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Click here to subscribeErnest Herman Ehlers (1858-1943) - garden scene with herbaceous flowers, sunlit garden path leading to a stone statue, signed and dated August 1932, oil on canvas, 16.5" x 21" - ** Provenance with Jean Dubberley, of Cheltenham and Bath, the work is according to the dealer 'The Glory of The Garden' and the artist lived at Clifton Bristol for many years.
A VERY LARGE ‘FIVE-HUNDRED HUNDRED RAKAN, KARAKO AND KARASHISHI’ SATSUMA EARTHENWARE LIDDED INCENSE BURNER, KORO JAPAN, TAISHO TO SHOWA PERIOD The body of globular shape resting on three caryatid legs shaped as karako (boys), with a waisted neck and an everted rim, two handles shaped as karashishi (foo dogs) and a bell-shaped lid topped by a large finial also shaped as a karashishi. The lid is open-worked to several points to let the incense smoke go out.The outer part is finely painted with the ‘Five hundred rakans’ theme (or ‘Five hundred arhats’). There is an inscription on the inner part of the lid (unidentified because partially vanished). H: 41 cm Note: The ‘Five hundred arhats rakans’ is a Buddhist art subject developed in China featuring large numbers of Indian wise men usually accompanied by servants. The origin of the grouping is unknown, although several Chinese texts mention rakan as protective saints, who guard the Buddhist law until the coming of Miroku (Maitreya), the Buddha of the Future. The Chinese believe that Five hundred arhats inhabited a peak beyond the Stone Bridge Shakkyou on Mount Tiantai.
A SMALL SHADOW AGATE ‘DAOIST IMMORTAL’ TABLE SCREEN CHINA, CIRCA 1900 Of square shape with round corners, it is carved in low relief with clouds, and the inclusions have been skilfully used to depict a Daoist immortal. The stone is of amber tones with brown infusions. It is offered at auction together with an old wooden stand with a reticulated decor of lotus flowers. H (the screen together with the stand): 11,2 cm Side (the agate panel): 6,5 cm Total gross weight: 904 grams 小型玛瑙八仙桌屏 中国 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
AN AGATE CARVING OF THE TWIN HEHE - HOHO - ÈRXIÁN - 二弦 CHINA, POSSIBLY LATE QING DYNASTY Carved out of a beige stone with caramel inclusions. It is carved in the round and also parcel reticulated. It depicts the twin erxian standing in a landscape and wearing loose robes. They are surrounded by a pine tree as well as accompanied by a mythical beast. H: 6,2 cm Weight: 148 grams Note: These twin laughing immortals are known as the Gods of Peace and Harmony, the Gods of Unity and Harmony, Hehe erxian (和合二仙), the Laughing Twins and the Gods of Mirth. Oneis named Shi De (拾得) and usually holds a lotus. The other is Han Shan (寒山) who may hold a round box, a ruyi scepter, a gourd, or a coin. 玛瑙雕刻-和合二仙 中国 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
A SHOUSHAN STONE CARVING OF A RECLINING LUOHAN OR ARHAT CHINA, QING DYNASTY L: 6,5 cm Weight: 78 grams 寿山石刻罗汉像 中国 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
A GROUP OF FOUR (4) PORCELAIN GINGER JARS CHINA, LATE QING DYNASTY, LATE 19TH CENTURY It consists of: - a wucai style porcelain jars with lotus flowers and scrolls and Buddhistic / Fu lions, with a double circle in cobalt blue to the base as well as an old collector label with #229, sold together with a later wooden lid; - a Kangxi style famille verte porcelain jar painted with birds and flowers, the base bears an apocryphal four-character mark of Emperor Kangxi in kaishu script as well as an old collector labelwith #168, sold together with a later wooden stand as well as a later wooden lid; - a famille rose palette lotus, bat and chime stone porcelain jar with its matching porcelain lid adorned with bats, a double circle in cobalt blue to the base; - a famille rose jar painted with melons, sold together with a later wooden lid. H (the biggest, the famille verte one, stand and lid excluded): 28 cm 一组四（4）个瓷姜罐 中国，晚清，19世纪晚期 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
