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Click here to subscribeA yellow metal and emerald brooch of Aztec design, set with a step cut emerald, approximately 2.7cm long, stamped '18k', gross weight approximately 2.5g; together with a yellow metal multi gem set bracelet, stamped '14k', two stones missing, gross weight approximately 19.6g (2)Aztec brooch in good condition, bracelet has wear and tear commensurate with age
A 1932 MG F Type Magna Tourer - Chassis, 1250cc engine, radiator and spoked wheels - a restoration project. The six-cylinder engine restored by The Vintage Carriage Company Ltd., an album mounted with 170 colour photographs, illustrates step by step, before and after restoration of components, is included. IMPORTANT NOTE - 12% BUYERS PREMIUM PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Corgi 1:50 Scale Heavy Haulage CC14007 Set - Volvo FH Nooteboom Step Frame Trailer & Volvo Excavator Wheel EW180B "East West Heavy Haulage", LE 1/1510 with certificate, although unchecked for completeness, condition generally appears to be Excellent to Near Mint, within Excellent box, with Good to Good Plus outer sleeve. See photo.
H. NOCK, LONDON A 20-BORE FLINTLOCK DOUBLE-BARRELLED HOLSTER PISTOL, no visible serial number, circa 1800, with twist side-by-side 7in. barrels, the top-rib signed 'H. NOCK, LONDON', white metal bead fore-sight, border, floral and trophy engraved top-tang with shallow broad sighting groove, flat, step-tailed locks with engraved detail and signed 'H. NOCK' below the semi rainproof pans, swan-necked cocks with bolted safes, rollers to the frizzen-springs, walnut half-stock with chequered bag-shaped grip, square-backed trigger guard bow and captive iron rammer
Two WWII army recruitment posters; ‘Step Into Your Place’, published by the Parliamentary Recruited Committee, London Poster No.104, and printed by David Allen & Sons Ld., Harrow, Middlesex, dimensions; 50.5cm x 75.5cm, together with ‘Travel the World with the Machine Gun Corps’, printed along the bottom edge; ‘WT.W 1655/PP.3178, 25,000. 6/19. H.G.B.Ltd., E.5043’, dimensions 75cm x 49cm. Condition - fair to good, minor creases and losses to the edges.
The Beatles - With The Beatles, Parlophone PMC 1206 XEX 447-7-N / 448-7N, together with various other LPs to include Bee Gees - Greatest, Abba - Greatest Hits Vol 2, Jean Michel Jarre - Equinoxe, Simon And Garfunkel - Greatest Hits, Dr Hook - Sometimes You Win, Donna Summer - S/T and Now That's What I Call Music vol I etc. and a collection of 7" singles to include Diana Ross And The Supremes - Going Down For The Third Time, The Monkees - Take A Giant Step, Herman's Hermits - There's A Kind Of Hush, Johnny Nash - How Good It Is and Procol Harum - A Whiter Shade Of Pale etc. (29 LP's & 26 singles)
AN 18CT WHITE GOLD CLASSIC STEP CUT EMERALD AND BAGUETTE CUT DIAMOND RING the emerald measures 7.9mm x 5.9mm x 3.5mm, with four baguette cut diamonds with an estimated approx total of 0.60cts. Finger size O1/2, weight 3.9gms Condition Report:Very light wear if any, diamonds bright and clean, with loope. Emerald a nice colour, mainly transparent with inclusions indicative of emeralds
EMERALD PENDANTA bright yellow metal mounted emerald pendant. Set with a step cut emerald of estimated approx 6.5mm x 7.5 x 4.6mm. Together with a 50cm, 18k gold chain, weight together 4.8gmsPlease note weight amendedCondition Report:There is a chip to one corner probably happened during setting, the emerald has many inclusions, it is semi translucent. The bright yellow metal mount is not hallmarked, but is in good order.
An 18 Carat Gold Ruby and Diamond Ring, three rectangular step cut rubies alternate with four princess cut diamonds, in yellow and white claw settings, to a yellow plain polished shank, finger size Q1/2In our opinion, the rubies could have been subjected to a filling treatment which can cause instability so caution when cleaning is advisable. Gross weight 3.0 grams.
18ct gold sapphire and diamond bracelet, each link set with two rows of rectangular step cut sapphires, with pave set diamonds either side, stamped, total diamond weight 0.40 carat, total sapphire weight 2.50 carat, with World Gemological Institute reportCondition Report:Approx 16.05gm, length = 19.3cm, good condition
Ladies - 1950's 18ct White Gold & Blue Sapphire and Diamond Set Cluster Ring. Marked 18ct to Interior of Shank. The Central Blue Sapphire of Excellent Colour / Clarity. Surrounded by 8 Round Brilliant Cut Diamonds and Two Step-cut Diamond of Excellent Colour / Clarity. Est Diamond Weight 0.70 pts. Ring Size H - I. Weight 3.8 grams.
