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Lot 126
Medieval Pilgrims Badge. Circa, 15th century AD. Copper-alloy, 29.25 mm. An openwork pilgrims badge that depicts the Annunciation (the Angel Gabriel announcing to Mary she is to bear God's son). Mary is depicted to the left dressed in a long robe with her left arm raised to her chest, her right hand on a book that sits on a column to her front. Surrounding her head is a halo that is surmounted by a dove. To the right is the angle Gabriel facing left with furled wings projecting to the rear, he is shown holding a branch (messengers staff) in his left hand and resting his right hand on top of a column. The Annunciation scene itself is common on a variety of religious items. Lewis (2016: 28) describes the branch in the centre of the scene as a "lily pot". He reports a 15th century stone mould for these badges being found at Little Walsingham. Spencer(1998) suggests the Virgin is reading from Isaiah 7:14.
Lot 128
Medieval Gold Ring. Circa, 13th-14th century AD. Gold, 1.2 grams. 21 mm, 18 mm internal. A stirrup type finger ring with D-shaped band that widens slightly to form a raised bezel. Set with a cabochon turquoise stone. Ref: Egan & Pritchard, Dress Accessories 1150-1450. Found in Worcestershire and recorded on the PAS database as WAW-0C237F https://finds.org.uk/database/artefacts/record/id/763318
Lot 1
Sharon Stone signed hardback book titled The Beauty of Living Twice. This lovely hardback book is in mint condition and features a signature from the star affixed onto the inside title page. The Beauty of Living Twice is a 2021 memoir of actress and model Stone, as she interrogates her own trauma and a myriad of losses and discovers the gift of clear seeing. Good condition Est.
Lot 28
Actor, Emma Stone signed 10x8 colour photograph. Stone (born November 6, 1988) is an American actress. She is the recipient of various accolades, including an Academy Award, a British Academy Film Award, and a Golden Globe Award. In 2017, she was the world's highest paid actress and named by Time magazine as one of the 100 most influential people in the world. Good condition Est.
Lot 112
William Sadler II c. 1782-1839 "Enniskerry, with Sugarloaf Mountain in the Distance and Figures in a Landscape," a pair., O.O.P., 15 h x 23 w cms (6" x 9") both same size In the first of this charming pair of panel paintings, a couple pause outside an inn, to chat to a man leaning on a fence. Behind them, a river cascades under a stone bridge. In the background are houses and a church, and beyond that a mountain. The scene depicted is most likely the village of Enniskerry, with the Sugarloaf Mountain rising in the distance. although there are some ?capriccio? elements that Sadler has introduced, to add interest to the scene, including the church steeple, and the building on the right. While the painting dates from around 1820, St. Patrick?s Church, with its tall steeple was not built until the 1850?s. Enniskerry was developed in the early nineteenth century, as a ?model? village, to house workers on the nearby Powerscourt estate. The second painting depicts a small group of people beneath a tree in a woodland setting. Two standing figures, a man with a walking stick and a woman with a child wrapped in her red coat, look anxiously at the sky, as if anticipating a coming storm. Another figure is seated in a grassy bank. Although best-known for his small landscape and genre scenes, depicting scenes in Wicklow, Dublin and Killarney, William Sadler II was also capable of tackling ambitious subject matter, as with his panoramic paintings, The Battle of Waterloo, The Embarkation of George IV at Kingstown 1821, and A London Capriccio inspired by the Burning of the Custom House 1814?the last of these one of only three known signed works by Sadler. For his smaller paintings he generally used mahogany or copper panels rather than canvas and his paintings often depend upon effects of light, either sunlight or firelight, to silhouette buildings, trees and figures. The motif of the hanging inn sign appears also in his Donnybrook Fair, as does Sadler?s artistic device of introducing a highlighted area behind this focal point, adding visual drama to the work. He painted recognisable landscapes, as with the Sugarloaf Mountain or Howth Head, and also ?capricci? where he invented buildings and landscapes. Invariably there is activity in his paintings, with ships heeling in the wind, banditti gathered around a fire, or travellers making their way along a country road. Born in or around 1782, son of a mezzotint artist of the same name, William Sadler II taught art and exhibited in Dublin through the first four decades of the nineteenth century. His father died when he was six years old, leaving Sadler to embark early on a career as a painter. In turn, he had a son, also called William Sadler, who was born in 1808 and is known for a painting of the army barracks (now demolished) overlooking the town of Fermoy. Dr. Peter Murray, 2022
Lot 67
