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Lot 118
A Victorian diamond set ring, the broad band with central 'gypsy' set old cut diamond (measuring approx 0.25ct), all set in yellow metal, unmarked, approx size O, gross weight 10.7gmsCR;There is what appears to be a 'natural' on the outer facets of the diamond. The stone shows scratching and wear, but no large cracks, chips or losses. Claws show light-moderate wear, but the central stone appears secure. Band shows moderate scratching and wear commensurate with age and wear, but no splitting, thinning, resizing or repair.
Lot 129
A ruby and diamond 9ct gold wreath brooch, designed as a circular of round mixed cut rubies punctuated by single cut diamonds, all set to a 9ct gold bi-coloured mount, hinged pin and safety loop fastening and safety chain to reverse, marks for Sheffield 1989, 25mm diameter, together with a diamond set 18ct gold quatre-foil ring, size N 1/2, and a garnet five-stone 9ct gold ring, size M 1/2 (3) Please note; The gemstones in this lot have not been tested for synthetic or natural origin.
Lot 157
A large selection of silver and white metal vintage jewellery, to include a malachite set silver necklace, 47cm long, a silver coloured malachite set pendant on silver coloured chain, pendant 5cm x 4cm, a rose quartz pendant on silver chain, 60cm long, an opal triplet set silver bracelet, 20cm long, a green stone set silver line bracelet, 19.5cm long, a carnelian set silver pendant on chain and matching bracelet, three woven silver necklaces, three woven silver bracelets, two gold plated silver bracelets, and an assortment of silver gemstone set rings (Qty)
Lot 163
A diamond five-stone 18ct gold ring, comprising five baguette cut diamonds, each weighing approximately 0.10 carats each, claw set to a plain polished 18ct gold shank, size P 1/2, weight 2.4gmsCR; Please note: This ring would benefit from professional cleaning - colour and clarity gradings are approximate. Clarity varies across stones, approximately VS-SI. Diamonds show no obvious draw of colour when viewed face up. Claws and settings are in good order, stones appear secure. Shank shows some signs of thinning to the base, but no signs of splitting, misshaping, resizing or repair. Scratching and wear throughout, commensurate with age and use.
Lot 164
A diamond and ruby 18ct white gold cluster ring, the tiered cluster comprising a central round mixed cut ruby surrounded of six round brilliant cut diamonds and a border of twelve oval mixed cut rubies, cluster 15mm diameter, set to a plain polished 18ct white gold shank, ring size N 1/2, weight 4.9gmsCR; Central ruby in good order. Diamonds to the surround are no good order. Many of of the rubies on the outer border have chips on the outward-facing section of the girdles, ranging from small to large. One of the rubies has a surface reaching fracture running across the stone. All claws are in good order, stones are secure. Scratching and wear to the shank commensurate with age and use, but no signs of thinning, splitting, misshaping or repair.Central ruby approx. 2.85mm diameter. Each diamond approx. 2.4mm diameter. Each ruby measures approximately 2.35mm x 3.00mm. Chips are not obvious to the naked eye, more obvious under 10x.Please note; The gemstones in this lot have not been tested for synthetic or natural origin.
Lot 165
An amethyst and diamond 9ct gold cocktail ring, the central oval mixed cut amethyst measuring 16mm x 11.8mm, set to a scrolling white gold border surround set with single cut diamonds, continuing to pierced gallery and shoulders with plain polished shank, ring size P 1/2, together with a cultured pearl and diamond set 9ct gold cocktail ring, size P 1/2, a green stone and diamond 9ct gold floral dress ring, size Q 1/2, and a pink stone and diamond 9ct gold crossover ring, size P (4) Please note; The gemstones in this lot have not been tested for synthetic or natural origin.
Lot 166
A 'London Blue' topaz 9ct gold cocktail ring, the central rectangular step cut topaz measuring 18mm x 13mm, with a further oval mixed cut topaz to each shoulder, claw set to a pierced gallery and plain polished 9ct gold shank, size Q, an opal and colourless stone 9ct gold cluster ring, size P, a garnet 9ct gold cluster ring, size P 1/2, a sapphire 9ct gold cluster ring, size P 1/2, and an aquamarine coloured stone 9ct cluster ring, size P 1/2 (5) Please note; The gemstones in this lot have not been tested for synthetic or natural origin.