AN AQUAMARINE AND DIAMOND CLUSTER RING The rectangular step cut aquamarine with canted corners, within a brilliant cut diamond surround, to a platinum band with diamond line shoulders, UK hallmark Size/dimensions: ring size N Gross weight: 9.3 grams Condition Report: Engraved gem weights: aquamarine 9.49ct, d1.506ct In very good condition with minor signs of wearCondition Report Disclaimer
A DIAMOND SINGLE STONE RING The step cut diamond with canted corners, weighing 2.41 carats, step cut diamond set shoulders, the shank stamped Plat Size/dimensions: ring size N Gross weight: 4 grams Condition Report: Diamond measuring approximately 8.98 x 6.75 x 4.55, diamond has been unmounted and weighed. Estimated colour G/H, estimated clarity VS. Mount stamped Plat, no official hallmarks. Some nicks and scratches to mount. Overall in good conditionCondition Report Disclaimer
DAVID A. THOMAS, A PAIR OF GREEN TOURMALINE EARRINGS LONDON 1973 Each step cut green tourmaline with canted corners within an 18ct gold surround of abstract interlocking cube design, maker's mark DAT, UK hallmark, clip fittings, with green David Thomas box Size/dimensions: 2.3cm long Gross weight: 18.5 grams Condition Report: Some light wear commensurate with age and use, the tourmalines have a few nibbles to facet edges, the clips well hingedCondition Report Disclaimer
A MID 20TH CENTURY AQUAMARINE AND DIAMOND RING The rectangular step cut aquamarine with canted corners, between rectangular cut diamond three stone shoulders, unmarked Size/dimensions: ring size L Gross weight: 8.6 grams Condition Report: Some nicks and abrasions to aquamarine. Aquamarine of a light blue hue with good saturation and transparency. Diamonds are bright stones and well matched, one diamond chipped. Hoop shows evidence of previous resizing. Metal remains unmarked and untested..Condition Report Disclaimer
Y A SAPPHIRE AND DIAMOND SET BELT BUCKLE The leopard's head pavé set with brilliant cut diamonds, with circular cut sapphire spots, circular cut emerald eye, within a polished rope twist surround, and channel set step cut sapphire and brilliant cut diamond set baton connector, stamped 750, to a black crocodile belt, stamped A. Testoni Made in Italy Vero Coccodrillo 105/42 Size/dimensions: buckle section 5.3 x 3.6cmPlease be aware that this lot contains material which may be subject to import/export restrictions, due to CITES or Fish & Wildlife regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. Condition Report: The buckle has some light wear, a few surface scuffs, the diamonds are all present and correct, bright and lively, the sapphires are well matched. Belt total length 111cm long, there is some use to the belt, some scratching and slight bending, small pen mark to the brown leather interior. Condition Report Disclaimer
AN EARLY 20TH CENTURY EMERALD AND DIAMOND RING The tapered panel with two rows of graduated old cut diamonds to a pair of central step cut emeralds with canted corners, later shank stamped 18ct Size/dimensions: ring size Q 1/2 Gross weight: 3.7 grams Condition Report: The shank has been well replaced, not obvious. General wear to the setting commensurate with age and use, some claws have been retipped, one claw may need a slight retip, some general wear and some thinning to claws. The stones are all present and correct, bright and lively, diamonds approximately 0.28 carats total, diamonds mostly I clarity, colour I-K assessed in settings. Some abrasion to the crowns of the emeralds, some typical inclusions. Condition Report Disclaimer
Good diamond ring, centred with a rectangular step cut natural diamond of approx. 2.2cts (8.05mm x 7.07mm x 4.70mm), G/H in colour and SI clarity, in platinum corner mounts, each shoulder set with three small baguettes, channel set on a platinum ring, size N, gross weight approx. 4.3g, marked 18ct/PlatAccompanied by a Birmingham Assay Office gemmological certificate no. 20070526(NB: Valued by Ernest Jones Jewellers 2017 for replacement value at £20,500) (Please note condition does not form part of the catalogue description. We strongly advise viewing to satisfy yourself as to condition. If you are unable to view and a condition report is not already available, please request one and it will be provided in writing).
