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TANZANITE AND DIAMOND DRESS RINGThe step-cut tanzanite between pear-shaped diamond shoulders, tanzanite very approximately 50.00 carats, diamonds approximately 1.00 carat total, ring size NFor further information on this lot please visit Bonhams.com

AQUAMARINE, DIAMOND AND SAPPHIRE RINGThe step-cut aquamarine, between shoulders set with calibré-cut sapphires and tapering round brilliant-cut diamonds, aquamarine approximately 21.00 carats, ring size N approximately (wide shank)This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

SCHLUMBERGER FOR TIFFANY & CO: GEM-SET SALAMANDER BROOCH, CIRCA 1960The stylised salamander with textured decoration, set with step-cut tourmalines and turquoise eyes, accented with brilliant-cut diamonds to the claws, signed Schlumberger Studios and Tiffany & Co, length 6.0cmFootnotes:Jean Schlumberger (1907-1987), the French artist-jeweller par excellence was born in Alsace to a family of prosperous textile industrialists. His Meissen flowers mounted as clips caught the attention of Elsa Schiaparelli who commissioned him to design costume jewellery during the 1930s. After establishing workshops in New York and Paris, Tiffany appointed Schlumberger Vice President of the firm in 1956. While at Tiffany, Schlumberger was given total artistic freedom with his own department on the mezzanine of their Fifth Avenue store, and he was the first designer at Tiffany permitted to stamp his creations with his name. Through exceptional draughtsmanship and remarkable imagination, Schlumberger translated the inspiration he drew from the flora and fauna of the natural world into the vibrant and whimsical jewels that are his trademark. His choice of materials and textures creates a beautiful balance, even in his most unconventional designs.Within European folk tradition, the salamander is symbolic of immortality. Said to be born from flames and invulnerable to fire, salamanders have been hailed by occultists as the 'elemental spirit of fire'.For further information on this lot please visit Bonhams.com

An impressive diamond pendant, An impressive diamond pendant, the approx. 5.85ct rectangular step cut diamond within a four claw setting with brilliant cut diamond surmount, estimated colour tinted, estimated clarity VS, suspended from an 18ct gold flat curb link chain, length of pendant 1.6cm, length of chain 46cm, gross weight 11.4g.Overall condition good to fairDiamond measurements 11.69 x 8.93 x 6.09mm - diamond has not been un-set. As such weight may vary once unmountedDiamond drawing colour face upDiamond with light inclusions very difficult to spot under magnification

Margaret Gowing: 'Britain and Atomic Energy 1939-1945', London, Macmillan & Co, 1964, 1st edition, the personal copy of Sir Henry Hallett Dale (1875-1968), Nobel Laureate and President of the Royal Society, signed & inscribed to him by the author to verso of half title "Sir Henry Dale, in gratitude and admiration, Margaret Gowing, September 1964", with Dale's ownership signature to front pastedown, and additionally loosely inserted are Dale's copy letters to Winston Churchill and Churchill's scientific adviser, Lord Cherwell, 11th May 1944, concerned with setting up a meeting between Churchill and Niels Bohr, which is referenced in pages 346-366 of the book. Niels Bohr was on a par with Einstein as a theoretical physicist, and after the discovery of nuclear fission in 1938, Bohr was acutely aware of the theoretical possibility of making an atomic bomb, though he considered the practical difficulties so prohibitive as to prevent the realization of a bomb until well after WW2 could be expected to end. In September 1943 word reached Bohr that he was about to be arrested by the Germans, and he fled Denmark to Sweden. From there, he was flown to Britain, where he joined the British Tube Alloys nuclear weapons project, and was part of the British mission to the Manhattan Project. Taking part for several weeks at a time in the work in Los Alamos, New Mexico, to develop the atomic bomb, he made significant technical contributions, notably to the design of the so-called initiator for the plutonium bomb. His most-important role, however, was to serve, in J. Robert Oppenheimer’s words, “as a scientific father confessor to the younger men.” Bohr became convinced that the existence of the bomb would “not only seem to necessitate but should also, due to the urgency of mutual confidence, facilitate a new approach to the problems of international relationship.” The first step toward avoiding a postwar nuclear arms race would be to inform the ally in the war, the Soviet Union, of the project. He was conscious of the likelihood of tension between Russia and the Western Allies after the war, but he believed the atomic bomb was something so big that it could be the means of promoting confidence and co-operation between nations. Furthermore, Bohr believed it would be disastrous if Russia should learn on her own about the bomb, and knowing the competence of the Russian physicists Bohr felt certain, like many leading scientists when they considered the point, that the margin of time before the Russians were able to construct a bomb themselves would be very small. In this backdrop of deep concern with the unique situation with which an atomic bomb would confront the world, Bohr was desperately anxious to meet Churchill and receive any suggestion from him on the subject. Sir Henry Dale was the President of the Royal Society and a member of the Tube Alloys Consultative Council. He was an old friend of Bohr's and during his visit to England Bohr had told Dale about his hopes and fears, these conversations taking place in the most secret place the men could think of, on iron park chairs in the middle of the biggest expanse of grass in Hyde Park. Dale was also greatly concerned with the deeper implications of the bomb and he wrote to the Prime Minister begging him to see Bohr on the question of international control. After outlining Bohr's credentials, Dale concludes his letter to Churchill "...It is my serious belief that it may be in your power even in the next six months to take decisions which will determine the future course of human history. It is in that belief that I dare to ask you, even now, to give Professor Bohr the opportunity of brief access to you". Bohr was unable to convince Churchill of his viewpoint, however, instead being suspected by Churchill of spying for the Russians, and came away from the meeting greatly disappointed at the way the world was apparently governed, with small points exercising a quite irrational influence. After the war, Bohr persisted in his mission for what he called an “open world” between nations, continuing his confidential contact with statesmen and writing an open letter to the United Nations in 1950. Original cloth gilt, dust wrapper (with 55s net price still intact). Together with a printed book of words of remembrance for Henry Hallett Dale by Lord Alexander Todd, in English & German, published Heidelberg, Verlag Lambert Schneider, 1968/69, original wraps. Provenance - from the estate of Lord Alexander R. Todd (1907-1997), British biochemist who who also became a Nobel Laureate and PResident of the Royal Society, and married Dale's daughter, a distinguished Scientist in her own right (2)

