Ceylon sapphire and diamond ring In white 18-carat gold, set with a large cushion-cut Ceylon blue sapphire without traces of heating measuring approximately: 13.64 x 12.12 x 8.33 mm, shouldered by six brilliant-cut diamonds, arranged in threes on either side totalling approximately 0.90 ct. Finger size: 55 (US: 7 1/4) Marked: none. Enclosed is the preliminary report from the Laboratoire Français de Gemmologie, #BD 32588/1 stating: "Characteristics compatible with those of deposits in Sri Lanka (formerly Ceylon) No thermal alteration observed Slight colour change: light violet-blue in daylight / purple in incandescent light Controlled stone set" trace of setting on the ring and presence of holding balls in the ring Weight : 8.1 g gross weight"
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ART DECO Articulated bracelet In platinum 950 thousandths comprising seven geometric links enriched with rose-cut and old-cut diamonds totalling about 4.30 ct, connected by bars set with both diamonds and square sapphires on rails totalling about 2.40 ct. The centre of the bracelet is set with a remarkable cushion-cut Ceylon sapphire of about 7 ct, with no traces of heating. Tagged: none Enclosed is the preliminary report from the Laboratoire Français de Gemmologie, #BD 32588/2 which states: ''Characteristics compatible with those of deposits in Sri Lanka (formerly Ceylon). No thermal alteration noted Stone examined set"" 6 of 215 diamonds are chipped H : 1.8 cm L : 18 cm excluding clasp Weight : 48 g gross weight
9ct gold curb chain charm bracelet with 3 plated Victorian fob seals & blood stone & carnelian locket, 9ct gold swivel seal, 9ct gold teddy on chair, 9ct gold cash register, 9ct gold jug, 9ct gold claw, Canadian leaf marked 9k, lobster marked 14k and other unmarked charms, gross weight 102.8g
12 albums and a large quantity of loose photos to comprise a superb archive of photographs of the Cannes Film Festival, typically c 1994-1998. All of the images included here (many of which will come with accompanying negatives) were taken by the vendor and are therefore sold with full copyright. Photos are in the main well composed and focused and generally are of promotional displays around the festival, events/lectures/talks and of the stars themselves in appearances. Some of those featured include: Elizabeth Taylor, Gary Oldman, Hugh Grant, Sandra Bullock, Jodie Foster, Quentin Tarantino, David Cronenbourg, Viggo Mortenesen, Richard Gere, James Stewart, Liv Tyler, Johnny Depp, Tom Cruise, Sharon Stone, Martin Scorcese, Clint Eastwood, Kate Winslett, Christina Ricci and many more. Viewing advised.
WILHELM SCHMIDT; A CARVED OPAL, CIRCA 1880 the carved opal depicting the head of a warrior, his helmet surmounted by The Sphinx, the reverse host stone also carved. Signed "WILHELM SCHMIDT" 3.1cm x 5.6cm Total weight 23.5gms Provenance: From a private collection, acquired in. Shanghai of Home Kong from the 1930's onwards. Note: Wilhelm Schmidt (1845-1938) Schmidt was born in Idar Oberstein and at the age of 15 went to Paris and trained with the cameo-cutter Arsene. There had been a huge interest in Cameos for centuries, but by the time Schmidt had graduated in the 1860's, that interest was beginning to fade. He eventually settled in London and worked alongside his brother in Hatton Garden who dealt in gemstones. He was working with some fabulously rare gemstone specimens and produced pieces for John Brogden, Child and Child and Carlo Giuliano and this helped to raise his profile. The big break came when he mastered carving opals. His work is exceptional and it is rare to find a signed example. Gertrud Seidmann, a connoisseur of Schmidt's work, explained the importance of Schmidt's work: "Opal cameos, if rare, were not unknown (in the 19th century) but Schmidt had invented a novel technique: instead of carving the whole cameo from precious opal, he used blanks with a thin layer of precious opal overlaying the matrix, in the same way in which the contrasted layers of agers were traditionally used to set off the background."