A RUSSIAN ENAMEL AND GEM SET CROSS PENDANT WORKMASTER XM, ST. PETERSBURG PRE-1899 Set to the centre and at each terminal with a step cut emerald in an opaque white enamel frame, the arms enamelled in translucent blue on a hatched ground, applied with scrolling designs, enamelled in opaque white and blue and accented with rose cut diamonds, 56 standard, later bale, associated wooden case Size/dimensions: 5.7cm excluding bale Gross weight: 30.3 grams Provenance: Private Collection Condition Report: Stamped with 56 gold standard mark, St Petersburg Pre-1899, workmaster mark XM, assay mark IE in Cyrillic, date 1872. Gold appears to have been mercury gilded to achieve a yellower colour. Some rubbing near loop showing pinker gold underneath. Opaque blue enamel border with some nibbling, white enamel with some pitting. Guilloché enamel in good condition. Central emerald somewhat paler than rest and cloudy due to natural inclusions. Some typical natural inclusions in remaining emeralds, some eye visible. Diamonds a mix of old cuts and rose cuts.Condition Report Disclaimer
A 19TH CENTURY RUSSIAN GEM SET PECTORAL CROSS Centrally set with a polished beryl engraved with the scene of the Crucifixion, the openwork arms and Imperial Crown surmount set throughout with pearls, old and rose cut diamonds and cabochon and step cut beryl, hinged compartment to reverse, unmarked Size/dimensions: 16.0cm long Gross weight: 131.3 gramsProvenance: Private Collection Condition Report: Previous repairs and alterations, one beryl deficientCondition Report Disclaimer
FABERGÉ, A GEM SET CHARKA WORKMASTER MICHAEL PERKHIN, ST. PETERSBURG, CIRCA 1895 The circular bowl and hook handle of yellow gold, the rim applied with reeded folds of alternating green and pink gold, the handle set with a pear shaped cabochon sapphire, rectangular step-cut diamond, and oval cabochon ruby, struck with workmasters initials MP in Cyrillic, 56 standard, scratched inventory number 37996 Size/dimensions: 8.5cm long Gross weight: 48.6 gramsProvenance: Private Collection Condition Report: Some nicks and surface scratches. Small signs of previous repair to bicoloured sleeve. Clear legible marks and numbering. Gemstones with light abrasion to top of cabochonsCondition Report Disclaimer
A pair of 18ct gold diamond and emerald earrings, each with central two step cut emerald measuring approximately 6mm x 7mm, surround by round brilliant cut diamonds, total emerald weight approximately 2.38ct, total diamond weight approximately 0.45cts, each cluster measuring approximately 10.40mm x 9.40mm, marked 18K, gross weight 4g.Condition - very good, little/no wear.
An 18ct white gold, tanzanite and diamond cluster ring, collet set with the cut cornered rectangular step cut tanzanite within a surround of ten circular cut diamonds, with two larger circular cut diamonds to each side, detailed ‘18ct’, weight 6.1g, tanzanite weight approx 2.36ct, total diamond weight approx 1.50ct, clarity grade approx SI, colour grade approx G-H, ring size approx O1/2.
An Edwardian gold, emerald, diamond and seed pearl pendant brooch, claw set with a cut cornered rectangular step cut emerald within a surround of four old cut diamonds, otherwise in a scrolling openwork design, mounted with seed pearls, unmarked, emerald weight approx 0.18ct, total diamond weight approx 0.16ct, width 2.7cm, later fitted to an 18ct gold fine curblink neckchain on a boltring clasp, length including pendant 43cm, total weight 9.6g.
ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) STOCKING, 2020-21 oil on canvas 75cm x 62cm (29 ½in x 24 ½in) (unframed) Exhibited: Scottish National Portrait Gallery, Edinburgh, Alison Watt: A Portrait Without Likeness, 17 July 2021- 9 January 2022‘I can’t deny the lure of the past.’ – Alison WattAlison Watt is one of the UK’s most respected painters working today. Her oeuvre has gradually evolved since her figurative works first came to public attention at her sold out Glasgow School of Art degree show. Over time the figures left our line of sight, leaving only the suggestion of their presence, her paintings pushing almost to the point of abstraction in her famous canvases of minimalistic white drapery. The latest direction - represented by the two works offered here - is markedly different again, though along a logical continuum. The figures have left the frame entirely and what remains is a psychological examination of their vestiges. Those familiar with her career will recognise that her work’s current iteration is the next step in her on-going exploration of, as she puts it, ‘the different ways in which a human being can be represented without being present…’Though an artist with a singular voice, her work is underpinned by a fascination with and debt to the precise and lusciously detailed work of the Old Masters. It was this aspect of her work that the Scottish National Portrait Gallery sought to explore in their exhibition Alison Watt: A Portrait Without Likeness (Edinburgh, 2021-2022), which juxtaposed Watt with the work of one of her great inspirations, Allan Ramsay. Watt immersed herself in the gallery’s collection of Ramsays, including accessing his archived sketchbooks. The resultant body of work was exhibited alongside two of his most celebrated portraits, those of his first and second wives. Many of the aspects Watt admires in Ramsay’s work, she also shares: the simplicity and “geometry” of composition, balanced against the fine detail and delicacy of technique, and a depth of feeling tangible in the painting process itself. Ramsay’s portraiture