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Click here to subscribeAn early 20th century three stone diamond ring, the graduated old cut diamonds mounted within yellow metal tapering shank, stamped '18c', ring size N, weight approx 4.9g (at fault)Central stone weighs approx 0.15cts, outer stones weight approx 0.70cts, chip to one of the outer stones, bright stones, colour estimated G/H, clarity estimated VS2-SI1, some thinning to shank, general wear, refer to images
An 18ct white gold pear cut diamond pendant, designed as a single stone pear cut diamond drop, collet set to knife edge bar mounted with a single brilliant cut diamond, all suspended from diamond set lug and white gold chain with lobster claw fastening, total weight approx 5.1gPear cut diamond measures approx 9mm x 5.5mm x 3mm deep, clarity estimated VS1-VS2, colour estimated J/K, brilliant cut diamond weighs approx 0.25cts, clarity estimated VS1-VS2, colour estimated J/K, general wear but no significant visble damage, refer to images
A single stone diamond ring, the brilliant cut diamond within eight claw setting, mounted to white metal shank with diamond set shoulders, stamped 'Plat', ring size J 1/2, weight approx 2.3gDiamond weighs approx 0.95cts- measures approx 6.6mm diameter x approx 3.6mm deep, clarity VS1-VS2, colour G/H, general wear, does not appear hazy/cloudy in natural light, refer to images
An 18ct gold diamond floral cluster ring, designed as a central brilliant cut diamond claw set within a border of eight further brilliant cut diamonds, all claw set in white gold to yellow gold shank, ring size M, weight approx. 3.8g Hallmarked London 1980, central stone weighs approx. 0.40cts, outer stones weight approx. 0.05cts, clarity SI1-SI2, colour estimated H/I, general wear but no significant visible damage, refer to images
A sapphire & diamond cluster ring, designed as a central oval mixed cut sapphire collet set in yellow metal within a surround of six diamonds and two white stones, flanked to each side by diamond set shoulders, the yellow metal shank stamped '18k', ring size M, weight approx 5.9gSapphire measures approx 6.7mm x 5.8mm x 5.2mm deep, sapphire contacts with finger when on, abrasion to the facet edges, some internal silk and inclusions, sapphire is of natural origin, sapphire with lilac and light blue cornflower hues, possibly reset, age of setting estimated second half of 20th century, diamonds range from 0.01cts to 0.02cts, two of the stones are white stone replacements, clarity SI1-I2, small split at the shank to the shoulders, general wear, refer to images
Three displays of buttons, 19th Century and later, comprising a display of thirty five mostly semi-precious stone examples, largest 1.5cms dia., a display of thirty seven horn examples, largest 5cms dia., and a display of seventeen Nepalese buttons. (3) From the collection of the late Christine Mariner
Tartan and Mauchline ware, four pieces comprising a circular reel box (M'Pherson), the domed lid with photographic image (Excelsior Spring, Saratoga), internal lid label for 'Clark's ONT', two bone side apertures lacking, general wear, 10.2cms dia., a Tartan ware cylinder ribbon box (Drummond), 5.6cms dia., a Mauchline ware needle book (Chilingham Castle / Chillingham Church - Made of Wood Grown in Chillingham Park ........, W. Brand Wooler), 7.5 x 4.5cms, and a cedar wood bell shaped thimble case (The Bowder Stone), 8cms. (4) From the collection of the late Sue Read
An early 19th Century mahogany paint box, of rectangular form for W.J. Reeves and Son, the lid edged in boxwood, the front fitted with a drawer. The lid interior with black and white printed label with Royal Coat of Arms, POW feathers, Britannia, etc., and variously inscribed including the address 'No 80, Holborn-Bridge, London', the compartmentalised base with paint cakes, glass water bowl, stone pallet, and some paint cakes, 22 x 17 x 6.8cms.