A VINTAGE 18CT GOLD PLATINUM DIAMOND AND SAPPHIRE DRESS RING The ring set with a central step cut sapphire on a platinum bed with diamond accents, shank marked 18 CT & PT, ring size K 1/2, weight 2.2g, sapphire measurement approx. 4 X 2 mm Condition Report : The shank slight warp to the shape Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.

Sapphire and diamond ring, the central step cut sapphire surrounded by a band of diamonds and small baguette cut sapphires, ring size Q, 3.5g (AF)

Vintage lingerie and blouses to include a 20s/30s step in, a ditsy print bed jacket a dickie with scalloped collar, an eau de nil silk mousseline blouse with triangular mother of pearl buttons, 50s blouse, polka dot night dress and a rose print pyjama top or bed jacket (7)

JESÚS LIZASO (Baracaldo, Vizcaya, 1961).Untitled.Bronze.Signed on the base.Work catalogued in "Lizaso. Art and feeling". Darby Locise, Personal Books p 86.Measurements: 23 x 8 x 8 cm.Jesús Lizaso was born in Baracaldo, Vizcaya. His work draws from the sources of the Basque School of Sculpture. Oteiza, Chillida, Ugarte, Basterretxea... are a source of inspiration, as for many artists, and a necessary step until the study, his own evolution as an artist, the assimilation of these influences and his own inspiration, turn him into a singular artist and a language of his own.Lizaso also participates in the interest in public sculpture, where he shows traits of a meticulous personality, respectful of the environment and ironic. Jesús Lizaso's public work moves between the barely intuited figuration, the use of strong materials and the symbol. PUBLIC SCULPTURES Mamá/Amatxo, 2002, Erandio, Biscay Mamá/Amatxu, 2002, Munguía/Mungia, Biscay. Símbolo/Ikurra, 2003, Basauri, Biscay (symbol of Basauri). Besito/Musutxu, 2006, Baracaldo/Barakaldo public square, Vizcaya Por la infancia, 2006, Parque de las Esculturas, Baracaldo/Barakaldo, Vizcaya (donation from the Consistory of Baracaldo to UNICEF for its 60th anniversary) Fuerte abrazo/Besarkada estua, 2007, Urreta Square, Vizcaya Street, Galdácano/Galdakao, VizcayMujer/Emakumea, 2008, near Casa de Cultura Clara Campoamor, Baracaldo/Barakaldo, Vizcaya Memorias al cubo, 2008, Palencia (Homage to the victims of the Civil War)