Sir Frederick William Burton, RHA, (1816-1900) "Portrait of a Woman and Child, probably Caroline Susan Gore-Booth and her son Henry 1840," Watercolour on paper 61cms x 46.5cms (24" x 18 1/4") Signed with monogram FWB and dated 1840 Framed within a Classical arch, this portrait depicts young woman and a child enjoying a tender moment together. Her hair coiffed into fashionable ringlets, the woman wears a velvet dress, with a cameo brooch fastened to the neckline. Leaning against the woman, and dressed in a mock-Elizabethan clothing, the child also sits in an attitude of happy contentment. The subjects of Frederick William Burton's portraits and genre scenes are generally shown absorbed in their own thoughts, unconscious of the wider world around them. The architectural settings in his paintings, often incorporating columns, staircases and grand windows, convey a sense of privilege. Embellished with foliate ornamentation carved into the stone, the arch in this painting is also home to ivy tendrils, that climb up the stone and hang from the top. The symbolism of this plant would not have been lost on people seeing this portrait when it was first exhibited. In the legend of Tristan and Iseult, popular in Victorian times, ivy binds lovers tightly together. The idea of nature providing a commentary on life, promoted by John Ruskin, was coming into vogue at the time this portrait was painted. Born in Clifden House, on the shores of Inchiquin Lake near Corofin, Co. Clare, in 1816, Frederick William Burton was the son of a gentleman and amateur painter named Samuel Frederick Burton and his wife Hannah Mallet. When Frederick William was ten, the family moved to Dublin, partly in order that he could attend the Drawing Schools of the Dublin Society. Here he was taught by Henry Brocas and Robert West, and became friendly with George Petrie, who introduced him to the study of antiquarian remains in the Irish countryside. After the Drawing Schools, Burton began exhibiting at the Royal Hibernian Academy, showing Abraham on his Journey to Sacrifice Isaac in 1832 when he was just sixteen years old. At the age of twenty-one, he was elected an Associate of the RHA and became a full member two years later. Over the years, Burton painted many portraits of physicians, botanists, mathematicians and clergymen, and of Anglo-Irish families of the West of Ireland. In 1843 he showed at the RHA a portrait of the Galway physician, Sir Henry Marsh, along with portraits of the children of the Rev. William Guinness, of Ardcotton, Co. Sligo. In 1843 also, he showed a portrait of Henry Irwin, Archdeacon of Emly and two years later submitted a portrait of the family of Henry Irwin's grandson, Sir Robert Gore-Booth, of Lissadell House in Co. Sligo. Robert Gore-Booth is remembered both for his evictions and for his attempts to assist his tenants to emigrate to America. The Gore-Booth family portrait by Burton (preserved at Lissadell House) depicting a woman reading to two young girls, is a tour-de-force in the representation of satin, velvet, lace and other textiles. In 1827, Gore-Booth had married Caroline, second daughter of Robert King, 1st Viscount Lorton, but she died a year later. After two years as widower, he remarried, this time to Caroline Susan, second daughter of Thomas Goold. Caroline Susan had one son, Henry, who succeeded his father as 5th Baronet. Based on the resemblance of sitters in the larger Gore-Booth family portrait, it is likely that the present watercolour is a portrait of Caroline Susan and her son Henry. The portrait has an added poignancy in that it was painted the same year as The Blind Girl at the Holy Well, and just a year before Burton?s masterpiece The Aran Fisherman?s Drowned Child, which depicts the harrowing scene of an island family mourning their lost child. Although he painted mainly members of the landed classes, Burton's privately-held political views are revealed in his friendships within Ireland's literary and academic world; George Petrie, Lord Dunraven, Eugene O?Curry and Sir Samuel Ferguson were all members of an intellectual elite that sought to develop a cohesive sense of Irish national identity. Between 1838 and 1841, Burton made several trips to the Aran Islands with George Petrie. In 1874 he was appointed Director of National Gallery of London, a position he held for twenty years, during which time he did not paint. He died at Kensington in 1900. His most famous work, Helehil and Hildebrand, or the meeting on the Turret Stairs, is now in the National Gallery of Ireland. Exhibited : The Beit Wing National Gallery at Frederic William Burton: For the Love of Art Exhibition, October 2017-January 2018. Dr. Peter Murray, 2022
Lot 258
WALLACE-DUNLOP (MARION)Two autograph letters signed ('Marion Wallace-Dunlop') to Mr Hankinson, writing shortly after her release from Holloway, the first saying she has been discharged ('...I felt a little mean in entering prison as a Unitarian for I am what people call a Free thinker... Miss Pankhurst had especially told me to apply for you. I also knew you were a friend of our movement all the same I had an uncomfortable feeling I was not quite playing the game and I'm quite glad we never met! Please excuse this untidy letter... The doctor strictly forbids my getting up as I am still weak from my long fast...'); the second asking about Unitarianism and asking him to pass on her advice to fellow hunger strikers ('...I can't help feeling a little anxious about the stone throwers who will probably go to prison today. I do hope they won't try & follow my example... for young healthy women with normal appetites starvation would be horrible torture... I am naturally a very small eater... If you see any of them please tell them to keep on drinking water, to lie down all the time, to think of other things and above all to keep their minds on the funny side of it all...'), 7 pages, 8vo (168 x 124mm.), Ellerslie Tower, Ealing, W., 9 July and 'Monday' [1909]; with a letter of discharge from James Scott, Governor of H.M.P. Holloway dated 8 July 1909 (3)Footnotes:'TELL THEM TO KEEP ON DRINKING WATER, TO LIE DOWN ALL THE TIME, TO THINK OF OTHER THINGS AND ABOVE ALL TO KEEP THEIR MINDS ON THE FUNNY SIDE OF IT ALL': The instigator of the hunger strike