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Lot 618
Group of antique jewellery - to include a George III emerald and seed pearl brooch - possibly in the form of a comet, Georgian garnet brooch, unusual pair of Victorian yellow metal and bloodstone / agate earrings with heart-shape padlocks, two antique coral bead necklaces, pair jade earrings and other antique jewellery CONDITION REPORT One coral necklace has gold (9ct) clasp, the other clasp is not marked. Jade drop earrings have Chinese markings. Pair of Bloodstone earrings- butterflies are stamped 9ct. Brooch mount is unmarked. Stick pin is also unmarked. All other pieces as per description
Lot 1319
Scarce 19th century Welsh primitive ash and elm comb back chair with high stick back and expansive trapezoidal-shaped solid seat on turned splayed legs CONDITION REPORT Total height 120cm, height to top of seat 48cm, total width 70cm, total depth 48cm, traces offf paint to seat, larghe plug to seat, some worm holes to top rail/ seat, legs appear to be old but may not be original, inspection to underside shows ghosts of bracing stretchers, elsewhere general deterioration commensurate with age
Lot 1383
Good early 19th century yew and elm Windsor chair, stick back with pierced vase splat and solid saddle seat on turned supports and crinoline stretcher CONDITION REPORT Large split to arm rail associated with pierced splat, one spindle sheared through split, elsewhere general splits, small losses, colour generally good Dimensions - overall height 92cm; width 56cm; height to top of seat 45.4cm; depth approx. 43cm
Lot 1384
Good second quarter 19th century yew and elm Windsor chair, stick back with pierced vase-shaped splat and solid saddle seat on turned splayed legs and crinoline stretcher, stamped to seat NICHOLSON, ROCKLEY CONDITION REPORT Very good colour, a split where left arm swings to bar back and left arm wobbles in joint, elsewhere minor splits to back, splits where crinoline stretcher meets back supports, some worm holes to back right leg and underside of seat
Lot 1471
19th century ash and elm stick back Windsor chair with solid saddle seat on turned legs united by an H-stretcher, together with pair of country side chairs CONDITION REPORT A few small old wormholes to top rail, repair to splits where right arm meets central bar, also old nailed repair to base of left arm, traces of old paint
Lot 259
Scarce 18th century Derby porcelain figure of the English politician John Wilkes, circa 1775, standing next to a column with the Bill of Rights and Magna Carta rolls beside him, sceptre and Sword of State at his feet and putto with book and holding a Phrygian cap on the end of a stick, on Greek key bordered base, 31cm CONDITION REPORT Good original unrestored example- putto missing a foot, one finger chipped, chip to scroll, some firing cracks to body, chip to hair ribbon at back of neck
Lot 178
A GROUP OF FOUR GOLD AND ESSEX CRYSTAL BROOCHES, each depicting either a horse or a fox, with an additional gold brooch, and a pair of gold and Essex crystal cufflinks, various gold and sizesEssex crystal jewellery is reverse crystal intaglio that often depicts portraits of animals such as horses, dogs and foxes. It was popular during the Victorian era and worn by both men and women while hunting. During this period, specialised costume for sports developed, increasing the variety of dress jewellery available to consumers. Hunting jewellery, in the form of reverse crystal intaglio, included stick pins, buttons, cufflinks and bracelets. Reverse crystal intaglio involves making an engraving on the flat side of cabochon rock crystal and then painting in reverse with watercolour and oils, sometimes using a very fine brush of only a single strand. The painting is then sealed, often with a layer of mother-of-pearl, to preserve it. The effect when viewed from the front is that the image appears magnified and three-dimensional. The technique was invented in Belgium in approximately 1860 by E. M. Pradier and subsequently introduced to England by Thomas Cooke. However, despite Pradier and Cooke’s development of the craft, the jewellery is termed ‘Essex crystal’ after the celebrated miniaturist William Essex (1784-1869), whom the public assumed had painted the miniature animal portraits.
Lot 9
A WILLIAM IV SILVER STANDISH, London 1834, maker's mark rubbed, of shaped rectangular form, the foliate base raised on splayed leaf wrapped feet, with two glass pots and central vase with taper stick and snuffer, the base bearing crest of Bowes, (c.21 troy ozs all in not including glass pots). 26cm wide
Lot 13
A selection of silver and silver plate to include a Royal Welsh Fusiliers XXII swagger stick, a silver and enamel vesta case, London 1897, 5cm wide, a rectangular EPNS cigarette box, 17cm wide, an Art Deco four piece cruet set and stand, a brass vesta case, a silver fob, George III commemorative token etc (8)
Lot 267
A 19th century Derbyshire fluorspar Blue John pedestal bowl, the circular bowl raised on a ringed stem and spreading circular base, 15cm H, 15.5cm diam of bowl, 10.75cm diam of base CONDITION REPORT: Appears to have been made in three sections, the bowl, the stem and the base - joined together with a glue which has degraded a little and has a little flaking - perhaps a little messy to the underside of the bowl. The stem may have been re-stick to the base as it is a little 'messy' here also (see image). Some light surface scratches and light wear, mostly to the underside of the base (see additional image). Natural fissures within the stone, one small nick at the rim which is mostly filled in with age dirt, but no obvious breaks. The base has not been drilled.
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