To be sold without reserve A Collection of Thirty-four Books:  Albert Camus, The Myth of Sisyphus and Other Essays, 1960 Mordecai Richler, Cock-Sure, 1969 Sheila Gormely, Drugs and the Canadian Scene Georges Simeon, Three Beds In Manhattan, 1976 Tales for Males, 1945 Oliver Sacks, The Man who Mistook his Wife for a Hat, 1986 Guy de Maupassant, Bel-Ami and Other Stories, 1910 Irving Bacheller, The Master, 1909 Simon Raven, The Decline of the Gentleman, 1962 Akiyuki Nozaka, The Pornographers, 1968 E. Phillips Oppenheim, The Gallows of Chance, 1938 R. A. Fitzgerald, Wickets in The West or The Twelve in America, 1873 (first edition) Brian McFarlane, The Stanley Cup, 1971 George Lonn, Men and Mines Josephina Niggli, Step Down Elder Brother, 1947 The Vintage Book of Fathers, 1998 Josephus Daniels, The Wilson Era: Years of Peace 1910-1917, 1944 James Lincoln Collier, Louis Armstrong, An American Genius, 1983 Romain Rolland, Pierre et Luce Milan Kundera, The Unbearable Lightness of Being, 1984 In Search of Light, the Broadcasts of Edward R. Murrow Hermann Hesse, Demian, 1960 Violet Irwin, Wits and the Woman, 1919 Dornford Yate, As Berry and I were Saying, 1952 Marie Nightingale, Out of Old Nova Scotia Kitchens, 1971 Michael McDonnell, Great Moments in Sport: Golf, 1974 Robin Estridge, The Publican's Wife, 1948 Ivan Turgenev, A Sportsman's Sketches, 1906 Harriette Arnow, Hunter's Horn, 1949 An 1836 Almanack The Visitor or Monthly Instructor, 1839 Dornford Yate, As Berry and I were Saying, 1952 Charlotte Mary Yonge, The Heir of Redclyffe, 1855 Alfred de Vigny, Cinq-Mars ou une Conjuration Sous Louis XIII, 1876

Pair of Painted white metal folding step ladders

A MAHOGANY METAMORPHIC LIBRARY TABLE AND STEPS19TH CENTURYas a table 83cm high, 85cm wide, 56.5cm deep overall, as steps 213cm high, 142cm long, 56.5cm deep overallThe firm Gillows are know to have provided metamorphic library furniture for many commissions. In 1800, Richard and Robert Gillow's correspondence to a client mentions a 'library ladder (which is not seen when shut up)'. For illustration of a metamorphic library step ladder by Gillows, see Susan E. Stuart, Gillows of Lancaster and London 1730-1840, Antique Collector's Club, 2008, Volume II, page 108, plate 655. Condition Report: There are scratches, knocks, cracks and chips consistent with age and use.There are losses, restorations and observations including:Wear to the gilt tooled leather treads, though they remain intact; a crack along the grain of the timber of one tread.The rectangular veneered top section with cracks and some knocks to the edges and corners. A vacant recessed circular void to the underside of one corner of the 'top' frieze.The turned hand rest screws in with brass fittings, the lower brass section slightly loose and the hand rail therefore has some movement and doesn't quite sit or turn flush.There are some later replacement sections of double mouldings to the sides of the steps.The turned feet slightly dry and less polished with some cracks, scuffs and knocks; the casters are probably horn or wood; increased wear to one of the lower stretchers in particular.Aged rust to the steel hinged bearers.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer

A good Victorian wood and metal model of a Horse Drawn Carriage, English probably 1860s/70s, the stained wooden carriage with step and hinged doors to passenger compartment with leather, brass button padded leather seating, twin folding leather canopies with folding flaps, open driver’s seat with leather padded seat and footwell, spring suspension and metal spoked wooden wheels with metal rims, 31 ½” (80cm) long, 19” (48cm) high, (condition: very good some minor wear as to be expected for age), a good period model either an apprentice piece or salesman sample, great for display with dolls.