Five thimble cases and stands, each with a thimble, comprising a carved wood figure of a seated bear its arms enclosing a holed silver thimble engraved to rim 'For Nursie March 1866', stand 6cms, a metal clog with thimble, a small horn with bone screw cover with brass thimble, a wooden barrel with thimble, and another carved as bird emerging from an egg inscribed 'Caux' with stone top silver thimble. (10) From the collection of Susan Franklin Part 2
Twelve silver thimbles and a thimble compendium, the last of two section form the thimble with green stone top, complete with three division reel incorporating a needle case, 5.5cms, two American thimbles, two others and eight 20th Century continental examples, one with stone set border. (13) From the estate of a European collector Part 4
Five foreign white metal thimbles and six 'cased' English thimbles, comprising a small decorative thimble with stone top stamped 'Sterling', another the engraved frieze set with four turquoise stones, and three others together with two Dreema examples, one in original cardboard box, three variant sized Dorcas and a Pat. 8, Rd. 127211. (11) From the collection of the late Peggy Summers
Five attractive British silver thimbles, comprising three blackberry type variants by James Swann, Henry Griffiths and Son Ltd., and Aney Amsden and Sons, another the shamrock frieze with harp below a stone top, by James Swann and another the frieze with a bold ivy pattern by Henry Griffiths and Sons. (5) From the collection of Roy Farmer
Illuminated Manuscript Antiphonal Leaf. lluminated leaf on vellum from a German antiphonal, probably Rhineland, circa 1450-1475, with large historiated initial A in dark red decorated with white ink on a background of burnished gold, incorporating a scene of the Three Marys at the Sepulchre: the Virgin Mary in blue with white headdress, the other two Marys in pale pink standing by the sepulchre with an angel in white with blue wings and gold halo pointing to the empty tomb (approximately 9 x 11 cm), with additional scene to the lower margin showing the risen Christ in a garden setting bursting with flowers and lush grass, appearing to the Three Marys each bearing a casket, eight lines of text in dark brown ink in Gothic Book Script (textualis), one smaller initial in red, above each line of text four equidistant horizontal lines ruled in red ink, with musical notation in dark brown ink, the left and right borders with elaborate foliate decoration in gold and colours, with flowers and birds, and to centre of right border a small grotesque head with the torso of a blond-haired man above, some staining and consequent discolouration, mainly to lower left and along lower margin (mainly affecting one area of text to the lower left and along the bottom edge of the leaf), to verso also eight lines of text in brown ink, several letters in red, and two smaller decorative initials, one in colours and the other in red, old (probably 19th century) gilded wood frame, double-glazed (glass cracked to verso), sheet size 45.5 x 33 cmQTY: (1)NOTE:Provenance: Houstoun-Boswall family, Blackadder House, Berwickshire, Scotland, and by descent.An impressive large-scale illuminated leaf from a 15th-century German conventual mass antiphoner, undoubtedly executed by a nun, in the style known as Nonnenarbeit (nun's work), the imagery usually characterised by doll-like faces with pink cheeks and fair hair and exaggeratedly grassy foregrounds with flowers. Such works would tend to emphasise the role of women at the Resurrection, consistent with use by nuns. The antiphoner, or antiphonal, contained the choral parts sung during the celebration of the Divine Office or Mass celebrated by a monastic or other community, and was usually written in large format so that the (often small) choir could read the music together.The text begins with excerpts from Psalm 3, line 6, and Psalm 4, line 9: Ego dormivi et somnum cepi et resurrexi quoniam Dominus suscepit me (I was asleep and took my rest, and I have arisen, for the Lord sustains me), and from the Book of Matthew, chapter 28, line 2: Angelus Domini descendit de coelo, et accedens revolvit lapidem, et super eum sedit (An angel of the Lord came down from heaven, and rolled back the stone, and sat on it).
A sapphire and diamond three-stone ring claw-set with an oval-cut sapphire and two round brilliant-cut diamonds, the plain band stamped PLAT; with accompanying report by Gemmological Certification Services, dated 04.05.2022, numbered 5782-1695, stating that the sapphire is of natural Sri Lankan origin, showing no indications of heat treatment(Ring size: O)Property of a private collector.
A diamond two-stone pendant claw-set with two old round-cut diamonds, between a knife bar link, to an integral trace link chain, unmarked(Length of pendant: 3.9cm)Lots 48 – 51 form part of a small collection of jewellery passed on by descent from Sir Robert Kirk Inches, via his granddaughters Doris and Denys Morrison Inches, for whom the pieces were likely gifts in the early 20th century. Most famous in Edinburgh as a founding partner of Hamilton & Inches, alongside his uncle, James Hamilton; Sir Robert also served as Lord Provost of Edinburgh from 1912-1916. After establishing Hamilton & Inches in 1866, the firm received a royal warrant from Queen Victoria in 1893 having quickly established their name as Edinburgh’s premier jeweller and silversmith. In 1903 Sir Robert co-founded the Edinburgh Association of Goldsmiths, Silversmiths & Watchmakers, so as to maintain a high standard of craftsmanship amongst the city’s jewellers and silversmiths, the pieces included in this small collection date from the late 19th to the early 20th-century, and epitomise not only the style of their day but also Sir Robert’s commitment to impeccable workmanship.
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