A SPINEL RING AND TWO PASTE SET BROOCHES AN EDWARDIAN GREEN SPINEL AND DIAMOND RING the square-cut spinel, collet set within a pierced undulating border with rose-cut diamond highlights, on plain yellow gold band. Unmarked, tests as 18ct gold. Bezel measures 15mm x 16.5mm. Ring size P, with later sizing balls. Weight 3.5gms. TOPAZ BROOCH of white metal set with a central pale topaz within a wreath design border set with paste Pin marked Metal Topaz measures approximately 11.2mm x 11.4mm x 5mm Measures 3.2cm x 2.8cm Total weight 5.6gms FLEUR-DIS-LYS BROOCH set with round paste, missing one stone Marked Sterling Measures 3cm x 2.5cm Total weight 4g
An interesting mixed lot including a boxed set of silver cufflinks & shirt studs, a heavy gauge ring set with a 1976 Elizabeth II coin (hallmarks indistinguishable), some other shirt studs, Parker pen set, a child's Mickey Mouse wristwatch, silver bangles, paste stone set jewellery including a bracelet & old fashioned car brooch, three paste stone set dress clips, watch bracelet, bracelets and a 9ct metal core engraved hinged bangle, a 9ct yellow gold cameo ring, 3.75gm and a 9ct yellow gold three stone paste set ring, 7.70gm, (please note that although this ring is stamped as 18ct it tests as 9ct).
A mixed lot to include a 22ct yellow gold wedding band, 5.11gm, size M, an 18ct yellow gold ring set with two rows of purple stones, 3.25gm, size O 1/2, an 18ct yellow gold cluster ring set with a dark blue sapphire & diamonds, 4.22gm, size N 1/2 and a 9ct yellow gold cluster ring set with a blue stone & tiny round cut white stones, 3.27gm, size L, (4).
Signed by the Illustrator Rowling (J.K.) & Kay (Jim)illus. Harry Potter and the Philosophers Stone; Harry Potter and the Chamber of Secrets; Harry Potter and the Goblet of Fire, and Harry Potter and the Prisoner of Azkaban, 4 vols. 4to, L. (Bloomsburg) 2015 - 2019, First Illustrated Edn., signed by the illustrator Jim Kay, illus. throughout, boards, decorative d.j. Clean set. (4)
Irish Poetry: Montague (John) Poisoned Lands, Dolmen Press 1977. Lim. Edn. No. 39 of 75 Copies, Signed Special binding, in slipcase; also The Dead Kingdom, Dublin 1984, & 1 other same author; Murphy (Richard) Sailing to an Island, Lond. 1963. First Edn., Signed, & Inscribed with 7 line poem, d.w.; The Price of Stone, Lond. 1985. Signed, 1 other same author; Bolands (Eavan) New Territory - Poems, Dublin 1967. The Author's First Book, cloth & d.w.; also The Journey & other Poems, 1987. First Edn., wrappers. (8)
Wilde (W.R.) A Descriptive Catalogue of The Antiquities of Stone, Earthen, and Vegetable Materials in the Museum of the Royal Irish Academy, 8vo Dublin 1857. First Edn., VI, 642pp., text illus.; bound with, A Descriptive Catalogue of the Antiquities of Gold..., Dublin 1862, Fist Edn., 100pp., in recent fine hf. green mor. tooled gilt spine, mor. label. V. good. (1)
Co. Carlow: 1830s - 1840s including the period of the Reign of Terror in Carlow and the Great Famine. Over 500 applications from Carlow residents registering to vote on forms titled "Oath of Householder" / Oath of Rent Charger / Oath of Freeholder / Oath of Resident Freeman / Affirmation of £50 freeholder.Recording name, address, occupation and signed by each householder. Witnessed and signed by Assistant Barristers, H. Hutton and James Bessonnet and Clerks of the Peace, Alex Humprey and Thomas Richardson. Among the unusual surnames documented are Haly ( Bishop of Kildare and Leighlin ), Galbraith, Silk, Gilder, Ebbs, Garagin, Spong, Voss, Gerrard, Hammel, Bagenal, Rich, Vigors, Budds, Bruen, Hone, Spearing, Stoyte, Annesley, Foyle, Hazelton, Tennant, Forth, Strahan, Hoburne, Stone, Rawson, Barden, Huband, Woodhouse, Faircloth, Sweetman, Birkett, Furney, Wellwood, Bowles, Ruddix, Bossford, Lancaster, Boardman, Kilfoil, Bacon, Barrington. Among occupations listed are Sergeant Major of Militia, Counting House keeper, Apothecary, White Smith, Delft Man, Glazier, Chandler, Hatter, Boat Builder, Jaunting Car Owner, Clothes Broker, Coffee House Keeper, Yeoman, Fruiterer, Attorney at Law. Printers of the documents were R. Price, F. Kavanagh, J. Wyer, J. Cahill, J. Lahee, J. Kirkwood and J. Browne. Housed in folders, as a collection, as m/ss., w.a.f. (1)