A STONE-EMBELLISHED ENAMELED AND FILIGREE SILVER FINGERNAIL GUARD CHINA Bears a mark: ‘silver’. Lately mounted as a brooch. L: 8,8 cm Gross weight: 14,4 grams 镶宝石珐琅和花丝银护甲 中国 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
A SHOUSHAN STONE ‘BAMBOO’ SEAL CHINA, QING DYNASTY, 19TH CENTURY The base is not engraved. H: 3,8 cm Weight: 12 grams 寿山石竹纹印章 中国，清代，19世纪 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
*A STONE-EMBELLISHED GILT BRONZE FIGURE OF VAJRADHARA ALSO KNOWN AS DORJE CHANG TIBETO-CHINESE, POSSIBLY 19TH CENTURY Vajradhara is represented seated in dhyanasana on a double-lotus base with his hands crossed before his chest holding a vajra and ghanta, clad in a striated dhoti and adorned with various jewelry inset with hardstones, the face with elongated eyes centered by a raised urna and surmounted by a jeweled tiara, the base sealed and incised with the a Vvajra. H: 12,9 cm Weight: 304,5 grams Note: Vajradhara is the ultimate primordial Buddha, or Adi-Buddha, according to the Sakya, Gelug and Kagyu schools of Tibetan Buddhism. IMPORTANT NOTICE: *This lot is under temporary importation. An extra VAT will be applied to the final invoice. The rate will depend on the final country of destination. The sole buyers based in Ireland will be subject to an extra 13,5% VAT. Please contact our office (yuchen@adams.ie) for further information. 一尊鎏金青铜金刚佛像 中国西藏，约19世纪 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
DIOR Prunk Collier, Frankreich 1959, im Verlauf angeordnete ovale Glieder, jeweils zentraler roter Glasstein umgeben von weißen Glassteinen, L. ca. 60 cm, Federringschließe, sign. Christian Dior, Copyright 1959DIOR necklace , France 1959, tapering oval links, each with central red glass stone surrounded by white glass stones, l. approx. 60 cm, bolt ring clasp, signed Christian Dior,Copyright 1959
14 kt Gold Anhänger/Brosche mit Lagenstein, Email und Haareinlage, deutsch um 1835/40, GG 585/000, rs. Haareinlage fein geflochten, Lagenstein leicht, gehöhlt, erhabenes Dekor mit Zeichen für ewiges Leben, bzw. heiliges Gefäß, hochfeine Ausarbeitung, gute Schattierung, gewollte Tiefenwirkung, im Dreier Takt aufgegliedert Schätzpreis: 2000, - EUR14 kt gold pendant/brooch with layer stone ,enamel and hairinlay, german 1835/40s, YG 585/000, backside hairinlay fine braided, layer stone slightly, raised decor with sign for eternal life, respectively holy vase, fineelaboration, good shading, intentional depth effect Valuation Price: 2000, - EUR
Platin Collier de Chien mit Diamanten und Zuchtperlen, um 1925/30, 4-reihiger Zuchtperlen-Halsreif mit 180 Zuchtperlen D. ca. 6.5 mm, Schließe 14 kt Gold, WG 585/000, aufgeschraubte Art-Deco-Montur (ehem. wohl Doppelclipbrosche) mit 2 Altschliff-Diam. zus. ca. 1.70 ct l.get.Weiß/si, ca. 100 Altschliffdiamanten und Diamantrosen zus. ca. 7.50 ct Weiß-get-Weiß/si-p, (1 Stein fehlt), Rücks. min. Lötstellen, nicht störend, symmetrisch/asymmetrischer Aufbau in versch. Ebenen, sehr prunkvoll, elegant Schätzpreis: 28000, - EURPlatinum 'Collier de Chien' with diamonds and cultured pearls, approx. 1925/30 4-rows with 180 cultured pearls diam. approx. 6.5 mm,clasp 14 kt gold, WG 585/000, screwed Art- Deco-applique (formerly probably twin clips brooch) with 2 old cut diamonds total approx. 1.70 ct Crystal/si, approx. 100 old cut diamonds and diamond roses total approx. 7.50 ct Wesselton-get-Wesselton/si-p, (1 stone missing), backside sl. solder joints, undisturbing, symmetrisch/asymmetric construction on different levels, very magnificent, elegant Valuation Price: 28000, - EUR
