Natural history, botany & horticulture – Wright (John FRHS), The Fruit Grower’s Guide illustrated by May Rivers, Division 1 Vol. I (of six), London, J. S. Virtue, 4to, n. d. (1890), 176pp, choromolithographic frontis., first title and six other plates, diagrams in text, gilt edges, printed patterned endpapers, black printed decoration to green boards, gilt titles to spine; Watson (William, FRHS, ed.), preface, Prof. Sir Frederick W. Keeble, The Gardener’s Assistant, Vols. II & III. (of six), London, Gresham, n. d. (1925) royal 8vo, green endpapers, bound green cloth with light green titles, also to spines, Vol. II., 237pp, colour frontis and three other plates, Vol. III 232pp, colour frontis and two other plates; Knight (A. E.), and Step (Edward, FLS, 1855-1931), Hutchinson’s Popular Botany: the Living Plant from Seed to Fruit, Vol. II only, London, Hutchinson, n. d. (1920) 8vo, 588pp, 9 col. plates, 370 other illus., yellow endpapers, bound red moquette over red boards, gilt titles to spine; Johns (Revd. C. A., FLS), Flowers of the Field, 8th impr., London, George Routledge, n. d. (1919), small 8vo, 378pp, coloured frontis with tissue guard, 96 illus., with 245 vignettes in text,, Gilt lines and vignette to green front board, gilt titles to (faded) spine (5)
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A box of assorted glassware to include reproduction poison bottles, a box containing step on weighing scales, oak cased mantel clock, box containing assorted picture frames, together with a fake Christmas tree, a brass light, a bag of scatter cushions and a collection of pictures (4 boxes & 1 bag plus light fitting, Christmas tree base & pictures)
JACK DANIEL'S 1981 GOLD MEDAL SERIES | ABV: 43% | Region: Tennessee | Country: USA | Type: Tennessee Whiskey | Volume: 1000 ml | Duty stamp: none | Packaging: without packaging | Bottle code: 124021711B 4344416 | Estimate: 4 000 - 6 000 Kc | Distillery | Jack Daniel's is one of the most famous whiskey brands in the world, and synonymous with Tennessee Whiskey. The history of the distillery dates back to the mid-1800s, when founder Jasper Newton "Jack" Daniel took over the distillery at the age of 13 from Reverend Dan Call, with whom he had originally learned the trade. Jack Daniel's Distillery was officially established in 1866 in Lynchburg, Tennessee, making it the first registered distillery in the United States.Jack Daniel's whiskey is distinguished from bourbon by a special filtering process through a thick layer of maple wood charcoal , known as the Lincoln County Process. This step gives it a characteristic smoothness and distinguishes it from bourbon, classifying it as a Tennessee whiskey. Then the whiskey matures in hand-made oak barrels, where it acquires a rich taste with notes of caramel, vanilla and wood.Jack Daniel's Distillery is part of the Brown-Forman Corporation, one of the world's largest beverage companies. Paradoxically, it is still produced in the city of Lynchburg, which is the so-called a dry city where the sale of alcohol is officially prohibited.The Jack Daniel's brand has achieved cult status in popular culture, particularly through its close association with music genres such as rock and country, and today is one of the best-selling whiskeys in the world. | Bottle | Jack Daniel's 1981 Gold Medal Series is part of a special collector's collection released by the Jack Daniel's distillery to celebrate the gold medals the brand has won at international competitions. This particular edition commemorates Jack Daniel's success at the Monde Selection Awards in Brussels in 1981, where the whiskey received a prestigious gold medal for its exceptional quality.Nose: Delicate and sweet, with notes of caramel, vanilla, and oak, complemented by a light fruitiness.Taste: Smooth and balanced, with flavors of caramel, vanilla, soft oak, and a hint of spice.Finish: Medium-length and sweet, with lingering woody notes and a subtle spicy aftertaste.This bottle is a sought-after collector's item due to its history and attractive design that pays tribute to a milestone for the Jack Daniel's brand. The auctioned bottle is numbered 151449.