The Corner-stone Document of Irish Freedom 1916 PROCLAMATION OF THE IRISH REPUBLIC An Original Proclamation, ''Poblacht na hEireann / The Provisional Government of the Irish Republic to the People of Ireland, Printed at Liberty Hall, Dublin, under the protection of soldiers of the Irish Citizen Army, on Easter Sunday, 1916, and red from the steps of the General Post Office, O'Connell St., Dublin on Easter Monday morning by P.H. Pearse, in the presence of the other signatories of the document, thereby heralding the Rising, and Ireland's advance towards self -determination. Single broadsheet, overall size 30 2/16'' x 20 2/16'', width of printed lines, 18 ?'', printed text 29 1/16'', on poor paper with smudging and uneven inking, some minor tears, and creases. As emphera, w.a.f. The most important document in Irish History, one of an amazingly small few known surviving copies, most of which are in Public Institutions. The Proclamation, the corner-stone of modern Irish history, the Irish Declaration of Independence, was probably the literary composition of P.H. Pearse, with some changes and amendments by James Connolly and Thomas MacDonagh. It was printed in Liberty Hall, Dublin, on an old ''Wharfdale Double-Crown,'' printing machine. The work commenced about mid-day on Sunday 23rd April and was completed approx. 1.00 on Easter Monday morning. James Connolly organised all arrangements. The printer was Christopher Brady and the compositors Michael Molloy, and Liam O'Brien all of whom had previously been employed in the work of printing ''The Worker's Republic,'' for Connolly. Mr. Brady who worked the machine throughout described his task as one of great difficulty. He found it hard to ink the type evenly and the rollers refused to maintain an even pressure, with the result that nearly all copies show much smudging in parts and faint printing in other parts. In the beginning an attempt was made to set the entire document at the one time, but it was found this was not viable as there was not enough type available, and it had to be set in two stages. Firstly, top half, from ''Poblacht'' down to and including the words? ''among the nations.'' Then bottom half, from ''The Irish Republic,'' .. to ''Joseph Plunkett'' The paper used was of the poorest quality, a cheap line which was purchased from Saggart Mills, and similar to that used on the ''Workers Republic.'' A print run of 2500 copies was planned, with the intention of supplying the country as well as the city. It seems unlikely however, because of the difficulties encountered in the work, dilapidated machinery, scarcity of paper etc., that anymore than 1000 copies were in fact printed. Finally the work of distribution was then handed over to Mrs. Helen Moloney, as ordered by Connolly. The type for the second section or bottom half was still in the press, when the British soldiers entered Liberty Hall, on Thursday 27th April 1916. Mr. Michael J. Molloy told the story of how he came to be one of the three men who printed the 1916 Proclamation, in an article entitled ''My Easter Week,'' published in the Evening Herald, on April 4th, 1966. In 1925, Mr. Joseph J. Bouche published a booklet, for the Biographical Society of Ireland which was a short history and a bibliography of The Proclamation. He examined the few available copies of the original from libraries etc., and this paper is now the definitive tool for ascertaining the true copies. A photocopy of the booklet accompanies this lot. He defined six main points from which the first issue can be identified: 1. Size of paper: approx. 30'' x 20''. 2. Quality and colour paper 3. Style of typography including wrong fonts and spaces 4. Measurements of form or type face, or length of line 5. Differences in spelling notably in the names of the signatories 6. Other typographical in exactitudes The above copy conforms in size, type of paper, etc., and contains all the typographical in exactitudes and irregularities called for by Bouch. It contains the 23 wrong font ''e'' as called for. It also contains the reversed ''e'' in the third ''the'' on the first line of the last paragraph. Also according to Bouch the spacing matter or bars between the lines frequently caught the ink and showed a line of varying lengths. This copy has one such line. In addition, this document contains further typographical errors which were missed by Bouche & other bibliographers, historians alike, & which on examination, are to be found in all other true copies of the original. These are three lower case ''t''s. This copy also displays clearly that the original Proclamation was in fact printed in two parts, as the distance between the last two paragraphs, etc., and the top half again varies in size. The above example is a very clean copy, slightly frayed at left hand edge, without loss, a few minor tears, one larger tear without loss, repaired, fold marks as usual, but a much better than average copy, mounted and framed. Provenance: Purchased by present vendor some years ago from a leading Dublin book-dealer. * The authenticity of the above Proclamation, the founding document of the Irish Republic is guaranteed. The number of intact surviving copies is now believed to be not much in excess of 20, most of them in secure institutional custody. There can be no more desirable document for persons and institutions with an interest in modern Irish history. Copies in good condition are few and far between and we are pleased and privileged to offer this excellent example.
