweils mit minimaler Fingerspur. Unter UV-Licht sind keine Restaurierungen erkennbar. Sehr schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 25% Aufgeld und auf Hammerpreis und Aufgeld die zum Auktionszeitpunkt geltende Umsatzsteuer.David Hockney (Bradford 1937 – lives in London and Los Angeles). Photography is dead. Long live painting. 1995Coloured inkjet print on cardboard. 83 × 105,5 cm (88,5 × 110,8 cm) ( 32 ⅝ × 41 ½ in. (34 ⅞ × 43 ⅝ in.)). Signed, dated, and numbered. Inscribed with the publisher's stamp.One of 45 numbered copies. [3557]Provenance: Formerly Corporate Collection, GermanyLiterature and illustration: Exh. cat.: David Hockney - Prints 1954-1995. Tokyo, Museum of Contemporary Art, 1996, p. 192, ill. 362Condition report: No. 40/45. In very good condition. The colours fresh and luminous. The sheet edges without tears or losses. Minimal fingerprints on the lower margin in the centre and to the right under the letter H. There are no repairs visible under UV-light. Very fine harmonious overall appearanceWe charge 25% premium on the Hammerprice and VAT applies to hammerprice and premium.

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Martello Philatelic Auctions
Lot 512

SAAR STAMPS 1929 Christmas Charity M/M set, 1950 Council of Europe U/M pair and two used 25f stamps, also 1951 Stamp Day used. Cat £466

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Pax Romana Auctions
Lot 237

1100-1500 AD, Medieval. Bronze signet ring with circular hoop and flattened, oval-shaped bezel featuring an engraved horse and rider motif within an ellipse. Dragons are an important part of medieval folklore and appear frequently in heraldic motifs. Heraldry, or the use of an inherited coat of arms, was a means by which to display personal identity and familial relations. This tradition began during the 12th century AD in battlefield contexts were elites needed a symbol to display in order to be easily recognizable even when their faces were obscured by armour. By the 13th century AD this practice was adopted by nobles and knights who took immense pride in their family arms and colours. The heraldic ring was a key part of this personal branding as it allowed the owner to stamp their coat of arms on their correspondences. Excellent condition; wearable; Size: D: 20.2mm / US: 10 1/2 / UK: U 1/2; 11.7g; Provenance: Important estate collection from Oxfordshire; formed in the 1970s-2000.

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Pax Romana Auctions
Lot 199

1200-1500 AD. Later Crusader period. Silver ring with circular hoop and flattened, octagonal bezel which bears incised decoration depicting vegetal motifs. Heraldry, or the use of an inherited coat of arms, was a means by which to display personal identity and familial relations. This tradition began c. 12th century AD in battlefield contexts were elites needed a symbol to display in order to be easily recognizable even when their faces were obscured by armour. By the 13th century AD this practice was adopted by nobles and knights who took immense pride in their family arms and colours. The heraldic ring was a key part of this personal branding as it allowed the owner to stamp their coat of arms on their correspondences. The Crusades were military expeditions, beginning in the late 11th century, that were organized by western European Christians in response to centuries of Muslim wars of expansion in the Holy Lands. Excellent condition; wearable. Size: D: 19.51mm / US: 9 5/8 / UK: T; 3.2g; Provenance: Private London collection, formed in the 1980-90s on the UK and European art market.

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Pax Romana Auctions
Lot 274

1200-1600 AD. Medieval. Bronze ring with D-Shaped hoop, gently flaring shoulders and an oval bezel. The bezel bears incised decoration in the form of two crossed arrows over extended wings. Heraldry, or the use of an inherited coat of arms, was a means by which to display personal identity and familial relations. This tradition began c. 12th century AD in battlefield contexts were elites needed a symbol to display in order to be easily recognizable even when their faces were obscured by armour. By the 13th century AD this practice was adopted by nobles and knights who took immense pride in their family arms and colours. The heraldic ring was a key part of this personal branding as it allowed the owner to stamp their coat of arms on their correspondences. Good Condition. Size: D: 21.18mm / US: 11 5/8 / UK: X; 6.1g; Provenance: Obtained from a B.F; previously in a collection formed in the 1980s on the UK art market.

