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Lot 19
Pair of 9ct gold earrings ,9ct gold tie pin with a mounted stone and a 9ct gold childs ring , an oval double sided pictures mounted in a gold frame , pair of mother of pearl mounted cuff links , 3 pairs of costume earrings , a silver mounted mirror hallmarked Birmingham 1923 , silver medallions hallmarked Birmingham 1917 and 1921 , a white metal necklace with mounted stones and a pearl necklaceweighable gold 3 grams
Lot 23
A selection of late 19th - early 20th century jewellery to include an 1890s hallmarked silver buckle bangle with an unusual patented slide fastening (40g); a chalcedony and turqouise forget me not brooch; two pairs of white metal screwback earrings; an Art Deco style engine turned compact marked "B" in marcasite and four bangles: two gilt base metal, with Greek key detail and set with mabe pearls, one in base metal and another in white metal set with red hardstone gems (At fault - one missing stone)
Lot 123
A 19th century diamond floral cluster ring, comprising a central oval old cut diamond measuring 5.3mm x 4.5mm, with a surround of eight further old cut diamonds, cluster measuring 11.18mm x 10.82mm, all set in white metal, monogrammed initial 'J' to reverse of cluster, continuing to scrolling foliate yellow metal shoulders and reeded shank, size O, weight 3.7gmsOne of the diamonds on the outer border shows a very large fracture running through the centre of the stone. All other stones are in tact, showing minor scratching and wear only. Moderate wear and to the settings, some small splits around the border, however all stones appear secure. Shoulders show scratching, wear and some loss of definition to detail commensurate with age and wear, but no signs of splitting or repair. There is some thinning to the shank, however no splitting, resizing or repair is evident. Professional cleaning may be required.We cannot provide an accurate colour/clarity grade for the stones in this ring due to the closed back setting. Under 10x, there are many marks and stains within the central diamond, but these may be between the setting and the stone, rather then within the stone itself. The stones to the border surround show what appear to be minor inclusions, but also marks and stains that may be between the stone and the setting. Due to the setting, the overall appearance of the stones is grey/dull.
Lot 125
A Victorian five-stone diamond ring, comprising five graduated old cut diamonds, the central diamond measuring 3mm x 3.5mm, claw set in yellow metal to a plain polished shank, ring size L, weight 2.2gmsCR: All stones are present. Two of the stones show nibbling to the girdles, but no other chips or losses. Claws and settings are in good order, no splitting, loss or repair, light wear and tear commensurate with age and use. Shank in good order, no signs of thinning, resizing, splitting or repair, light scratching and wear only.
Lot 140
A platinum and diamond ring, the central round brilliant cut diamond weighing approximately 0.20 carats, claw set in platinum to a square border surround, checkerboard decoration to shoulders, continuing to a plain polished tapering shank, stamped 'PT950', ring size L, weight 8.1gmsCR; Central diamond in good order, no cracks, chips or losses. Claws in good order, stone is secure. Heavy scratching and wear to the shoulders and shank. Significant thinning can be seen around the base of the shank. There are signs of possible splitting/resizing and subsequent repair to the inside of the shank, around the base.
Lot 142
A diamond solitaire 18ct gold ring, the central round brilliant cut diamond weighing approximately 0.35 carats, bezel set to a reeded square surround, continuing to a plain polished tapering shank, French owl import mark, size M 1/2, weight 10.4gmsCR; Diamond in good order, no cracks, chips or losses, Light scratching and wear only. Stone appears secure in it's setting. Small denting, moderate scratching and wear to the reeding on the central panel. Moderate thinning to the shank, concentrated around the base. Heavy scratching and wear to the shank. No signs of splitting or repair.
Lot 497
A early 20th century lady's chainmail purse, labelled for Oroton, the silver coloured clip over top fasten inset with multi coloured stones, with internal silk and attached strap, in original box, along with an early 20th century fine multicoloured chainmail purse, with green stone set top and Art Deco style clip fasten, internal silk lining and attached chain strap (2)
Lot 46
DICKENS (CHARLES)The Life and Adventures of Nicholas Nickleby, FIRST EDITION IN BOOK FORM, half-title, engaved portrait, 39 engraved plates by Hablot K. Browne ('Phiz'), some oxidization and spotting to plates, early green half morocco gilt, extremities of spine rubbed [Smith I:5], Chapman and Hall, 1839; The Life and Adventures of Martin Chuzzlewit, FIRST EDITION IN BOOK FORM, with '£100' corrected on additional title, engraved frontispiece, additional pictorial title and 38 plates by Hablot K. Browne ('Phiz'), occasional light spotting, recased in early red half morocco gilt over marbled boards [Smith I:7], Chapman and Hall, 1844; Our Mutual Friend, 2 vol., FIRST EDITION IN BOOK FORM, 40 wood-engraved plates by Marcus Stone, without the 'to the reader' slip, some spotting, early green half calf over marbled boards, black morocco gilt spine labels, rubbed and slightly refurbished at corners [Smith I: 15], Chapman and Hall, 1865, without advertisements, 8vo (4)Footnotes:Provenance: Purchased from Peter Kaye, March-October 1997.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 113
EDWARD VILLIERS RIPPINGILLE (c. 1790–1859) Beating the Bounds Oil on canvas, 103 x 145cm Signed 'E.V. Rippingille and dated 1848' Edward Villiers Rippingille began his career as a portrait artist but soon found that his talents were best utilised in the creation of whimsical genre pieces. Rippingville first exhibited at the Royal Academy in 1819 and continued to do so throughout his lifetime, becoming known for capturing community events, such as the one featured here. Beating the bounds is a tradition that can be traced back to the medieval period. At this time, land was divided into parishes and the clergy and church wardens held the responsibility for its upkeep and management. It was up to the Church to ensure that its parishioners knew the local boundary lines and, before maps became commonplace, this had to be kept as a mental record. Such information was vital as it determined where the town’s livestock could be grazed, what land could be tilled and where the local jurisdiction ended. A yearly practice was thus devised in which the community would come together to walk the parish and take note of the dividing lines. Usually taking place during Rogation days (the three days directly before Ascension Thursday) or on Ascension Day itself, the inhabitants would gather alongside the clergy and proceed around the boundaries, blessing the land, singing songs and reading homilies. Partaking in the event became a measure of good spirit and those seen as abstaining were thought to be lacking a neighbourly disposition. However, for certain members, the day would not have rendered fond memories. It was the duty of the older generation to instil the knowledge of the boundaries in the younger and a belief that pain enforced memory often led to some less than agreeable methods being used. Young boys were made to carry thin rods of willow or ash and they were charged with beating the boundary markers in order to help make a mental note of where they lay. However, it was not uncommon for the rods to be turned on the boys themselves, with a quick whipping aiding to remind them of specific spots. Some communities chose to utilise the land itself and became more creative. At streams, boys had their heads rudely dunked under the water, they were pushed into patches of stinging nettles and forced to run wildly along walls so as they would fall prey to the menacing bramble patches on either side. Some records even note that at stone markers, the boys may be lifted, turned upside down and bashed against the rock. Although the tradition was banned by Oliver Cromwell, beating the bounds made a resurgence during the Victorian era and scenes such as this would have been an expected sight in the weeks following Easter. True to the nature of genre painting, Rippingille expertly captures this important day and pleasantly conveys the varying characters of a local community. Our eyes are assaulted with activity and our minds dart playfully to take in each individual, from the miserly woman who skulks away from the festivities to the boys apprehensively waiting with their rods and the young women eagerly looking on.
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