Connaught: Stone (J. Harris) Connemara and the Neighbouring Spots of Beauty and Interest, 8vo Lond. 1906. First Edn., illus. cloth; Freeman (A. Martin) Annala Connacht The Annals of Connacht (A.D. 1224-1544), roy 8vo Dublin 1944, cont. hf. cloth; O'Donovan (J.)ed. The Tribes and Customs of Hy-Many, commonly called O'Kelly's Country, 4to Dublin (I.A.S.) 1843. First Edn., engd. map, fold. table, orig. cloth, & a reprint copy of same. (4)
The Lindisfarne Gospels A True Masterpiece of Fine Facsimile Production Evangelia Sancta Facsimile Edition of the Lindisfarne Gospels, with the two volumes of Commentary. This the newest arrival in the bibliophile library of Fine Art Facsimile Publishers of Switzerland. The edition is strictly limited to 980 copies. Of these a maximum of 290 copies only are available in the current original extraordinary Victorian binding. This was commissioned by Edward Maltby, Bishop of Durham in 1852 to preserve the priceless manuscript. The volume is finely executed with Celtic designs, some of solid silver, also fine layers of gold & semi-precious stone. A real relic of Victorian splendour. Pre-dating the Book of Kells by almost one hundred years, it is possibly the most important item of cultural heritage of the British Isles. But the fact that the priceless manuscript survived at all is perhaps miraculous. The volume is protected in an elaborate presentation case which lets the fine goldsmiths work shine through. (1)
George Victor Du Noyer (1817-1869) Watercolours of Ireland’s Geological Landscapes This folio of ten large watercolour drawings by George Victor Du Noyer provides an insight into the work of a remarkable artist, who devoted his life to the advancement of science and art in nineteenth-century Ireland. Born in Dublin in 1817, of French Huguenot descent, Du Noyer was a prolific watercolourist, geologist and antiquarian. Over the course of his lifetime, he produced thousands of drawings documenting the landscapes, geological formations, antiquities and general life of the towns and countryside of Ireland. Du Noyer’s employment with the Ordnance Survey began when, aged seventeen, he was apprenticed to George Petrie, head of the Topographical section. In 1848 he was appointed assistant at the Geological Survey of Ireland, working under Thomas Oldham. The expansion of the railway network in Ireland during these years resulted in cuttings being made through rock, exposing valuable geological information. Du Noyer made drawings of many of these cuttings, then spent the next two decades traversing the Irish countryside as a geological surveyor, working mainly in counties Waterford, Wexford, Cork and Kerry, as well as Co. Antrim, Down and Armagh. Between 1841 and 1863, he exhibited forty-eight paintings at the RHA, as well as contributing illustrations to all's "Ireland" and Joseph Portlock's Geological Report on Londonderry, Tyrone and Fermanagh. His drawings were also used to illustrate Roderick Impey Murchison's Siluria, Joseph Beete Juke's Popular Geology and other publications. Du Noyer’s Huguenot roots were important to him, and in 1858, aged forty-one, he married Frances Adélaide Du Bédat. They had five children, the youngest being Henry Westropp. In 1867 he became the first District Surveyor of the Geological Survey, moving to Carrigfergus, Co. Antrim. However, while surveying he contracted scarlet fever, and died on 3rd January 1869, just one day after his daughter Fanny had died of the same disease. They were both buried in the graveyard adjoining All Saint's Parish Church, in Co. Antrim. After his death, his widow offered his collection of drawings, contained in twelve volumes, to the Royal Irish Academy, where they remain today. The other main collection of his work is held by the Geological Survey of Ireland, with the result that works by Du Noyer are comparatively rare on the open market. The first watercolour in the Fonsie Mealys' folio, Ancient River Course at Bagnelstown, is inscribed on verso “Ancient River course in granite near Bagnelstown, Co. Carlow. View of the site of great waterfall, looking up the gully.” Although signed and dated March 1857, it relates to a group of similar sketches (now in the Geological Survey of Ireland collection), made in September 1848 when George Du Noyer was in the Bagnelstown area. As with many of his landscape drawings, it includes figures of surveyors at work, examining and measuring the rocks. Another watercolour in the Fonsie Mealys' folio,Tilted Slabs, depicts large inclined slabs of stone in a coastal landscape, and is dated December 1857. The location is not identified