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Pax Romana Auctions
Lot 234

1100-1300 AD, Medieval. Silver ring with circular hoop and flattened, round bezel featuring incised decoration including a stylised beast, possibly a dragon, with unfurled wings. Dragons are an important part of medieval folklore and appear frequently in heraldic motifs. Heraldry, or the use of an inherited coat of arms, was a means by which to display personal identity and familial relations. This tradition began during the 12th century AD in battlefield contexts were elites needed a symbol to display in order to be easily recognizable even when their faces were obscured by armour. By the 13th century AD this practice was adopted by nobles and knights who took immense pride in their family arms and colours. The heraldic ring was a key part of this personal branding as it allowed the owner to stamp their coat of arms on their correspondences. Excellent condition; wearable.Size: D: 19.41mm / US: 9 1/2 / UK: S 3/4; 2.9g; Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent.

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Lots Road Auctions
Lot 587

WRITING DESK, George V oak with two drawers and leather top, bears stamp on each handle, 137cm x 75cm x 77cm. (with slight faults)

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Sarasota Estate Auction
Lot 1019

Crafted of fine quality Hungarian porcelain. Pierced reticulated design with hand painted floral elements. Top with strawberry and vine handle. Signed with the Herend back stamp. Chip can be seen in photo. Size: 6 x 6 in.

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Sarasota Estate Auction
Lot 1177

Van Briggle Leaf bowl with double 'A' stamp on bottom. Size: 3 x 7 1/2 x 7 1/2 in.

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Sarasota Estate Auction
Lot 134

Stamp bottom left. Stamp and writing in top left. Overall: 28 1/2 x 27 1/4 in. Sight: 18 1/2 x 18 3/4 in. Please note that all sales are final. No refunds will be given under any circumstances.

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Sarasota Estate Auction
Lot 135

Stamp in bottom right. Stamp and writing in top left. Overall: 28 x 27 1/2 in.Sight: 18 1/2 x 18 3/4 in.Please note that all sales are final. No refunds will be given under any circumstances.

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Sarasota Estate Auction
Lot 1350

Signed and titled in pencil.Chez Elle with lilac coverings. Strathmore stamp on reverse.Size: 29 x 23 in.

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Sarasota Estate Auction
Lot 1351

Signed in pencil. Strathmore stamp on verso. SIze: 29 x 23 in.

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Sarasota Estate Auction
Lot 1352

Signed and titled madarae maharajah in pencil. Strathmore stamp verso. Size: 29 x 23 in.

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Sarasota Estate Auction
Lot 1356

Signed and titled A Casino de Paris, in pencil. Stamp Verso.Size: 29 x 23 in.

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Sarasota Estate Auction
Lot 1359

Signed and titled Madame, in pencil. Stamp Verso. Size: 29 x 23 in.

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Sarasota Estate Auction
Lot 721

Vase has hand-painted design of blue flowers, green & pink accents, with gold trim. Stamp on bottom. 2 1/2 x 2 in.

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Sarasota Estate Auction
Lot 791

This is a fantastic lot that includes a colelction of japanese plates, Brush ans stamp set, a lovely collection of Cloisenne and stone eggs, two great sets of chopsticks, and a cinnebar platter. Sizes:Plate - 11 1/2 in. 7 x 5 x 1 1/2 in. 16 x 6 x 2 in.

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Sarasota Estate Auction
Lot 792

This lot includes (3) pieces of decor and collectibility. A lovely decorative bike, an antique set of dominoes, as well as a stamp collection album book. Sizes: Book - 11 1/4 x 9 x 1 in. Dominoes - 11 1/2 x 2 3/4 x 2 in. Bike - 18 x 11 1/2 x 8 in.