Bridget Riley (British, born 1931)One Small Step (Tommasini & Gubay 70) Screenprint in colours, 2009, on Fabriano wove paper, signed, titled, dated and numbered 245/300 in pencil, printed by Artizan Editions, Hove, published by the artist, London, the full sheetImage 266 x 140mm (10 1/2 x 5 1/2in)Sheet 441 x 291mm (17 3/8 x 11 1/2in)This lot is subject to the following lot symbols: † AR† VAT at the prevailing rate on Hammer Price and Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
RARE STATUE DE BOUDDHA EN LAQUE SECHEXVIIe/XVIIIe siècleA VERY RARE LARGE DRY-LACQUER FIGURE OF BUDDHA17th/18th centurySeated in meditation in dhyanasana on a lotus pedestal with a double row of lotus petals, with his hands held in anjali mudra, wearing a diaphanous dhoti tied at his waist and falling in generous folds across his legs, his shoulders and arms covered with a fine shawl, his face with a serene expression, with arched brows, wide downcast eyes, a straight nose and a gentle smile, the hair neatly combed and tied up into a chignon, small traces of gilding and red pigments. 67 cm (26 3/8 in) highFootnotes:PROPERTY OF A FRENCH LADY法國女士私人珍藏十七/十八世紀 夾紵乾漆佛像Provenance:Collection of C.T. Loo (1880-1957), Paris.Collection of Mme Lucie Gass, Boulogne, C.T. Loo's restorer, then in the family by descent and acquired from the descendants of Mme Gass by the present owner in September 1990.The result of CIRAM C14 sample no. 0724-OA-1137J, dated 16 September 2024, is consistent with the dating of this lot.來源盧芹齋（1880-1957年）收藏，巴黎Lucie Gass女士收藏，布洛涅，盧芹齋之修復師，後經家族流傳，現藏家於1990年9月得自Gass女士後人。本拍品經法國CIRAM實驗室碳-14檢測編號0724-OA-1137J（2024年9月16日），結果與其斷代相符This rare large figure of a seated buddha is made in dry lacquer, a material that was rarely used in Chinese sculpture as it was more often carved from stone or cast in bronze. The technique of making hollow core dry lacquer sculpture was complicated and required skilled craftsmen. In a first step a clay core in the shape of the designated image was was created on an internal armature onto which layers of cloth strips were applied thereby helping to create a more detailed form of the figure. Multiple layers of lacquer were applied over a first layer bulked with fillers, the clay core removed and the dried lacquer surface painted and gilt. Inside the hollow figure wood pieces around the interior edges of the base provide structural support. Very few Buddhist hollow-core dry lacquer figures are known. They include three dry lacquer figures of Buddha, one in the Walters Art Gallery in Baltimore, the second in the Freer Gallery of Art, Washington, and the third in the Metropolitan Museum of Art, New York, all three dated to the late sixth and early seventh centuries, an eighth century dry lacquer figure of a bodhisattva in the collection of the Cleveland Museum of Art, and a dry lacquer figure of bodhisattva in the Nepalese style dated to the Yuan dynasty (accession no. F1945.4) from the collection of the Smithsonian in Washington, D.C. Samples taken from the wood inside the buddha have revealed a date to the 18th century. No large dry lacquer figure of this date is known but stylistically we can relate the figure to the sculptures produced in the region of Jehol near Chengde northeastern China. These sculptures made in the 18th century reflect Tibetan influence and reflect the Qing courts espousal of Tibetan Buddhism and its preference for Buddhist sculptures made in the Tibeto-Chinese style. The sculptures in the Wan fa gui yi dian in the Potala in Jehol illustrate the style favoured by the Qianlong emperor (Fig. ). Compare this figure with a very large gilt wood figure of Buddha, sold Christie's Hong Kong, 29 May 2019, lot 2704.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
A yellow and white metal, emerald and diamond three-stone ring, featuring a centre step-cut emerald with two round brilliant cut diamonds to either side, all in claw settings, emerald dimensions approx 7.89 x 7.5 x 4.6mm, weight estimated as 1.85 carats, diamond dimensions between approx 6.1 x 3.95mm and 6.31 x 4mm, total weight estimated as 1.86 carats, assessed mounted collectively colour J to K and clarity SI2 to I1, size N½, gross weight 4.1g, not hallmarked but tested as 18ct goldOne diamond has chipped girdle and a broken claw.Emerald is heavily included.
Art Déco Ring mit feinem Aquamarin im Treppenschliff von ca. 10 ct, flankiert von rechteckigen Zierelementen mit kleinen Diamanten zus. ca. 0,04 ct, Platin 8,2 g, RW: 57, 1. H. 20. Jh., sehr guter Erhalt.| Art Déco ring with fine step-cut aquamarine ca. 10 ct, flanked by decorative details with small diamonds totalling ca. 0.04 ct, platinum, 8.2 g, ring size 57, 1st half of 20th century, very good condition.