A rare and unusual cut and engraved opaque twist wine glass, circa 1765The bell bowl elaborately decorated with swags of fruit and flowers suspended by three pigtailed female masks, their hair issuing elaborate acanthus scrollwork, a polished 'OXO' border below the rim, the base cut with three large stiff leaves in high relief with engraved veining, issuing elaborate stylised floral palmettes, the double-series stem with gauze core within a pair of spiral tapes, deeply cut with a spiral twist, the step-cut conical foot with a scalloped edge and decorated with a band of polished circlets within radiating lines to the underside, 15.9cm highFootnotes:ProvenanceWalter F Smith Collection, Pennypacker Auction Centre, Pennsylvania, 1968Dwight P Lanmon CollectionWith Alan TillmanPeter Lazarus Collection, Christies, 26 November 1991, lot 141A C Hubbard Jr Collection, 30 November 2011, lot 126Stephen Pohlmann CollectionLiteratureArthur Churchill, Glass Notes, no.10 (December 1950), p.7, fig.9ExhibitedBristol Museum and Art Gallery, loan no.173This remarkable glass would appear to be unique. The profuse style of the decoration and many of the motifs, including the use of mask heads, swags of fruit and flowers, palmettes and foliate scroll decoration, is seen on much glass engraved in Silesia and northern Bohemia in the earlier part of the 18th century. Whilst the date of the decoration remains unclear, it seems likely that a continental hand was responsible, probably Bohemian and perhaps working in England.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

A fine early 19th Century emerald and diamond ring, the square step-cut emerald measuring 4.8 x 5.1mm (closed back), in collet setting within diamond set scrolling settings, the two principal old-cut diamonds weighing approximately 0.50carats each, on yellow gold shank, ring size Q, 5.2g gross.Note: tests as 18ct yellow gold.

An aquamarine and diamond pendant, in modern design, the square step-cut aquamarine measuring 9.5 x 9.4 x 5.0mm set below two brilliant cut diamonds, in platinum and 18ct yellow gold mount, on a cable link chain (tests as between 9-14ct), pendant 3.8cms high, 6.8g gross.

A sapphire and diamond cluster ring, the three rectangular step-cut sapphires surrounded by twelve brilliant cut diamonds weighing a total of approximately 0.40carats, in 18ct white gold mount and yellow gold shank, ring size R, 4.5g gross.

An emerald and diamond half-hoop eternity ring, set with three square step-cut emeralds parted by four brilliant cut diamonds weighing a total of approximately 0.30carats, in engraved 18ct yellow gold mount and shank, dated 1977, ring size N, 5.2g gross.

A sapphire and diamond dress ring, the square step-cut sapphire flanked by further sapphires in channel setting surrounded by old-cut diamonds, in platinum mount and shank, ring size R, 4.4g gross.

A citrine and diamond dress ring, by Christopher Wharton, the canted-square step-cut citrine measuring 9 x 9mm (depth unobtainable), surrounded by diamond bezel and mount, in 18ct yellow gold mount and shank, ring size J, 6.4g gross.

A ruby, yellow-sapphire and diamond dress ring, set with graduated baguette and shaped step cut rubies and sapphires, surrounded by brilliant cut diamonds in pave setting, on 18ct yellow gold mount and shank, ring size K, 6.0g gross.

A Victorian emerald and diamond lizard pattern brooch, set with ruby eyes, eight graduated rectangular step-cut emeralds surrounded by rose-cut diamonds, in white faced yellow gold mount (tests as approximately 14ct), 6cms long, 7.2g gross.

An emerald and diamond cluster pendant, the square step-cut emerald measuring 6.4 x 6.1 x 4.6mm, surrounded by eighteen brilliant cut diamonds and two further to bale, in 18ct white gold mount and chain, pendant 1.8cms high, 4.8g gross.

A sapphire and diamond ring, the canted-square step cut sapphire measuring 7.7 x 6.8 x 2.9mm, flanked by two brilliant cut diamonds each weighing approximately 0.80carats, in platinum mount and shank, ring size P, 4.5g gross.

An emerald and diamond cluster ring, the rectangular step-cut emerald surrounded by eight-cut diamonds, in platinum mount and 18ct yellow gold shank, ring size M, 2.7g gross.

A mid-century Art Deco style 9ct white and gold and amethyst ring, the 9.5 x 9.5mm. square cut amethyst over step cut shoulders, size N..