Lot 167
A prasiolite and diamond 9ct gold cocktail ring, the central rectangular step cut prasiolite measuring 18mm x 13mm, diamond set claws and pierced gallery, plain polished white gold shank, ring size Q, together with a synthetic blue spinel 9ct gold ring, size N 1/2, a morganite and white topaz 9ct gold dress ring, size O, a peridot 9ct gold cluster ring, size P, and a green stone set 9ct gold cluster ring, size P 1/2 (5) Please note; The gemstones in this lot have not been tested for synthetic or natural origin.
Lot 168
A smokey quartz cocktail ring, the central step cut smokey quartz measuring 19.5mm x 15mm, claw set to a pierced gallery mount, plain polished shank stamped '9ct', size Q 1/2, together with a purple paste set 9ct gold cocktail ring, size N, a colourless stone 9ct gold cluster ring, size O, a sapphire 9ct gold cluster ring, size N and a shell cameo 9ct gold dress ring, size O 1/2 (5) Please note; The gemstones in this lot have not been tested for synthetic or natural origin.
Lot 169
A Kunzite 18ct gold ring, the central oval mixed cut kunzite measuring 16mm x 12mm, claw set to pierced mount with chevron motif to shoulders and plain polished 18ct gold shank, size O 1/2, together with a Tahitian pearl and diamond 18ct gold ring, size P 1/2, a tanzanite and diamond 9ct gold dress ring, size P 1/2, together with a green stone and diamond 9ct gold ring, size R (4) Please note; The gemstones in this lot have not been tested for synthetic or natural origin.
Lot 170
An emerald and diamond 18ct gold ring, the central rectangular step cut emerald measuring 8.60mm x 6.03mm, with three princess cut diamonds set to each shoulder, all set in 18ct yellow gold to a plain polished shank, ring size O 1/2, weight 4.8gmsCR; Please note; this emerald has not been formally tested for synthetic or natural origin, nor has it been tested dyeing/coating/treating.The central stone has abrasion around the facet edges of the table, and several nibbles to the facet edges around the girdle. All diamonds are present and in tact, no cracks, chips or losses. Settings are in good order, stones are secure. There is heavy scratching to the shank, but no splitting, thinning, damage or repair.
Lot 199
An Art Deco ruby and diamond ring, the central (untested) rectangular cushion cut ruby measuring 8.95mm x 7.14mm x 4.41mm, with two mixed cut square diamonds to each shoulder, each measuring approximately 1.95mm x 1.95mm, set in white metal to a plain polished unmarked shank, ring size M 1/2, weight 3.8gmsCR; Please note: This ruby has not been laboratory tested for synthetic or natural origin.There are small chips and nibbles to the facet edges and girdle of the stone. the reverse of the stone has a few large chips, which are visible through the table of the stone. There are transparent/translucent needle like inclusions within the stone, visible under 10x. Diamonds to shoulders are present and in tact. Settings are in good order, all stones appear secure, no signs of splitting or repair. Shank shows light thinning, scratching and wear commensurate with age and use, but no signs of splitting or repair. The shank is unmarked, metal untested.
Lot 200
A diamond and sapphire three stone ring, the central round brilliant cut diamond weighing approximately 0.67 carats, with a round mixed cut blue sapphire to each side, claw set in yellow metal to a plain polished unmarked shank, size M 1/2, weight 2.2gmsCR; Central diamond in good order, no cracks, chips or losses. Both sapphires show some surface reaching cracks, some nibbles to the girdle and some abrasion to the facet edges. Claws show some wear, but stones appear secure. There are signs of resizing to the shank, and some thinning, but no splitting. Light scratching and wear throughout, commensurate with age and use. Please note; The gemstones in this lot have not been tested for synthetic or natural origin.