18 kt Gold Ring mit Farbstein-Synthesen, GG750/000 (gepr.) Ringschiene sek., GG 585/000 gepr., im Stil von 1730-40, rubin- und smaragdfarb. Synthesen in versch. Schliffformen, ca. 3.7 g, RW 64.5 Schätzpreis: 560, - EUR18 kt gold ring with coloured stone-syntheses , YG 750/000 (tested) splint sec., YG 585/000 tested, in style of 1730-40, ruby- and emerald coloured syntheses in different shapes, approx. 3.7 g, ringsize 64.5 Valuation Price: 560, - EUR
A 19th century collector's table-top box, enclosing a wunderkammer collection of antiquities, natural history specimens, and curiosities, including an Ancient Egyptian faience scarab, hieroglyphs to verso, 1.5cm long; an Ancient Egyptian faience with Bastet, 1cm long; further faience beads; four Stone Age flint arrow heads, various shapes and sizes, Neolithic period, 4,000-2,000BC, (4); 13 Ancient bronze coins, comprising 12 Roman and 1 Byzantine, (13); Grand Tour Nero Claudius Drusus coin impression, (1); Roman lead slingshot bullet, (1); Medieval/post-Medieval verdigris patinated bronze stud, as a lion's mask, (1); mosasaur tooth, fossilized shark's teeth, further fossil; dog's tail bone tip; seahorse; corals; geology; lead seals and weights; etc,. [collection]
An 18ct gold gem-set necklace, compising a hexagonal cut garnet to the centre with two rectangular cut iolite set either side, to square articulated gold links, to further stone set details, comprising central hexagonal cut citrines with square cut garnets either side, mirrored to each side with further square gold links, box clasp, rub over set throughout, width of square link approx 4mm, necklace length approx 39cm, total gross weight approx 33.8gms, along with a similar pair of stone set earrings set to the top with a round cut citrine and the bottom with round cut garnets, rub over set, length approx 12mm, post and scroll fittings, total gross weight approx 3.9gms Further details: good all stones present minor wear and tear commensurate with age
A Gandharan stucco head of Buddha, 2/3AD, Afghanistan, on a wood base, 16.5cm overall; a South East Asian carved stone bust of Shiva, on a wood base, 14.5cm overall; A Syro-Hittite terracotta bust of a deity, circa 2 BC, with bird like features, on a perspex mount, 6cm overall; and a small Pre Columbian standing figure, on perspex base, 6.4cmThe private collection from a deceased estate.
A five stone diamond and 18ct gold ring, comprising five graduated round brilliant cut diamonds, combined total diamond weight approx 0.80ct, to a tapered 18ct gold band, size M, total gross weight approx 3gms Further details: good all stones present and intact, minor wear and tear commensurate with age
Polidoro da Caravaggio, um 1497 Caravaggio – um 1543 MessinaGemäldepaar RÖMISCHER TRIUMPHZUG sowie BACCHANAL Jeweils Öl auf Leinwand. Doubliert. Je 34 x 100 cm.Die beiden Gemälde in extremem Längsformat, in Entsprechung antiker bzw. Renaissance-Friesmalereien oder -Reliefs. Möglicherweise wurden sie als Supraporten oder für Kabinettfelderungen geschaffen. Die Farbigkeit in beige-bräunlichem Camaieu lässt die Figuren im Sinne eines Steinreliefs erscheinen, jedoch mit völlig dunklem Hintergrund, vor dem sie sich betont abheben. Im erstgenannten Bild zieht ein römischer Triumphzug nach links. Die Hauptfigur, ein Feldherr oder Imperator, sitzt mit erhobenem Feldherrnstab und einer Siegespalme in der Linken auf einer Biga, von zwei Pferden gezogen. Er hält den Kopf zurückgewandt und blickt auf den behelmten Träger einer Legionsstandarte, dem zwei Krieger folgen. Dazwischen ein Mann mit Helm, der den Rotulus mit der Aufschrift „SPQR“ hochhält. Kannen und Amphoren tragende Frauen sowie ein Musiker mit Doppelaulos und Lorbeerkranz begleiten den Zug. Die Gefangenen, zwei