A pair of Victorian brass candlesticks, on knopped baluster stems and clipped square step bases 10in. (25.3cm.) high; together with a brass candlestick with slender baluster stem on a circular shallow lipped tray base, 7 7/8 in. (20cm.) high. (3). *

Vinyl Records – 7” Singles – Louis Armstrong – We Have All The Time In The World (The Music From The Guinness TV Commercial) – EMI – EM 357; Status Quo, I Didn't Mean It, in blue vinyl – Polydor – QUO34; Star Wars Return Of The Jedi read along book and record – Buena Vista Records – 455; Madness, One Better Day poster sleeve – Stiff Records – BUY 201; Steve Perry, Step By Step – His Masters Voice – 45-POP 745; Aretha Franklin & George Michael – I Knew You Were Waiting (For Me) – Epic – DUET 2; others, including The Housemartins, A-Ha, Bananarama, Madonna, Simple Minds, Madness, Level 42, East 17 picture disc, Soft Cell, Gerry Rafferty, Alison Moyet, Michael Jackson, Jive Bunny and the Mastermixers, Marvin Gaye, Heaven 17, Bronski Beat, Soft Cell, Eurythmics, Erasure, Depeche Mode, Spandau Ballet, Tears for Fears, Pet Shop Boys, Adam and the Ants, Foreigner, Climie Fisher, Fairground Attraction, Holly Johnson, Simply Red, Starship, Thompson Twins, Fine Young Cannibals, etc (approx. 250); a singles carrying case, 62cm wide, 22cm deep, 40cm wide

A sapphire and diamond cluster ring claw-set a step-cut sapphire amid three wavy lines of channel-set keystone-cut diamonds, in 18ct yellow gold mount, size L½, 4g.

A Continental early 20th century gold emerald and diamond cluster ring, an emerald cut emerald rub set at the centre, to surround of old European cut diamonds. An outer border of step cut emeralds, with an old cut diamond grain set at each corner. To a scroll gallery and plain shank. Tested as approximately 18ct gold. Cluster 13.70 x 11.80mm, 4.79g.Finger size K approximatelyBuying this second-hand gemstone ring could save up to 0.42 tonnes of CO2e compared to buying new.Condition ReportSurface marks/scratches to mount.Outer setting to edge to emeralds very worn, requires rebuilding.Cente emerald - wear to facet junctions.Chips to some of the outer emeralds.Surface reaching inclusions to some of the diamonds.Head of ring a little dirty, would benefit from being cleaned.

A gold ruby ring, two rows of square step cut rubies, possibly synthetic, channel set to an arched collet, to 'C' shaped shoulders, and a flat section shank, tested as approximately 18ct gold.Finger size J approximatelyBuying this second-hand gemstone ring could save up to 0.42 tonnes of CO2e compared to buying new.Condition ReportRubies are very very abraded. Possibly synthetic, cannot assess the stones due to the level of wear.Surface marks/scratches to mount.Shank is a later replacement.5.87gUnderneath of head dirty.

A gold single stone amethyst pendant, c.1970,a rectangular step cut amethyst, rub set to a plain collet, with white gold bars above and below, to a slightly concave textured ground, with articulated 'V' bale, suspended on a snake link chain with bolt ring clasp, tested as approximately 18ct gold, pendant 43mm long, chain 520mm long, 19.85gCondition ReportMinor surface marks/scratches.Chain very dirty at the back, would benefit from being cleaned.Bale slightly bent.

An 18ct gold diamond and ruby half eternity ring,square step cut diamonds, with square step cut rubies at each side, all channel set to raised guards and a tapering shank, import hallmark Sheffield 1996, 3.85g.Finger size J½Buying this second-hand gemstone ring could save up to 0.42 tonnes of CO2e compared to buying new.Condition ReportSurface marks/scratches to mount.Shank thinner at base. A sizing join visible.A little dirty, would benefit from being cleaned.

A gold emerald and cubic zirconia ring,of crossover form, the top half channel set with two rows of square step cut emeralds, the bottom with three rows of round cubic zirconia, with screw detail to the centre edge, and a plain shank, tested as approximately 9ct gold, 3.57g.Finger size I approximatelyBuying this second-hand gemstone ring could save up to 0.42 tonnes of CO2e compared to buying new.Condition ReportShank is oval. Finger size is an approximation only.Surface reaching inclusions to some of the emeralds.Surface marks/scratches to mount.

An 18ct gold tsavorite garnet and diamond half eternity ring, a row of alternating square step cut tsavorite garnets and brilliant cut diamonds, to a plain shank, London 1986, 3.08g.Finger size KBuying this second-hand gemstone ring could save up to 0.42 tonnes of CO2e compared to buying new.Condition ReportMinor surface marks/scratches.Minor facet junction wear to the tsavorite garnets.