is celebrated for its deep intimacy; his best work is frequently said to be of the interesting, intellectual women of his close acquaintance. Watt conveys that same intimacy in the present paintings, an unspoken narrative suggested in the quiet grandeur of her still lives. She raises gentle, unanswered questions about the objects’ symbolism. In Watt’s own words, the still life ‘can both offer you familiarity with an object, but also transcend the everyday.’Stocking was one of the works created for the Scottish National Portrait Gallery exhibition, with Frances a continued exploration on the theme in 2022. The cabbage leaf in the latter is a reference to the one held by Ramsay’s sitter Lady Boscawen in his portrait of her of 1747. In the exhibition catalogue text, historian Tom Normand remarks on the eccentricity of Ramsay’s choice of such an object as a prop. At face value, Boscawen was a keen horticulturalist, and on a second level it might be understood to represent the mother of five’s fecundity. Watt, intrigued by the mystery, amplifies it further by isolating the object and placing it within a contextless blank backdrop. As with Watt's famously allusive folds of drapery, the elevation of a mundane object and the strange intimacy this choice engenders makes complex what at first appears simple. As Normand puts it, the cabbage leaf ‘is revealed as a charismatic organism. Its familiarity is complemented by its wild exoticism; its mundane aspect becomes a strangely erotic cypher.’ Boscawen, a painting closely related to Stocking and Frances, was purchased for the Scottish national collection with support from the Patrons of the National Galleries of Scotland in 2022.
ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) FRANCES, 2022 signed, inscribed with title and dated ‘8th August 2022’ to stretcher verso, oil on canvas 76cm x 62cm (30in x 24 ½in) (unframed) Exhibited: Tristan Hoare Gallery, London, A Kind of Longing, 3 February - 10 March 2023‘I can’t deny the lure of the past.’ – Alison WattAlison Watt is one of the UK’s most respected painters working today. Her oeuvre has gradually evolved since her figurative works first came to public attention at her sold out Glasgow School of Art degree show. Over time the figures left our line of sight, leaving only the suggestion of their presence, her paintings pushing almost to the point of abstraction in her famous canvases of minimalistic white drapery. The latest direction - represented by the two works offered here - is markedly different again, though along a logical continuum. The figures have left the frame entirely and what remains is a psychological examination of their vestiges. Those familiar with her career will recognise that her work’s current iteration is the next step in her on-going exploration of, as she puts it, ‘the different ways in which a human being can be represented without being present…’Though an artist with a singular voice, her work is underpinned by a fascination with and debt to the precise and lusciously detailed work of the Old Masters. It was this aspect of her work that the Scottish National Portrait Gallery sought to explore in their exhibition Alison Watt: A Portrait Without Likeness (Edinburgh, 2021-2022), which juxtaposed Watt with the work of one of her great inspirations, Allan Ramsay. Watt immersed herself in the gallery’s collection of Ramsays, including accessing his archived sketchbooks. The resultant body of work was exhibited alongside two of his most celebrated portraits, those of his first and second wives. Many of the aspects Watt admires in Ramsay’s work, she also shares: the simplicity and “geometry” of composition, balanced against the fine detail and delicacy of technique, and a depth of feeling tangible in the painting process itself. Ramsay’s portraiture is celebrated for its deep intimacy; his best work is frequently said to be of the interesting, intellectual women of his close acquaintance. Watt conveys that same intimacy in the present paintings, an unspoken narrative suggested in the quiet grandeur of her still lives. She raises gentle, unanswered questions about the objects’ symbolism. In Watt’s own words, the still life ‘can both offer you familiarity with an object, but also transcend the everyday.’Stocking was one of the works created for the Scottish National Portrait Gallery exhibition, with Frances a continued exploration on the theme in 2022. The cabbage leaf in the latter is a reference to the one held by Ramsay’s sitter Lady Boscawen in his portrait of her of 1747. In the exhibition catalogue text, historian Tom Normand remarks on the eccentricity of Ramsay’s choice of such an object as a prop. At face value, Boscawen was a keen horticulturalist, and on a second level it might be understood to represent the mother of five’s fecundity. Watt, intrigued by the mystery, amplifies it further by isolating the object and placing it within a contextless blank backdrop. As with Watt's famously allusive folds of drapery, the elevation of a mundane object and the strange intimacy this choice engenders makes complex what at first appears simple. As Normand puts it, the cabbage leaf ‘is revealed as a charismatic organism. Its familiarity is complemented by its wild exoticism; its mundane aspect becomes a strangely erotic cypher.’ Boscawen, a painting closely related to Stocking and Frances, was purchased for the Scottish national collection with support from the Patrons of the National Galleries of Scotland in 2022.
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