Lot 202
An early 20th century sapphire and diamond cluster ring, the central rectangular cushion mixed cut sapphire measuring 9.4mm L x 6.5mm - 7mm W x 3.2mm D, the platinum scalloped border set with ten round brilliant cut diamonds, tapered shoulders and plain polished 18ct yellow gold shank, size M 1/2, weight 3.6gms With accompanying report from The Gem & Pearl Laboratory, report no. 20998, that the stone is a natural sapphire, and shows no evidence of heat treatment. CR; Some light nibbling to the facet edges of the table and the girdle. All diamonds are present and in tact. There appears to be some splitting/minor loss to the platinum border, but all stones appear secure. Shank is in good order, no thinning, splitting, resizing or repair, light scratching and wear commensurate with age only. Each diamond weighs approximately 0.02 - 0.03 carats.
Lot 203
An early 20th century diamond 'toi-et-moi' ring, comprising two cushion cut diamonds, one measuring 5.01mm x 4.75mm x 3.23mm, the other 5.16mm x 4.70mm x 3.04mm, claw set to crossover shoulders and plain polished shank, stamped '18CT & PLAT', size O, weight 2.9gmsEstimated colour for each diamond J/K and K/L. Both are approximately SI in clarity. Stones have a good sparkle when viewed face up. One diamond has a chip approximately 1-2mm in length, stretching from the table across star facets to the girdle. Claws in good order, stones secure. There is evidence of resizing to the shank, but no thinning or misshaping.Precise weights cannot be given due to the cut of the stones, however it estimated that each stone weighs approximately 0.60 carats.
Lot 3
Lucretia Borgia: The Chronicle Of Tebaldeo Tebaldei - Renaissance Period. 1942. Commentary and notes by Randolph Hughes. Engravings by Reynolds Stone. (London): Golden Cockerel Press. Limited edition book with slipcase, dedicated to Lieutenant Colonel Sir Arnold Wilson - book number 25 of 30 leather-bound copies. Gilt-stamped cream leather, slightly soiled, with light foxing at edges, uncut edges, top edge gilt. A very good copy.
Lot 57
A Shepherd's Life. 1977. W.H Hudson. With Wood Engravings by Reynolds Stone. Published by Wiltshire, Compton Press. Limited numbered edition 45/100. Hardback, halfbound with black morocco leather to spine and marbled paper boards. Gilt line edging to leather, with gilt lettering to spine. top page edges gilt. Green endpapers. In hard card slipcase. In very good condition. Rubbing to paper on edges of boards. Else cover clean and smart. No inscriptions. Illustrated with B&W woodcut illustrations within text, and 10 Engravers 'Proof's' plates tipped in at rear, each individually numbered (45/100) and initialled in pencil "R.S." Reynolds Stone.
Lot 30
Mahmoud Moussa (Egypt, 1913-2003)The Goat stoneartist monogram on the base of the sculpture, executed in 198235 x 19cm (13 3/4 x 7 1/2in).Footnotes:Provenance:Property from the Artist's EstateThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 31
Mahmoud Moussa (Egypt, 1913-2003)The Cat and the Snake stoneartist monogram on the base of the sculpture, executed in 197825 x 28cm (9 13/16 x 11in).Footnotes:Provenance:Property from the Artist's EstateFlowing, expressive and prominent, 'The Cat & the Snake' is a wonderful depiction of friend and foe. The characters of the cat and the snake hark back to ancient Egyptian deities. In ancient Egypt the cats were praised as protectors of the home. The goddess Mafdet was one of ancient Egypt's first deities, worshipped by people seeking protection against dangerous animals such as snakes and scorpions. Depicted in a variety of fearsome feline forms, most frequently as a woman with the head of a lion, cheetah, or domestic cat. Mafdet was regarded as the defender of the home and kingdom. The relationship between cats and snakes was heavily document throughout Egyptian history. Charles K. Wilkinson (1897 – 1986), 'Cat Killing Serpent' (1920 CE)This facsimile painting depicts a scene from Sennedjem's tomb (TT 1) in western Thebes' Deir el-Medina. Chapter 17 of the Book of the Dead is related to the cat killing the serpent. The original work was painted 1295 BCE. We see the pharaonic revival style and aesthetic sensibilities that we associate with Moussa and the hallmark of twentieth century Egyptian sculpture. Moussa was the second generation of Egyptian sculptors. He was taught and influenced by Mahmoud Said and Mahmoud Mohktar, two of the great Egyptian painters and sculptors. Moussa participated in several group exhibitions in Cairo and Alexandria including several appearances at the Alexandria Biennale. Moussa won the prize for sculpture in 1955 at the Alexandria Biennale.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 2