A gold sapphire and diamond necklace, a shield shaped pendant, with an oval cabochon sapphire rub set at the centre, to pierced surround with three radiating collets channel set with square step cut sapphires, and a two row surround of brilliant cut diamonds. To a split curb link chain with box clasp and figure of eight safety catch. Tested as approximately 18ct gold, 403mm longCondition Report44.86gWear to chain links.Surface marks/scratches to mounting.Clasp holds securely.Visible colour zoning to the sapphire.Surface reaching inclusions to some of the diamonds.

A pair of silver and gold amethyst drop earrings,a rectangular step cut amethyst with round mixed cut amethysts at the quarters, bezel set, to an articulated mixed pear cut amethyst drop, all set in oxidised silver with gilding verso, to gold hook fittings, tested as approximately sterling silver and 9ct gold, 38mm long, 2.80g (2)Condition ReportGilding and oxidisation to silver a little uneven in places.Minor marks/scratches.Tarnished.

A Victorian beech and elm stick back elbow chair on turned legs united by an H stretcher together with a painted metal framed kitchen step stool

An 18ct white gold, emerald and diamond cluster ring, claw set with a cut cornered rectangular step cut emerald within a two row surround of circular cut diamonds, London 1973, weight 6.2g, ring size approx K1/2.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A.B., Italian School - Portrait of a Young Girl seated on a Step holding a Tambourine, 19th century oil on canvas, signed with monogram, inscribed 'Roma' and dated '73 recto, conservation label verso, 69.5cm x 56.5cm, within a gilt composition frame of wide section.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A gold, emerald and diamond ring, 1950s/60s, mounted with the rectangular step cut emerald between diamond set stepped shoulders, unmarked, weight 6.1g, ring size approx Q1/2, with a Garrard & Co case.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A LATE 19TH CENTURY ART NOUVEAU GILT BRONZE AND IVORY FIGURE OF A SEATED YOUNG LADY depicted sat on an Antico Verde marble classical ruin with a stepped base and gilt foot rimUK Ivory Act 2018 Exemption Submission Reference - LBFJ4U1340.5cm high in very good condition, with no damage to the ivory, the gilt finish has worn through on the figure's knees, she is slightly loose on the base and could be tightened up, the marble base there is four small restored chips to the step edges, small knock to the front right corner of the base, see image.

Pair of Perspex side tables, and two step ladders

VINTAGE SLINGSBY FOLDING STEP LADDERS

VINTAGE ALUMINIUM STEP LADDERS BY LYTE

VINTAGE ALUMINIUM STEP LADDERS BY LYTE

The Marlborough Iconographic Ring A late Medieval gold iconographic ring, circa 1400-1500, depicting St. Christopher and the Christ Child, the plain D-shaped hoop with flat oval bezel incised with the figure of St Christopher wading left through water, holding a staff in his right hand and carrying the child Jesus on his back, Jesus holding an orb and raising his right hand in blessing, the surround chiselled to receive enamel decoration, (traces only remain), internal diameter 16mm. £3,000-£4,000 --- St. Christopher was a man of great stature and height, who devoted his life to carrying travellers across a river. One day he carried a child who became heavier with every step. When questioned, the child revealed himself as Christ, bearing the weight of the world. This image is now believed to protect travellers, with St. Christopher revered as the Patron Saint of Travellers. St. Christopher’s story was recounted in the 13th century text, The Golden Legend.

An emerald and diamond dress ring, of bombé design, set with a step-cut emerald within a surround of single-cut diamonds and with calibré-cut emerald highlights, stamped ‘PLAT’, signed ‘JoAq’, total diamond weight approximately 0.50 carat, ring size M - N. £800-£1,200

A diamond bracelet, set with alternating panels of rose-cut diamonds and step-cut green pastes, on a brick-link bracelet, length 17.5cm. £100-£200

An amethyst bracelet, ring and brooch, the articulated bracelet set with a graduated row of step-cut amethysts, together with a single stone ring and a two stone bar brooch of similar design, brooch stamped ‘9ct’, bracelet length 17.7cm, ring size P. (3) £150-£200

A diamond ring by Andrew Grima, 1972, the textured matt gold ‘paving stones’ set with a step-cut and two brilliant-cut diamonds between, on an angular-shaped shank, maker’s mark ‘AG.Ld’, signed ‘GRIMA’, London hallmark, maker’s case and pouch, diamond weights approximately 1.50 carats, 1.05 carats and 0.70 carat respectively, ring size M. £5,000-£7,000 --- Andrew Grima’s Stepping Stones Collection of 1973 included a similarly designed 18ct gold yellow articulated bracelet, incorporating the use of irregular abstract textured ‘stones’, as seen in this ring. Literature: Andrew Grima: The Father of Modern Jewellery, by William Grant, pub. ACC ART Books, page 189.