Art Déco Ring mit feinem Turmalin ca. 4,5 ct und 6 kleinen Diamanten zus. ca. 0,1 ct, gute-mittlere Farbe und Reinheit, Turmalin von schöner leuchtender Farbe im achteckigen Treppenschliff, leicht berieben, GG 14K, Schauseite Platin, 4,4 g, RW: 58, 1. H. 20. Jh., altersgem. leichte Tragespuren, Handarbeit.| Art Déco ring with fine luminous green tourmaline ca. 4.5 ct, octagonal step-cut, slightly abraded and 6 small single-cut diamonds totalling ca. 0.1 ct, good to medium colour and clarity, 14K yellow gold, face side platinum, 4.4 g, ring size 58, 1st half of 20th century, age-relating minor signs of wear, handcrafted.
Anhänger mit Aquamarin im achteckigen Treppenschliff ca. 16 ct, hellblau, barocke Umrahmung und Anhängeschlaufe aus GG 14K, 7,4 g, 4,2x2 cm, 20. Jh., Aquamarin min. bestoßen, 1 Krappe verkürzt, ansonsten guter Erhalt.| Pendant with octagonal step-cut aquamarine ca. 16 ct, light blue, baroque framing and loop of 14K yellow gold, 7.4 g, 4.2x2 cm, 20th century, aquamarine min. chipped, 1 claw shortened, otherwise good condition.
Schöne Reversnadel mit pinkfarbenem Turmalin, Altschliffdiamant ca. 0,45 ct, ca. GET (M-N)/VVS-VS und Brillanten von zus. ca. 0,11 ct, niedere reinheit und gute Farbe, Turmalin von sehr schöner Qualität im achteckigen Treppenschliff ca. 2 ct, GG 18K, 11,3 g, L: 9 cm, 20./21. Jh., guter Erhalt. (13)| Lapel needle with beautiful pink octagonal step-cut faceted tourmaline ca. 2 ct, old-european-cut diamond ca. 0.45 ct, ca. TIN (M-N)/VVS-VS and brilliant-cut diamonds totalling ca. 0.11 ct, low clarity and good colour, 18K yellow gold, 11.3 g, L: 9 cm, 20th/21st century, good condition.
18K Yellow gold retro ring with approx. 0.62 ct. diamond and synthetic sapphire. Set with two brilliant-cut diamonds totalling 0.62 ct (0.32 and 0.30 ct) (SI - P / G-H) and four step-cut synthetic pink sapphires 4.20 x 2.50 mm. In good condition. Hallmarks: Dutch assay mark 750. Weight: 8.68 grams.
A set of 30 London Olympic Games sporting commemorative 50p coins, folder, framed, a 1974 New Zealand proof set of seven coins, a One Small Step proof £5, a proof Las Vegas, three American folders of collectors coins, Presidential Dollars, Statehood Quarters and National Park Quarters (incomplete) and other coins
Hornby R2435 "The Northumbrian" train pack with BR A4 Andrew K McCosh and 3 Gresley coaches, with complimenting additional three coach pack, Tested Runner(2000g)Hornby R4228 "The Northumbrian" coach pack containing 3 Gresley coachesFull rake with different coach numbersCertificate & InstructionsFound just one loose detail step included Condition Report - Loco & Coaches - GoodBox - Good
A collection of Countryside related volumes to include White, Walter: Eastern England vols I & II, Dutt, W.A.: A Guide To The Norfolk Broads & Some Literary Associations Of East Anglia, Doherty, Bill: A Bird In The Hand Bird-Trapping Tales (signed), Bingham, Charles: The Way Of The Wildfowler (signed ltd ed. no. 15/350), Lloyd, Phil: Coney Catcher, Hancock, David: The World Of The Lurcher and Bryan, John: Trap Making Step by Step (signed) etc. (15)
A VICTORIAN PINE AND BRASS STRIP MOUNTED LIBRARY LADDER 19TH CENTURY The hinges marked 'PIONEER LADDER' 102cm high when open Provenance: The Estate of a deceased Gentleman Condition Report: Please note the below condition report is the only one available.Marks, knocks, scratches and abrasions commensurate with age and useSome old chips, splits, losses The iron hinged mechanism runs smoothly The ladder with some wobble and movement. The top step with previous aperture fixtures with filler use to plug old holes. The underside of this step with evidence of previous securing bars where the upright steps joined. It is likely this step has been adapted/reduced or is missing a hold bar or something similar. The brass step liners with tarnishing and polished areas from use.The above report is supported with additional images which can be sent via a link. Please 'Ask a Question' to request these images. For any further enquiries please contact the department directly. Condition Report Disclaimer
A small Egyptian steatite theophorous figure, holding a seated statuette of ImhotepLate Period, 27th-30th Dynasty, circa 525-332 B.C.9.5cm highFootnotes:Provenance:Ernest Brummer (1891-1964) collection, Paris.The Ernest Brummer Collection of Egyptian & Near Eastern Antiquities and Works of Art; Sotheby's, London, 16-17 November 1964, lot 93.The Ernest Brummer Collection, Vol. II; Spink & Son and Galerie Koller, Zurich, 16-19 October 1979, lot 522. Resandro collection, Europe, acquired at the above sale (R-414 (HP 6)).Published:D. Wildung, Imhotep und Amenhotep, Gottwerdung im alten Ägypten, Münchner Ägyptologische Studien (MÄS) 36, Berlin, Munich, 1977, p.40, no. 18, pl. 4,3.S. Schoske and D. Wildung, Entdeckungen, Ägyptische Kunst in Süddeutschland, Munich, 1985, p.125, p.128, no. 