CHEMA MADOZ (Madrid, 1958)"I".Photograph, copy 2/15.With Joan Prats Gallery stamp on the back.Provenance: Important Spanish Collection.Measurements: 57 x 47 cm.The way he interprets art through photography and his poetic vision make Chema Madoz one of the most interesting, influential and recognisable creators on the contemporary art scene. Emphasising the irony that underlies the objects and the hidden relationships between them. In a surrealistic search for new meanings, through which to let the imagination wander towards new paths, there is always an undercurrent of play. Playing in the everyday, generating associations, metamorphoses, in a playful background he generates a singular strangeness. His artistic work has been described as "analytical photography or visual trope" and his visual style as "surreal rationality or logic of the oneiric", to refer to the compositions of objects that are the protagonists of his works - in the words of the philosopher and art historian Luis Arenas. Madoz manipulates, invents and photographs objects. Defined as a visual poet, the associations he develops from objects as commonplace as a key, a stone or a ladder lead to a torrent of creativity. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented the exhibition Madoz. Objects 1990-1999, the first solo exhibition that the museum dedicated to a living Spanish photographer. Internationally, he has exhibited at institutions such as the Centre Pompidou in Paris, the Nederlands Fotomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, the Museo de Bellas Artes in Caracas and the Multimedia Art Museum in Moscow. He has received the National Photography Prize and the PHotoEspaña Prize in 2000, and the Culture Prize of the Community of Madrid in the category of Photography in 2012, among others.
Lot 47
A silver presentation trowel, engraved ‘To R.D Anstead Esq., Ma., C.I.E, by the Madura Dt. Nd. As a memento for laying the foundation stone for the Agricultural School at Usilampatty, 23.1.1929’, on a turned ebonised handle, 24cm longTarnishing and surface scratches throughout. The trowel is loose on its handle.
Lot 177
2nd millennium B.C.-2nd century A.D. A group of ten stone seals, including five accompanied by a typed and signed note by the late W.G. Lambert, Professor of Assyriology at the University of Birmingham, 1970-1993, which state: (T-649) 'Stamp Seal of Dark-coloured Mineral Substance, 12.5 x 11 x 7mm, This is a scarab, with design on the base showing a recumbent quadruped with long neck and head turned backwards. This comes from Iran or west central Asia and dates to c. 1000-300 B.C. The edges are chipped.'; (T-549) 'Stamp Seal of Black Stone, 16 x 13.5 x 10mm. In form this is a scaraboid, pierced lengthways. The design on the face shows a standing figure in long robe with bottom fringe, a nimbus around the body as the figure raises one hand. The back also has engraving, but is too worn to identify. This comes from Syria-Palestine, and dates to c. 800-500 B.C. it is worn, but the design on the face is clear.'; (T-563) 'Stamp Seal of Black Stone, 14 x 18 x 6mm. This is a thin scaraboid, pierced lengthways. the design shows a sitting lion with head turned backwards and object above back. This comes from west central Asia and dates to c. 1200-400 B.C. It is a rare type, but worn.'; (P-74) 'Stamp Seal of Black Stone, 10 x 13 x 6mm. This is a scaraboid, pierced lengthways. The design shows a recumbent horned animal within an oval borer. The animal is stylized, in particular the horns have become a hatched shape. This is a pre-Islamic Arabian seal, c.300 B.C. to 200 A.D. It is nicely engraved, and in good condition save for some chipping of the edges.'; (1055) 'Ancient Scarab of Green Stone with White Glaze, 19 x 15 x 9mm. The design on the base shows a striding male figure holding a Was-sceptre, a cobra rearing in front of him, and a linear motif between the figure's legs. The whole design is put in a linear frame with hatched base at the bottom. This is a scarab of fine quality, and while there are problems about the precise dating of may scarabs, most likely this comes from the Second Intermediate Period (c. 1800-1600 B.C). It is a fine example, and may come either from Egypt itself, or from the East-Mediterranean coastlands. it is worn, especially at the ends where the hole emerges, but the design is well preserved.'; a black scarab with grazing bull design to the stamp; one grey scarab with antelope and plant design; a yellow stone elliptical seal with standing robed figure with beard, holding forward right arm; a white stone seal with convex surface depicting two figures standing either side of a tree with arms raised, above them the symbol of Faravahar with an additional bust to each wing; and a white plano-convex with two standing figures either side of a central post, below them a row of symbols, possibly an alphabetic inscription.' 35 grams total, 13-22 mm (1/2 - 1 in). Acquired 1980s-early 1990s. Property of a West London businessman. Academically researched and catalogued by the late Professor Lambert in the early 1990s. Accompanied by scholarly notes issued by the late Professor W.G. Lambert with collection numbers T-649, T-549, T-563, P-74, 1055. Dr. Bonewitz notes: 'The seals are made from serpentine (1), glass (1), limestone (4), composition (2), agate (2).' [10] Fine condition.