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Sarasota Estate Auction
Lot 846

Exquisite oil on canvas titled "Valley in Summer" by Frank Von Der Lancken and is signed and dated 1909 in the lower right. It is a bright landscape scene that is very well done with great detail in the foreground as well as in the hills in the middle ground. He paid particular attention to the flowers in the front, which is quite unique to American art and found more typically in English art.Frank Von Der Lancken was born in Brooklyn in 1872. Von der Lancken had exceptional talent and a great passion for teaching. He was very influential, however not always recognized as his commitment lied with teaching instead of any possible fame he could have received. His training and experience equaled that of any leading artists at that time. He taught at some of the most progressive art schools in America including the Pratt Institute in Brooklyn NY, where he began his education. By the time of Frank von der Lancken’s death in 1950, the Philbrook Art Museum had begun to establish Tulsa’s reputation as a national center for the arts. Admiringly referred to as, “the first family of art in Tulsa”, the von der Lanckens lived to see their city’s cultural potential fulfilled after twenty-four years of painting and teaching there. As for Frank’s own potential, he seemed satisfied with a career path that led him away from the limelight under which he was trained, toward the artistic obscurity of his final years. Through his visions on canvas and his teachings in the classrooms of New York, Connecticut, and the Midwest, this quiet, unassuming artist became one of the louder exponents of the Arts and Crafts movement.Provenance: The grandchildren of Frank Von der Lancken (1872-1950). By descent of the family, through his widow Giulia, then passed on to their son, Julian, who then gifted this collection to his children upon Frank's death. Stamp verso.Overall size: 26 1/2 x 31 1/2 in.Sight size: 19 3/4 x 24 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

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Sarasota Estate Auction
Lot 847

Oil on board landscape painting by Frank Von Der Lancken signed in the lower right. Appealing landscape of a delicate field with fall colors. Sight: 21 1/2 x 29 1/2 in. Overall: 28 x 36 in. Provenance: The grandchildren of Frank Von der Lancken (1872-1950). By descent of the family, through his widow Giulia, then passed on to their son, Julian, who then gifted this collection to his children upon Frank's death. Stamp verso.Frank Von Der Lancken was born in Brooklyn in 1872. Von der Lancken had exceptional talent and a great passion for teaching. He was very influential, however not always recognized as his commitment lied with teaching instead of any possible fame he could have received. His training and experience equaled that of any leading artists at that time. He taught at some of the most progressive art schools in America including the Pratt Institute in Brooklyn NY, where he began his education. By the time of Frank von der Lancken’s death in 1950, the Philbrook Art Museum had begun to establish Tulsa’s reputation as a national center for the arts. Admiringly referred to as, “the first family of art in Tulsa”, the von der Lanckens lived to see their city’s cultural potential fulfilled after twenty-four years of painting and teaching there. As for Frank’s own potential, he seemed satisfied with a career path that led him away from the limelight under which he was trained, toward the artistic obscurity of his final years. Through his visions on canvas and his teachings in the classrooms of New York, Connecticut, and the Midwest, this quiet, unassuming artist became one of the louder exponents of the Arts and Crafts movement.Please note that all sales are final. No refunds will be given under any circumstances.

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Sarasota Estate Auction
Lot 848

Fine oil on board summer garden painting by Frank Von Der Lancken, signed in the lower right. A peaceful bright exterior scenery in the garden with colorful flowers and houses off into the distance. Provenance: The grandchildren of Frank Von der Lancken (1872-1950). By descent of the family, through his widow Giulia, then passed on to their son, Julian, who then gifted this collection to his children upon Frank's death. Stamp verso.Sight: 9 x 7 in. Overall: 15 x 13 in. Frank Von Der Lancken was born in Brooklyn in 1872. Von der Lancken had exceptional talent and a great passion for teaching. He was very influential, however not always recognized as his commitment lied with teaching instead of any possible fame he could have received. His training and experience equaled that of any leading artists at that time. He taught at some of the most progressive art schools in America including the Pratt Institute in Brooklyn NY, where he began his education. By the time of Frank von der Lancken’s death in 1950, the Philbrook Art Museum had begun to establish Tulsa’s reputation as a national center for the arts. Admiringly referred to as, “the first family of art in Tulsa”, the von der Lanckens lived to see their city’s cultural potential fulfilled after twenty-four years of painting and teaching there. As for Frank’s own potential, he seemed satisfied with a career path that led him away from the limelight under which he was trained, toward the artistic obscurity of his final years. Through his visions on canvas and his teachings in the classrooms of New York, Connecticut, and the Midwest, this quiet, unassuming artist became one of the louder exponents of the Arts and Crafts movement.Please note that all sales are final. No refunds will be given under any circumstances.