107.S. Schoske and D. Wildung, Gott und Götter im Alten Ägypten, 1992, Mainz am Rhein, 1992, pp.188-189, no. 122.I. Grimm-Stadelmann (ed.), Aesthetic Glimpses, Masterpieces of Ancient Egyptian Art, The Resandro Collection, Munich, 2012, p.145, no. R-414.Exhibited:Munich, Staatliche Sammlung Ägypischer Kunst, Entdeckungen, Ägyptische Kunst in Süddeutschland, 30 August-6 October 1985.Berlin, Ägyptisches Museum und Papyrussammlung; Berlin, Staatliche Museen zu Berlin; Munich, Staatliche Sammlung Ägyptischer Kunst Munchen; Hamburg, Museum für Kunst und Gewerbe Hamburg, Gott und Götter im Alten Ägypten, 1992-1993.The term 'theophorous', 'god bearer' in Greek, is used to describe a sculpture in which the subject carries a small figure of a deity, indicating the dedicant's reverence for, or personal relationship with, the god. Here, the male figure, who wears an animal skin across one shoulder, presents a seated statuette of the god Imhotep, as identifiable by the hieroglyphic inscription on the papyrus scroll that he holds in his lap; the hieroglyphic text faces the viewer, as though the god is declaring himself to the spectator.Imhotep was a notable high official during the 3rd Dynasty of the Old Kingdom, who was deified and revered from the Late Period onwards, some 2000 years after his death. During his lifetime, Imhotep was a noted scholar, vizier to King Djoser, priest of Ptah, high priest of the sun god, Ra, and possibly the architect of Djoser's Step Pyramid complex at Saqqara, the first Egyptian pyramid. He was further recognised as a patron of medicine, writing and learning, hence he was commonly depicted as a scribe, with a skull-cap or shaven head, and holding a papyrus scroll. It is likely that this sculpture was a votive offering at a temple or sanctuary dedicated to the god; R.H. Wilkinson notes that Imhotep's 'cult centres were places of pilgrimage for sufferers who prayed and slept there in the hope that the god would heal them or reveal remedies to them through inspired dreams' (The Complete Gods and Goddesses of Ancient Egypt, London, 2003, p. 113).For the type, see Egyptian Sculpture of the Late Period, 700 B.C.-A.D. 100, New York, 1973, pl. 35, 43 and 45 for fragmentary examples. See also a statue of the priest Wennefer, holding a figure of the deity Khonspakherd and dated to the 30th Dynasty, at the British Museum, London, acc. no. EA 55254.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
Burningham (John) Collection of Correspondence to his publishers at Jonathan Cape, comprising 3 Typed Letters signed and 6 Autograph Letters signed, 13pp., mostly on letterhead paper, one on printed sheet, Hampstead, London, 16 January 1977- 3 October 1996, on various publishing matters and associations with the publishing house, folds; and 4 other related items including 2 copies of letters and a photograph of the illustrator, v.s. (13) *** An insightful if rather illuminating collection of letters evidencing the decline of the relationship between John Burningham (illustrator of Ian Fleming's Chitty Chitty Bang Bang) and his publisher Tom Maschler at Jonathan Cape. Early letters show a glowingly warm Burningham "your party was very enjoyable I'm glad you did it...hope to see you soon and love to Regina..." and "Just a note to wish you well. From time to time over the years you have have written encouraging letters to me which, although I am no good at replying to letters, they mean a lot as one ploughs on in the isolated world of trying to produce good work. So I will reverse the situation and just say that you (Cape) have produced over the years the most exciting and stimulating list which is extremely hard to keep up. I am sure you will continue to do it because you have that rare instinct which is not ruled by intelect..." The other letters begin to show a less than rosy relationship "Dear Mr Godwin [director of Random House], I am writing re the unprecedented step, this year, of segregating the children's from the non-children's authors and running two separate Christmas party's for each group...[I was] incensed to receive recently an invitation to the Random Century 'Children's party' The vinal point about this annual event was that it provided for the cross-pollination of authors...Are we soon to see this sort of pigeon-holing further refined so that fiction and and non=-fiction authors will be invited to commune apart from one another? Still, I suppose "tout change". Twenty eight years is an awful long time and perhaps the time too has come for me to change publisher's." Finally, a curt typed letter to Maschler severs the 33-year relationship: "I am writing to say that the long association between myself and Jonathan Cape/Random House Children's Books has now come to an end. I think your handling of the publication and failure to promote CLOUDLAND rings of incompetent, uninspired marketing..."