A smoky quartz dress ring, the large step-cut smoky quartz with ropetwist detailing and flowerhead decoration to the mount, between trifurcated shoulders, quartz dimensions 28 x 20 x 13.5mm, ring size L. £200-£300

A gem-set brooch/pendant by Franconeri & Co., circa 1960, the ‘blackamoor’ bust with carved face, oval-cut sapphires to the pierced scrolling front, with brilliant-cut diamond highlights to head and robe and step-cut diamonds to the base, stamped ‘750’, Italian maker’s mark, one diamond deficient, length 6.5cm. £1,200-£1,500

A pair of emerald and diamond earrings, of Art deco style, the central panels composed of graduated rectangular-cut emeralds within a geometric surround of step and brilliant-cut diamonds, flanked either side by a marquise-cut diamond collet, to post and clip fittings, total diamond weight approximately 3.52 carats, length 21mm. £3,000-£4,000

A pair of mid 20th century convertible diamond earrings, the stylised spray surmounts set throughout with brilliant, marquise and step-cut diamonds, with detachable tassel drops set with brilliant-cut diamonds, stamped ‘14K’, case by Diamond Corner, Johannesburg, total diamond weight approximately 3.50 carats, length 42mm. £1,200-£1,500

An emerald and diamond brooch, the early 20th century jewel designed as a four-leaf clover, pavé-set with old brilliant-cut diamonds and with a step-cut emerald to each leaf, mounted in platinum and gold, emeralds later replacements, total diamond weight approximately 2.80 carats, length 27mm. £3,000-£4,000

A pair of emerald and diamond earrings, converted from an Art Deco bracelet, circa 1925, of openwork geometric form, each set with a step-cut emerald within an octagonal surround set with vari-cut diamonds, total diamond weight approximately 1.00 carat, length 20mm. £700-£900

An Art Deco emerald and diamond clip, the tapering clip with foliate detailing and set with three step-cut emeralds, within a pierced surround set with cushion-shaped and old brilliant-cut diamonds, mounted in platinum, total diamond weight approximately 2.00 carats, length 32mm. £1,200-£1,500

A three stone diamond ring, the step-cut diamond semi-collet set between two brilliant-cuts, total diamond weight approximately 0.50 carat, ring size P. £300-£400