davon in langen Philosophenmänteln, ziehen voraus, die Köpfe gesenkt. Am linken Bildrand ein geharnischter weiterer Standartenträger zwischen einem Jüngling mit erhobener Beuterüstung sowie einem weiteren, der mit geschultertem Beil einen jungen Stier führt, der zum Tempel als Opfertier geführt wird. Im Gegenstück wird das wilde Treiben eines antiken Bacchanals präsentiert. Die Ausführung in entsprechender Farbigkeit. Auch hier findet sich die Hauptfigur rechts im Bild, ein beleibter Bacchus mit Weinschale schwankend auf einem Esel reitend, gestützt von einem Satyr und einem Knäblein, der sein Bein sichert. Davor ein Ziegenbock, Symbol der Trunkenheit. In die rechte untere Ecke hat der Maler eine junge Frau eingefügt, darüber ein Hornbläser. Die linke Bildseite ist durch eine Herme betont, die mit einem Kranz geschmückt wird. Die gesamte Mittelzone wird von musizierenden Jünglingen und Mänaden im Tanzschritt belebt, mit Triangel, Serpenthorn, Doppelauloi, Becken oder Tyrsosstab. Der bocksbeinige Pan mit Panflöte. Die Darstellungen evozieren den Eindruck eines Hochrelief-Plastikfrieses, dies besonders durch die Beleuchtung von links, mit entsprechenden Schattenbildungen und dunkler gehaltenen Figuren im Hintergrund. A. R. Der Maler ist bereits in den Künstlerviten des Vasari genannt. Demnach kam er 18-jährig nach Rom, wo er wahrscheinlich in der Werkstatt von Giulio und Giovanni da Udine lernen konnte. Schon zu seiner Zeit wurde er durch seine Malereien an Gebäudefassaden in der monochromen Sgraffito-Technik gerühmt. Die Thematik seiner Werke greift fast ausschließlich in die Mythologie der Antike. Verblüfft hatte er seine Zeitgenossen mit seiner damals völlig neuen Chiaroscuro-Malerei. Auch die Tatsache, dass er als Erster in Italien Heiligenfiguren als winzige Gestalten in die Landschaften setzte, lediglich als Staffagefiguren. Die Pestepidemie und der Sacco di Roma veranlassten den Maler 1527 nach Neapel zu ziehen, um dann 1530 in Messina Aufträge des spanischen Konsuls anzunehmen, Werke die jedoch dem Erdbeben 1908 zum Opfer fielen. Die letzte Nachricht über seine Tätigkeit ist der Auftrag der Stadt Messina, den Sieg Kaiser Karls V auf ein hölzernes Triumphtor zu malen. 1543 starb der Maler eines gewaltsamen Todes. Quellen nennen seinen Schüler Tonno Calabrese als den Täter, der angeblich an sein Geld kommen wollte. Neben Deodato Guinaccia waren Antonio Catalano, Stefano Giordano, Jacopo Vigneri und Mariano Riccio seine letzten Schüler in Messina. Werke seiner Hand finden sich in zahlreichen bedeutenden öffentlichen Sammlungen und Museen, wie der National Gallery London, der Royal Collection Windsor, dem Nationalmuseum Capodimonte Napoli oder dem Metropolitan Musem of Art, N.Y. Literatur: Die beiden Gemälde sind besprochen und abgebildet in: Maurizio Marini (Hrsg.), Polidoro Caldara da Caravaggio. L‘Invidia e la fortuna, Venedig 2005. (1281111) (11)Polidoro da Caravaggio,ca. 1497 Caravaggio – ca. 1543 MessinaA pair of paintingsROMAN TRIUMPHAL PROCESSION andBACCHANALEach oil on canvas. Relined. 34 x 100 cm each.The two paintings are painted in an extreme landscape format in line with antique or Renaissance frieze paintings or reliefs. They may have been created as overdoor paintings or as cabinet landscaping. The colouration in brownish-beige Camaieu makes the figures look like stone reliefs standing out against a completely dark background.Works by his hand are held in numerous important public collections and museums, such as the National Gallery London, the Royal Collection Windsor, the National Museum Capodimonte Napoli or the Metropolitan Museum of Art, N.YLiterature:Both paintings are illustrated and discussed in: Maurizio Marini (ed.), Polidoro Caldara da Caravaggio. L’invidia e la fortuna, Venice 2005.