BOUCHERON: EMERALD AND DIAMOND RINGThe step-cut emerald weighing 7.34 carats, mounted on brilliant-cut diamond-set shoulders and gallery, signed Boucheron, maker's mark Sté B, French assay mark, ring size G (sizing spheres), maker's pouchFootnotes:Accompanied by report from The Gem & Pearl Laboratory stating that the emerald is of Colombian origin, with minor clarity enhancement. Report number 25341, dated 8th November 2024.Accompanied by a copy of a GRS report stating that the emerald is of Colombian origin, with insignificant evidence of clarity enhancement. Report number GRS2018-087303, dated 9th August, 2018.For further information on this lot please visit Bonhams.com
COLOUR-CHANGE ALEXANDRITE AND DIAMOND RINGThe step-cut colour-change alexandrite, weighing 13.54 carats, between scrolling old brilliant-cut diamond set shoulders, ring size Q, cased by RL Austen Ltd., Chichester, BrightonFootnotes:Accompanied by a report from GCS stating that the alexandrite is natural, of Sri Lankan origin, with no indications of heating. Report number 5785-0233, dated 7th November 2024.Saleroom notices:Please note, the description should also read, 'circa 1935'.For further information on this lot please visit Bonhams.com
EMERALD AND DIAMOND RINGThe step-cut emerald, weighing 3.35 carats, between baguette-cut diamond shoulders, ring size MFootnotes:Accompanied by a report from The Gem & Pearl Laboratory stating that the emerald is of Colombian origin with moderate clarity enhancement. Report number 24519, dated 26th April 2024.Accompanied by a report from GRS stating that the emerald is of Colombian origin with minor to moderate clarity enhancement. Report number GRS2018-121506, dated 14th December 2018.For further information on this lot please visit Bonhams.com
SAPPHIRE AND DIAMOND RING, CIRCA 1925The step-cut sapphire, weighing 5.01 carats, set between old brilliant and single-cut diamond shoulders and gallery, mounted in platinum, diamonds approximately 2.80 carats total, ring size N½Footnotes:Accompanied by a report from AGL stating that the sapphire is of Burmese origin with no evidence of heat. Report number 1143877, dated 6th November 2024.For further information on this lot please visit Bonhams.com
EMERALD AND DIAMOND RING, EARLY 20TH CENTURYThe step-cut emerald, within a single-cut diamond surround, mounted in platinum, emerald approximately 2.90 carats, ring size M½Footnotes:Accompanied by a report from The Gem & Pearl Laboratory stating that the emerald is of Colombian origin, with no indication of clarity enhancement. Report number 25203, dated 12th October 2024.For further information on this lot please visit Bonhams.com
ATTRIBUTED TO CARLO GIULIANO: RENAISSANCE REVIVAL GEM-SET AND ENAMEL CROSS PENDANT, CIRCA 1870The Latin cross with blue, black and white enamel decoration, centrally-set with an old cushion-shaped diamond, issuing four 4.2-4.5mm pearls, set throughout with foil-back step-cut gemstones; including rubies and emeralds, the reverse with polychrome enamelled floral pattern, centrally-set with a glazed compartment, suspending three 5.2mm-5.5mm drop pearls, pearls untested, enamel loss, length 8.5cm, fitted caseFootnotes:For a similar cross pendant by Carlo Giuliano, circa 1863-1895, see Munn, G. Castellani and Giuliano: Revivalist Jewellers of the Nineteenth Century, p.161, pl.167-168.The style of enamelling used on this jewel derives from English 17th century prototypes, which provided a popular range of designs for revival jewellery workshops.For further information on this lot please visit Bonhams.com
ART DECO DIAMOND BRACELET, CIRCA 1930Of openwork geometric design, pavé-set throughout with old brilliant and single-cut diamonds, each panel with pierced detail, baguette-cut diamond accents and a central step-cut diamond highlight, connected via articulating curved and buckle-shaped links channel and pavé-set with baguette and old brilliant-cut diamonds, diamonds approximately 32.65 carats total, numbered 10600 52588M, length 18.8cm, cased by Mayor's For further information on this lot please visit Bonhams.com