but may be the Old Red Sandstone quarries at Carnivan Head in Co. Wexford. In Columnar Basalt, a third drawing in the folio, du Noyer, with characteristic brio, depicts a rowing boat braving the waves on the coastline of Co. Antrim. Visible in the foreground, battered by the seas, are hexagonal basalt formations, similar to those at the nearby Giant’s Causeway. The date of this watercolour is almost certainly 1857, when du Noyer visited the Giant’s Causeway in preparation for writing an article, which was duly published three years later, in The Geologist journal. A related drawing in the Fonsie Mealys' folio, Dunluce, is dated August 1857, and depicts what is likely the same rowing boat, beneath the cliffs near Dunluce, in Co. Antrim. The soft chalk cliffs have been eroded by the sea, but the columns of harder basalt stone stand proud. Granite River Bed depicts two surveyors working in an area of complex geology. Visible on the right hand side is a section of granite rock that still bears the marks of having been, as Du Noyer notes in an inscription on the verso, ‘rounded and furrowed’ by the action of running water. Beyond is a valley strewn with large boulders. As the new railway extended north from Dublin towards Belfast, du Noyer followed the line of the track, sketching newly-exposed walls of stone. A watercolour in the Fonsie Mealys' folio, Dundalk and Enniskillen Railway Cutting, with the railway line in the foreground, also includes a self-portrait of the artist, holding a drawing book. This relates to a similar drawing of a cutting on the same line, Trapped Dyke, which was reproduced in Beete Jukes’ 1853 Popular Physical Geology. Another important geological location north of Dublin can be found on the coastal cliffs of Loughshinny, between Skerries and Rush. The dramatic folded layers at Loughshinny are depicted by du Noyer with great accuracy in a watercolour which is a finished version of his woodcut illustration in Beete Jukes’ 1862 The Student’s Manual of Geology. Signed and dated 1857, the watercolour Dingle Harbour Cliffs shows dramatic cliffs, with vertical strata. The view is probably taken looking south from near Ferriter’s Cove, over fossil-bearing rocks of the Silurian period. Another Du Noyer watercolour of the Dingle Peninsula, Dingle Promontory, depicts a geological formation known as ‘The Acadian Unconformity’, where horizontal Middle Devonian rocks overlie older, Lower Devonian strata. Also visible is the sea stack known as “An Searrach” near Kinard Beach. This watercolour probably also dates to 1857. As a portfolio, w.a.f. (10) Dr. Peter Murray, 2022
Yeats (W.B.). Poems. L., Fisher Unwin , third ed., reprint, 1920, blue-green cloth, gilt spine, with a good photograph of Yeats standing in front of a gate and a rustic stone wall (possibly Galway) pasted to f.f.e.p. above Yeats’ signature dated 1922. The photograph is unfamiliar; a horse can just be seen in the field behind Yeats. (1)
![Signed Presentation Copy Murphy (Seamus) Stone Mad, 8vo Dublin (Golden Eagle Books) n.d. [1950] First Edn., Illustr](https://cdn.globalauctionplatform.com/ee246395-60b7-454d-9e77-af4800b2843c/27948354-2870-461f-bd21-af5600e97d86/468x382.jpg)
A composition stone classical figure, 19th century, in the manner of Austin & Seeley,50cm wide40cm deep160cm highProvenance: The Estate of Jasper Gibbons Grinling, late of The Old Vicarage, Helions Bumpstead, Essex.Condition ReportArms lacking. The head has been off and repaired. Similar repair through the centre of the body. General chips, knocks and losses. General wear and weathering commensurate with age and use.
After Louis-François Roubiliac, a composition stone bust of Sir Isaac Newton, on a waisted circular socle,52cm wide23cm deep80cm highCondition ReportGeneral surface wear, knocks and small chips to edges and raised areas. Wear and weathering commensurate with age. Some small cracks throughout. Overall appears in fairly good and stable structural condition, with a few small areas of cosmetic wear.
FLEECE PRESSS.T.E. Lawrence: Boxwood BlockmakerWakefield: the Fleece Press, 1980.Wood engravings collected in honour of his eightieth birthday by his grandson, Simon Lawrence. Introduction by George Mackley. Whittington Press. Number 161 of 250 copies, 10.75 X 7.75 ins. 92 pp. Quarter bound in brown buckram with marbled paper covered boards. 40 wood engravings printed from the original blocks by 38 leading wood engravers including Gertrude Hermes, Reynolds Stone, Blair Hughes-Stanton, Agnes Miller Parker, Dorothea Braby, etc. Fine copy in slip case.
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