Francesco Guardi,1712 Venedig – 1793 ebendaLAGUNEN-CAPRICCIO MIT BRÜCKE UND TURM Öl auf Leinwand. Doubliert.45 x 58 cm.Beigegeben eine Expertise von Dario Succi sowie Egidio Martini. Das Gemälde, das einen Blick vom Lagunenufer auf eine steinerne Bogenbrücke mit Gebäuden und Figurenstaffage bietet, zählt zu der Reihe mehrerer ähnlicher, höchst stimmungsvoller Lagunen-Capricci, die sich in verschiedenen bedeutenden Sammlungen befinden. Hier lässt ein erhöhter Betrachterstandpunkt den Blick vom tiefer liegenden Ufer zum Horizont links hinten schweifen, begleitet durch ein im Schatten stehendes Gebäude rechts, hinter dem ein kleiner Rundturm aufragt, fortgesetzt durch die schräg in die Bildmitte ziehende Brücke, die von Gebäuden überbaut erscheint. Den Bildrand rechts begleitet eine völlig abgedunkelte Gebäudeecke als Repoussoir. Der hohe Himmel scheint noch blaufarbig durch zerfetzte Wolkenbänke, die wie Rauchschwaden über der Landschaft hinziehen. Diese „Lagunen-Capricci“ genannten Werke, die in Guardis Spätzeit fallen, und zum interessantesten Teil seines Werkes zählen, präsentieren sich oft durch eine nahezu geheimnisvolle Stimmung und wie hier mit bewegtem Wolkenhimmel und gewittrigen Lichtstimmungen am Horizont. Besonderes Augenmerk hat Guardi hier der Lichtregie gewidmet: Die untergehende Sonne, links von Landschaftselementen und einem kleinen Rundtürmchen verdeckt, schafft einen rötlichen Lichtstreifen am Horizont und lässt die einzelnen Partien der Architekturen, das kleine Segel eines Schiffes, aber auch die Staffagefiguren im Vordergrund ähnlich einer Gewitterstimmung punktuell aufleuchten. Der bewusst nahezu zittrig wirkende Pinselduktus entspricht ganz dieser bewegten Auffassung. Hier gilt der Vergleich mit der „Lagungenlandschaft“ im Städel-Museum Frankfurt (Inv.Nr. 1525) oder einem weiteren Werk in der Eremitage St. Petersburg. Wiewohl Guardi auch eine Reihe von religiösen Werken schuf, und aufgrund höfischer Aufträge, etwa vom Dogen Alvise IV Mocenigo (1770-1775), Festlichkeiten zu dokumentieren hatte, etwa gelegentlich des Besuches der Zarenfamilie 1782, so ist er vor allem durch seine Veduten bekannt geworden. Dabei konnte er sich anfänglich an Vorbildern wie Sebastiano Ricci und vor allem Canaletto orientieren. Auch die Verehelichung seiner Schwester Cecilia mit Giambattista Tiepolo hat auch mit diesem Meister eine beeinflussende Beziehung ergeben. A.R.Literatur: Egidio Martini, La pittura del Settecento Veneto, Udine 1982. (1320041) (11)Francesco Guardi,1712 Venice – 1793 ibid.LAGOON CAPRICCIO WITH BRIDGE AND TOWEROil on canvas. Relined.45 x 58 cm.Accompanied by expert´s report by Dario Succi and Egidio Martini.The painting depicts a view of a stone arch bridge with buildings and figures from the shore of the lagoon. It is one of several similar, highly atmospheric lagoon capricci, which are held in various important collections. The brushwork, which deliberately almost appears shaky, corresponds entirely to this vibrant concept. The work compares well with the Lagoon Landscape held at the Städel Museum in Frankfurt (inv. no. 1525) and one held at the State Hermitage in Saint Petersburg. Guardi is best known for his vedute, although he also created a few religious works and, due to courtly commissions, for example from the Doge Alvise IV Mocenigo (1770-1775), documented festivities such as the visit of the Tsar´s family in 1782.Literature:Egidio Martini, La pittura del Settecento Veneto, Udine 1982.
A 15ct yellow gold pendant with a bow design at the top and a line of seed pearls leading down to a rectangular cut pink stone, measuring approx. 11.2mm x 8mm x 6.4mm, length of pendant 4.5cm on a 15" 15ct yellow gold chain, total weight 3.77gm, (please note that two pearls have come loose).
A platinum & 18ct yellow gold five stone ring set with a central emerald cut emerald, approx. 0.32 carats, with two outer set cushion cut emeralds, total weight approx. 0.20 carats, interspaced with two round brilliant cut diamonds, total weight approx. 0.20 carats, (stones measured within the restrictions of their settings), 2.81gm, size M 1/2.
Three rings to include a 9ct yellow gold ring set with an oval cut smokey quartz? 8.96gm, size P, an 18ct yellow gold? (not hallmarked or tested) signet ring set with a pale blue seal engraved stone, 6.53gm, size T, and a 9ct yellow gold signet ring set with a bloodstone engraved seal, 7.08gm, size T 1/2, (3).
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