MARCUS & CO.: ENAMEL, SAPPHIRE AND DIAMOND WATCH PENDANT/NECKLACE, CIRCA 1910-15The circular dial with Arabic chapters, the pendant decorated on both sides with blue-grey guilloché enamel, accented by rose-cut diamonds and calibré-cut sapphires, the reverse with a pierced rose-cut diamond floral motif to the centre, terminating with a cabochon sapphire crown, suspended from a chain of white enamel and blue-grey guilloché enamel baton links, between pierced lozenge-shaped spacers set with step-cut sapphires and old brilliant-cut diamonds, mounted in gold and platinum, dial signed Marcus & Co. New York, enamel with a few losses, one rose-cut diamond deficient, lengths: pendant 4.0cm, chain 51.0cm For further information on this lot please visit Bonhams.com
EMERALD AND DIAMOND PENDENT EARRINGSEach step-cut emerald suspended from a baguette and old brilliant-cut diamond surmount, emeralds approximately 3.30 and 3.50 carats, length 3.2cmFootnotes:Accompanied by a report from GCS stating that the emeralds are of Colombian origin with moderate to minor clarity enhancement. Report number 5785-0359, dated 5th November 2024.For further information on this lot please visit Bonhams.com
MARINA B: GEM-SET 'LORETO' EARCLIPS, CIRCA 1989Each 11.0mm cultured pearl, within sculptural surrounds pavé-set with brilliant-cut diamonds, accented by carved hematite and square step-cut rubies, signed Marina B, maker's mark MB, numbered C2060, French import mark, diamonds approximately 3.00 carats total, length 3.0cmFootnotes:For a similar pair of earrings by Marina B dated 1988, see Jutheau de Wit, V., 'Marina B: The Art of Jewellery Design', p.80.For further information on this lot please visit Bonhams.com
DIAMOND RINGThe brilliant-cut diamond, weighing 5.24 carats, between step-cut diamond shoulders, ring size KFootnotes:Please note, VAT at the prevailing rate is applicable on both the Hammer Price and the Buyer's Premium. An additional duty of 2% plus VAT will also be charged on the Hammer Price.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
TIFFANY: RUBY AND DIAMOND DRESS RINGThe rows of interspersed calibré-cut rubies and step-cut diamonds, between brilliant-cut diamonds, diamonds approximately 2.65 carats total, signed T&Co., partial UK import mark, ring size M, maker's caseFor further information on this lot please visit Bonhams.com
KUTCHINSKY: EMERALD AND DIAMOND RING, 1988The step-cut emerald within a brilliant and trilliant-cut diamond surround, mounted in 18 carat gold, maker's mark KLd, London hallmark, emerald approximately 1.75 carats, diamonds approximately 1.95 carats total, ring size I½For further information on this lot please visit Bonhams.com
RUBY AND DIAMOND RING, FRENCH, MID 20TH CENTURYOf bombé form, composed of interlocking panels, pavé-set with brilliant-cut diamonds and invisibly-set calibré-cut rubies, between graduating baguette and step-cut diamond shoulders, diamonds approximately 2.00 carats total, ring size MFor further information on this lot please visit Bonhams.com
Emerald and diamond three stone yellow metal ring, the square step cut emerald measuring approx. 4.86mm x 4.77mm x 2.49mm, calculated as weighing approx. 0.35 carat, the two old cushion cut diamonds measuring approx. 4.17mm x 4.02mm x 3.06mm and 4.25mm x 3.92mm x 3.05mm, total calculated diamond weight approx. 0.80 carat, assessed clarities SI, assessed colours tinted, six small rose cut diamond accents, flush claw settings, scroll mount and scroll tapered shoulders, ring size N½, weight approx. 4.1g, assessed as unmarked gold
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26534 item(s)/page