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Sarasota Estate Auction
Lot 849

This stunning oil on canvas, titled "Winter in the Mountains" is by Frank Von Der Lancken and signed in the lower right. Lancken was known to paint what he thought beauty was defined as. He is even quoted to say "Nothing is more beautiful than a landscape and a single beautiful landscape well placed on a wall forming part of it can be a source of pleasure from any point of view..."Provenance: The grandchildren of Frank Von der Lancken (1872-1950). By descent of the family, through his widow Giulia, then passed on to their son, Julian, who then gifted this collection to his children upon Frank's death. Stamp verso. Also, this piece was displayed at Hirschl & Adler Galleries in New York City in 2017 and 2018. Frank Von Der Lancken was born in Brooklyn in 1872. Von der Lancken had exceptional talent and a great passion for teaching. He was very influential, however not always recognized as his commitment lied with teaching instead of any possible fame he could have received. His training and experience equaled that of any leading artists at that time. He taught at some of the most progressive art schools in America including the Pratt Institute in Brooklyn NY, where he began his education. By the time of Frank von der Lancken’s death in 1950, the Philbrook Art Museum had begun to establish Tulsa’s reputation as a national center for the arts. Admiringly referred to as, “the first family of art in Tulsa”, the von der Lanckens lived to see their city’s cultural potential fulfilled after twenty-four years of painting and teaching there. As for Frank’s own potential, he seemed satisfied with a career path that led him away from the limelight under which he was trained, toward the artistic obscurity of his final years. Through his visions on canvas and his teachings in the classrooms of New York, Connecticut, and the Midwest, this quiet, unassuming artist became one of the louder exponents of the Arts and Crafts movement.Overall size: 31 x 36 in.Sight size: 24 1/2 x 29 1/4 in.Please note that all sales are final. No refunds will be given under any circumstances.

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Sarasota Estate Auction
Lot 852

Oil on Board painting by Frank Von Der Lancken, appears to be unsiged however it is stamped verso from the personal estate of Frank Von Der Lancken. Portrait of an elderly woman reading a book outside. Provenance: The grandchildren of Frank Von der Lancken (1872-1950). By descent of the family, through his widow Giulia, then passed on to their son, Julian, who then gifted this collection to his children upon Frank's death. Stamp verso.Frank Von Der Lancken was born in Brooklyn in 1872. Von der Lancken had exceptional talent and a great passion for teaching. He was very influential, however not always recognized as his commitment lied with teaching instead of any possible fame he could have received. His training and experience equaled that of any leading artists at that time. He taught at some of the most progressive art schools in America including the Pratt Institute in Brooklyn NY, where he began his education. By the time of Frank von der Lancken’s death in 1950, the Philbrook Art Museum had begun to establish Tulsa’s reputation as a national center for the arts. Admiringly referred to as, “the first family of art in Tulsa”, the von der Lanckens lived to see their city’s cultural potential fulfilled after twenty-four years of painting and teaching there. As for Frank’s own potential, he seemed satisfied with a career path that led him away from the limelight under which he was trained, toward the artistic obscurity of his final years. Through his visions on canvas and his teachings in the classrooms of New York, Connecticut, and the Midwest, this quiet, unassuming artist became one of the louder exponents of the Arts and Crafts movement.Sight: 11 1/4 x 11 1/4 in. Overall: 17 1/2 x 17 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

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Sarasota Estate Auction
Lot 853

Finely executed painting by Frank Von der Lancken. It is unsigned, however it is authenticated by his son on verso and most likely done in 1905. A portrait of a young woman and nice gilt frame. Sight: 11 1/2 x 8 1/2 in. Overall: 17 x 14 in. Provenance: The grandchildren of Frank Von der Lancken (1872-1950). By descent of the family, through his widow Giulia, then passed on to their son, Julian, who then gifted this collection to his children upon Frank's death. Stamp verso. This piece was also displayed at Hirschl & Adler Galleries in New York City in 2017 and 2018.Frank Von Der Lancken was born in Brooklyn in 1872. Von der Lancken had exceptional talent and a great passion for teaching. He was very influential, however not always recognized as his commitment lied with teaching instead of any possible fame he could have received. His training and experience equaled that of any leading artists at that time. He taught at some of the most progressive art schools in America including the Pratt Institute in Brooklyn NY, where he began his education. By the time of Frank von der Lancken’s death in 1950, the Philbrook Art Museum had begun to establish Tulsa’s reputation as a national center for the arts. Admiringly referred to as, “the first family of art in Tulsa”, the von der Lanckens lived to see their city’s cultural potential fulfilled after twenty-four years of painting and teaching there. As for Frank’s own potential, he seemed satisfied with a career path that led him away from the limelight under which he was trained, toward the artistic obscurity of his final years. Through his visions on canvas and his teachings in the classrooms of New York, Connecticut, and the Midwest, this quiet, unassuming artist became one of the louder exponents of the Arts and Crafts movement.Please note that all sales are final. No refunds will be given under any circumstances.