Lot 180
2nd millennium B.C. A pair of differently sized white stone pendants formed as duck's heads, each with recessed circular eyes, one set with a dark stone; pierced at the neck for suspension. 8.92 grams total, 29-34 mm (1 - 1 1/4 in). Acquired on the UK art market in the 1990s. From the private collection of a central London lady. [2, No Reserve] Fine condition.
Lot 185
12th-13th century A.D. A bifacial figurative horse carved from serpentine, punched ring-and-dot detailing to neck and body, roundels containing stone inlays with notched edges, triangular inlay between; pierced through the front and hind legs. 195 grams, 10.4 cm wide (4 1/8 in). Acquired 1970-1999. London collection of the late Mr S.M., thence by descent. [No Reserve] Fine condition.
Lot 256
3rd-7th century A.D. or later. A square-shaped stone tile with scene composed of a mounted huntsman galloping left on a horse, turning in the saddle with his bow drawn and taking aim at the horned goats behind him, detailing to the equine accoutrements and the rider's garments; framed by a pelletted roundel. 6.3 kg, 28 x 29.5 cm (11 x 11 5/8 in). Acquired between 1980-1990. Property of a London gentleman. Fair condition.
Lot 270
Ming Dynasty, 1368-1644 A.D. A carved stone figure of a horse standing on a rectangular base with detailed bridle, saddle and saddle blanket, braided decorative strip to the mane; mounted on a wooden stand. 8.5 kg total, 36 cm wide including stand (14 1/8 in). Acquired 1990s. Ex West Country collection, UK. [No Reserve] Fine condition.
Lot 425
Isle-de-France, early 15th century A.D. A large carved stone sculpture depicting Mary Magdalene kneeling as a young penitent lady and holding a perfume bottle in a cylindrical box in her left hand; her hair falling gracefully along the right arm, arranged as a long braid; delicately sculpted round face with her gaze cast downwards; wearing a long sleeved tunic and a thick mantle covering half of the figure; small traces of polychrome to the surfaces, hollow back. Cf. the Gothic sculpture of Saint Mary Magdalene in the National Museum of Art of Catalonia, second third of the 14th century, from the Master of Pedralbes, inventory no.009797-000. 122 kg, 101.5 cm high (40 in). Private collection, Paris SVV Prunier. Ex central London gallery. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11254-189583. Accompanied by an archaeological report by Dr. Raffaele D’Amato. The present sculpture was originally part of a more complex carved group, representing the famous episode of John’s Gospel 12: 'then Mary took about a pint of pure nard, an expensive perfume; she poured it on Jesus’ feet and wiped his feet with her hair. And the house was filled with the fragrance of the perfume.' It is possible to see the characteristic features of the so-called Gothic naturalism, to which this magnificent and delicate sculpture belongs. The Gothic sculptor expressing the feeling of pity and reverence in the delicate gesture of Mary, whose (now lost) hand, was pouring perfume over the feet of Christ. [No Reserve] Fair condition.
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