[CATHERINE DE’ MEDICI]: (1519-1589) French and Italian noblewoman, Queen of France 1547-59 by her marriage to King Henry II. A good, historic A.L.S., Loise de bretaigne, by Louise de Bretagne (d.1602; Baroness of Castelnau and of Clermont-Lodeve, one of the ladies of honour who accompanied Elisabeth of Valois to Spain for the festivities following her marriage to King Philip II), three pages, folio, Toledo, Second Day of Lent [15th February?] 1561, to Catherine de’ Medici, in French. Louise de Bretagne sends news to the Queen on a variety of events including Elisabeth of Valois’s recovery from small-pox, the death of Francois II and Queen Mary’s return to Scotland, in part, ‘Madam, the health of the queen your daughter grows better and better since I wrote to you; because two days after I sent you the last despatch they made her take a little medicine to finish purging her, which has done her so much good that she has no ailment in the world since……It is now several days since she complained of anything; and the day before yesterday, which was Shrove Tuesday, she went to dine in the garden, by order of the doctors…..I fomented her with milk and saffron, and was obliged then and there to give her a clyster…..the doctors have bidden her to begin every meal with Prunes from Tours…..which makes me beg of you, Madam, to send us some of them by every courier. They have ordered her a bath today to make her menses come on, the date of passing we had noted, the ninth of this month…..Her face is quite free of crusts now, and we wash it every day with asses milk; and yesterday we began to anoint her nose with balm, where she has some pits. I hope the balm will make them disappear. The reason for these is that when she got the small-pox she had a cold and blew her nose so much that the pustules got broken. She is much freer of the migraine than she used to be, but I am in great need of marjoram seeds……the season for sowing them here has passed, and it is not possible to get any more. The King has not come to sleep with her yet, for which I am very glad for she is not quite well enough…..The Prince [Don Carlos] has his fever again rather badly, the cause being I think the great army which they say the Turks are preparing to bring this summer to Goletta [Tunis]……From the last couriers who came…..there is much comment here about the story that the funeral of the late King [Francis II] was conducted with one little candle, which is thought very strange. It is also said for about a fortnight, that Monsieur the Cardinal of Lorraine is going to Metz after Easter, and Queen Mary either to Joinville or to Scotland……Our Lenten services last five hours every morning, and they do not finish until between one and two, which makes fasting easier for us. The Queen your daughter is dispensed from it this Lent on account of her illness and eats meat. They make no difficulty about it. However, none of the Frenchwomen eat it except her and mademoiselle, who is very well. We are told here that she is soon to be married. They are very anxious to know the truth about it, for the King is resolved to make her a very handsome present…..You will be informed of everything. At present I know of nothing more except that all are very well at this court and very glad at the power you have, and greatly wish that it may last long…..’ With the address panel to the verso of the final page, ‘A La Raine, ma souveraine daime’. Loosely contained within a dark brown morocco presentation folder (slight wear and damage to the inside) with gilt decorations to the borders of the interior and exterior and with a gilt stamped title to the front Louise de Bretagne – Letter to Catherine de Medicis relative to the Queens of Spain & of Scotland 1561. Also included are a series of interesting typed research notes and a French transcript and English translation of the letter, apparently prepared for (or by) Frank Lester Pleadwell (1872-1957) American physician and autograph collector. A letter of fascinating content, including intimate details from within the Royal court. Neatly inlaid and with some minor slits and a small area of paper loss to the left edge as a result of the letter having originally been tied with ribbon. About VG A remarkable, intimate letter relating to Elisabeth of Valois, Queen of Spain, who was recovering from small-pox, the death of Francis II, and Queen Mary’s return to Scotland. Elisabeth, the daughter of Henry II of France and Catherine de’ Medici, was born at Fontainebleau in 1545. Henry VIII was her Godfather and she was at first destined to be the wife of Edward VI, who had previously, by Treaty, been engaged to marry Mary, Queen of Scots. Edward’s death, in 1553, put an end to this project, and a marriage was then arranged between her and Don Carlos, the son of Philip II of Spain. Philip’s wife, Mary I, died in 1558, and in the year following he himself married Elisabeth, ignoring the engagement to his son, to whom Elisabeth appears to have been attached. The marriage was an unhappy one. The bride was not yet fifteen years of age and had been brought up with every care in a refined and luxurious Court. Philip, although only thirty-two years old, was morose and severe. The marriage took place (by proxy) in the Church of Notre Dame at Paris in June 1559, Philip being represented by Ferdinand de Toledo, Duke of Alba. Elisabeth first met her husband in the following year, on 2nd February 1560, at Guadalaxara, but the meeting was unfortunate. She died in October 1568, and the cause of her death was not without suspicion, especially as her former lover, Don Carlos, had died under very suspicious circumstances just a few months earlier.  Francis II, whose funeral is mentioned in the present letter, had died on 5th December 1560, and the occasion was perhaps the most important event in the life of Mary, Queen of Scots, when her power and prospects in France were shattered in one blow, and her life-long enemy Catherine de’ Medici again placed in a position of authority. Hence forward the struggles between Catherine and the Guises went more in her favour since she possessed absolute power over her young son, Charles IX, who succeeded to the throne, and usurped complete control of the Kingdom.  The forecast given in the present letter regarding Queen Mary’s future movements proved correct. Mary, who had lived in complete seclusion since her husband’s death, spent Easter at Rheims and then set out to Joinville to visit her grandmother, Antoinette de Bourbon, dowager Duchess of Guise. Thence she returned to Rheims and spent some weeks in seclusion in the Convent of St. Pierre with the Abbess, her aunt, Renee de Lorraine. Finally, she went to Paris where she stayed until July, when she set out for Scotland. At the time when the present letter was written, early in 1561, great endeavours were being made by Mary’s relatives to bring about a marriage between her and Don Carlos, a scheme very nearly concluded, in which case she would have become a step-daughter-in-law of Elisabeth, Queen of Spain, who was still supposed to be in love with her stepson herself. This scheme was strongly opposed by Catherine de’ Medici, who wanted Don Carlos to marry her younger daughter, Margaret, who is referred to in the present letter as ‘Madame your little daughter’ Louise de Bretagne was one of the maids-of-honour who accompanied Elisabeth to Spain. The ‘mademoiselle’ of the letter was another maid-of-honour, Anne de Bourbon Montpensier.