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Sarasota Estate Auction
Lot 855

Small oil on board by Frank Von der Lancken, it appears to be unsigned however it is stamped verso from the personal estate of Frank Von Der Lancken. Landscape scene with trees and a pretty sky.Provenance: The grandchildren of Frank Von der Lancken (1872-1950). By descent of the family, through his widow Giulia, then passed on to their son, Julian, who then gifted this collection to his children upon Frank's death. Stamp verso.Frank Von Der Lancken was born in Brooklyn in 1872. Von der Lancken had exceptional talent and a great passion for teaching. He was very influential, however not always recognized as his commitment lied with teaching instead of any possible fame he could have received. His training and experience equaled that of any leading artists at that time. He taught at some of the most progressive art schools in America including the Pratt Institute in Brooklyn NY, where he began his education. By the time of Frank von der Lancken’s death in 1950, the Philbrook Art Museum had begun to establish Tulsa’s reputation as a national center for the arts. Admiringly referred to as, “the first family of art in Tulsa”, the von der Lanckens lived to see their city’s cultural potential fulfilled after twenty-four years of painting and teaching there. As for Frank’s own potential, he seemed satisfied with a career path that led him away from the limelight under which he was trained, toward the artistic obscurity of his final years. Through his visions on canvas and his teachings in the classrooms of New York, Connecticut, and the Midwest, this quiet, unassuming artist became one of the louder exponents of the Arts and Crafts movement.Overall: 9 x 12 1/4 in. Please note that all sales are final. No refunds will be given under any circumstances.

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Sarasota Estate Auction
Lot 856

Oil on board landscape painting by Frank Von Der Lancken signed in the lower right. Appealing landscape of a delicate field with fall colors. Sight: 21 1/2 x 29 1/2 in. Overall: 28 x 36 in. Provenance: The grandchildren of Frank Von der Lancken (1872-1950). By descent of the family, through his widow Giulia, then passed on to their son, Julian, who then gifted this collection to his children upon Frank's death. Stamp verso.Frank Von Der Lancken was born in Brooklyn in 1872. Von der Lancken had exceptional talent and a great passion for teaching. He was very influential, however not always recognized as his commitment lied with teaching instead of any possible fame he could have received. His training and experience equaled that of any leading artists at that time. He taught at some of the most progressive art schools in America including the Pratt Institute in Brooklyn NY, where he began his education. By the time of Frank von der Lancken’s death in 1950, the Philbrook Art Museum had begun to establish Tulsa’s reputation as a national center for the arts. Admiringly referred to as, “the first family of art in Tulsa”, the von der Lanckens lived to see their city’s cultural potential fulfilled after twenty-four years of painting and teaching there. As for Frank’s own potential, he seemed satisfied with a career path that led him away from the limelight under which he was trained, toward the artistic obscurity of his final years. Through his visions on canvas and his teachings in the classrooms of New York, Connecticut, and the Midwest, this quiet, unassuming artist became one of the louder exponents of the Arts and Crafts movement.Please note that all sales are final. No refunds will be given under any circumstances. Please note that all sales are final. No refunds will be given under any circumstances.

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Sarasota Estate Auction
Lot 944

One bowl and one cup in this lot. Cup has stamp underneath. Cup Size: 1 1/2 x 3 in. Bowl Size: 3 x 10 x 8 in.

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Ramsay Cornish Auctioneers & Valuers
Lot 104

Joseph Farquharson, Grazing in the Snow, coloured print, signed lower right, lion stamp to left, in ornate moulded gilt frame (67cm x 48cm. frame internal: 93cm x 70cm)

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Ramsay Cornish Auctioneers & Valuers
Lot 253

A set of three 1960s graduated teak tables, each with impressed stamp 73 on the underside (largest table: 49 x 53 x 44cm)

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Ramsay Cornish Auctioneers & Valuers
Lot 141

19thc School, Young Gardener, coloured engraving, stamp lower left, framed (excl. frame: 50cm x 33cm)

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Franklin Browns
Lot 59

Parkins & Gotto, Oxford Street, London cylindrical box and cover containing a metal stamp, 3.5cm high

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Franklin Browns
Lot 357

Various stamp albums and First Day Covers, etc (a lot)

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Keys Fine Art Auctioneers
Lot 102A

Coalport felspar plate finely decorated with a floral spray, the reverse with Coalport Society of Arts Gold Medal stamp, 21cm diam

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Tennants Auctioneers
Lot 2091

A Victorian Silver Combination Vesta-Case, Stamp-Holder and Sovereign-Case, by William Neale, Birmingham, 1897, Patent 4709, oblong, engraved with foliage and initials, the hinged cover at one end with striker and opens to reveal a compartment for vestas and with a propelling pencil and tooth-pick, the other end opens to reveal a sovereign-case and a compartment for stamps in the cover, with suspension loop, 6.5cm long, gross weight 1oz 12dwt

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Tennants Auctioneers
Lot 2098

An Edward VII Silver Stamp Box, by John and William Deakin, Birmingham, 1902, oblong and on four ball feet, with three compartments and spring loaded hinged cover, 9cm long

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Tennants Auctioneers
Lot 2204

An Edwardian Onyx, Cultured Pearl and Diamond Necklace, an onyx plaque overlaid with old cut and eight-cut diamonds in a foliate arrangement suspending an old cut diamond and a cultured pearl, surmounted from an onyx barrel and a trio of old cut diamonds, in white millegrain settings, to a trace link chain initially formed of onyx barrels spaced by cultured pearls, total estimated diamond weight 0.90 carat approximately, drop length 5.4cm, chain length 36cm see illustration . The necklace is in good condition with a couple of chips to the onyx. It fastens with a bolt ring catch. It bears no hallmark nor stamp but in our opinion would test as gold. The approximate qualities of the diamonds are; colour I/J/K, clarity SI2/I1/I2. Gross weight 11.9 grams. CR made 04.08.20.

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Tennants Auctioneers
Lot 2206

A Victorian Diamond Star Brooch/Pendant, the central raised old cut diamond with rose cut diamond accents, within a border of smaller old cut diamonds, to twelve old cut and rose cut diamond set radial arms, in collet and claw settings, total estimated diamond weight 9.00 carat approximately, measures 4.9cm diameter see illustration . The brooch/pendant is in good condition. It fastens with a pin and revolver catch. The brooch pin is removable to allow the piece to be worn as a pendant. It bears no hallmark nor stamp but in our opinion would test as gold. The largest diamond measures 6.29mm x 6.44mm, depth unobtainable. The approximate qualities of the diamonds are; colour H/I/J, clarity SI2/I1/I2. Gross weight 11.6 grams. CR made 04.08.20.

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Tennants Auctioneers
Lot 2210

A Sapphire and Diamond Cluster Ring, the central round cut sapphire in a white claw setting, within a scrolling border set throughout with round brilliant cut diamonds in white claw and channel settings, to scissor cut diamond set shoulders on a plain polished shank, total estimated diamond weight 1.90 carat approximately, finger size M see illustration. The ring is in good condition. It bears no hallmark nor stamp but in our opinion would test as platinum. The approximate qualities of the diamonds are; colour I/J/K, clarity SI2/I1/I2. Gross weight 8.6 grams. CR made 24.01.20.

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Tennants Auctioneers
Lot 2212

A Victorian Diamond Crescent Brooch, two rows of graduated old cut diamonds, in white collet settings, total estimated diamond weight 8.75 carat approximately, measures 5.1cm by 4.6cm see illustration . The brooch is in good condition. It fastens with a pin and hook catch and features a safety chain. It bears no hallmark nor stamp. The approximate qualities of the diamonds are; colour H/I/J, clarity SI1/SI2/I1. Gross weight 16.2 grams. CR made 04.08.20

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