gives advice to fellow inmates.Scottish artist Marion Wallace-Dunlop was the first to undertake a hunger strike in prison, an action which became a powerful and emotive tool in the suffragette fight for the vote. An active member of the WSPU she was arrested several times and in June 1909 she was imprisoned for stencilling an advertisement for the 29 June deputation to the House of Commons and an inflammatory message on the wall of St Stephen's Hall (see lot....). She fasted for 91 hours before she was released: 'As with all the weapons employed by the WPSU, its first use sprang directly from the decision of a sole protagonist...' (Crawford, p.179). Her success quickly led to the adoption of the hunger strike as official policy of the WSPU and the subsequent government practice of force-feeding a few months later. She asked Hankinson to visit her at the request of Emmeline Pankhurst who perhaps saw him as a useful conduit of information between prison and the outside world but it would appear from these letters that they never actually met. Resourceful and determined, as demonstrated in our letters, she also devised a new stencilling machine to quickly add messages to the walls of Downing Street, designed many of the spectacular WSPU processions and was one of the organisers of the window-smashing campaign of November 1911. She was close to the Pankhursts and was a pallbearer at Mrs Pankhurst's funeral in 1928. Provenance: The Rev. Frederick Hankinson (1875-1960); Reginald Andrew Couzens (b.1904); thence by descent to the present owner.For further information on this lot please visit Bonhams.com
Lot 266
DOWNING (EDITH)Hunger-strike medal awarded by the WSPU to Edith Downing, in silver and enamel construction, the top bar fitted with pin and the obverse engraved 'For Valour', the suspension bar in silver and enamel (the reverse engraved 'Fed by Force 1/3/12' and the obverse with striped enamelled bars), the disc 22mm. diameter, engraved on the obverse 'Hunger Strike', and on the reverse 'Edith Downing', maker's name engraved on reverse of top bar ('Toye 67 Theobalds Rd/ London'), overall c.75 x 40mm.; in original purple roan presentation box, lined with green velvet, padded silk inner lid with dedication to Downing printed in gilt, box c.60 x 102mm., [1912]Footnotes:HUNGER STRIKE MEDAL OF WELSH-BORN SUFFRAGETTE AND SCULPTOR EDITH DOWNING.Edith Elizabeth Downing (1857-1931) was born in Cardiff and spent most of her working life in Chelsea, where she became known primarily for her bronze and marble busts and figures. In 1908 she joined the Chelsea branch of the WSPU along with her sister, using her artistic talents to support the cause, helping to organise processions with Marion Wallace-Dunlop and selling her work to raise funds.Her first arrest came in 1911 when she broke a window of Somerset House and was sentenced to a week in jail. The following year she was again arrested for throwing a stone through a West End shop window during a mass WSPU window-smashing campaign. This time she was sentenced to three months in Holloway Prison, where went on hunger strike and was forcibly fed. A vocal critic of police and prison brutality, hers was one of the embroidered signatures on the Suffragette Handkerchief. On her release in June 1912, Downing was awarded the WSPU medal. Her sister Caroline was also awarded a medal, which is now part of the collection in the Houses of Parliament.The military-style medals were awarded by the leaders of the WSPU to suffragettes who had gone on hunger-strike in protest at not being recognised as political prisoners. They hang on a length of ribbon in the WSPU colours from a silver pin bar engraved 'For Valour' in the style of the Victoria Cross. On the obverse is engraved 'Hunger Strike', and the reverse is engraved with the name of the recipient. Some medals had silver bars added in recognition of periods of hunger strike, or striped enamelled bars to denote forcible feeding. Edith Downing's medal has a silver bar engraved 'Fed by Force 1/3/12', actually the date she was imprisoned prior to going on hunger strike and being forcibly fed.The medals were made by Toye & Co. at a cost of £1.00 each, and were first presented in St James' Hall in early August 1909, to women who had gone on hunger strike while serving sentences in Holloway Prison. Downing's medal comes in its original purple box with green velvet lining, and the wording on the inside lid, printed in gold on white silk 'Presented to Edith Downing by the Women's Social and and Political Union in recognition of a gallant action, whereby through endurance to the last extremity of hunger and hardship a great principle of political justice was vindicated'.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 273
POSTCARDS - AMERICANAlbum containing c.295 American suffrage and anti-suffrage postcards, the majority colour-printed humorous cards, some photographic, many written and posted, loosely inserted in pockets 4 per page in a postcard album, various dates, mostly early 20th centuryFootnotes:Extensive collection of American postcards, including: 22 in the 'Blot on the Escutcheon/The Ballot is Denied to Woman' series by Cargill Company (one slightly faded, others fine), and 5 in the 'United Equal Suffrage States' series; 24 art nouveau-style cards by Walter Wellman (15 in 'The Suffragette' series, 1909, 4 of 'The Weaker Sex', 1908, and 5 others); 14 by Dunston-Weiler, 1909; 11 by S. Bergman ('Votes for Women' series, 1912); 10 by Barton & Spoooner (featuring a girl wearing a sash); 12 by Cobb. X Shinn for Taylor, Platt & Co., 1912; 23 various Valentine cards; 6 posed photographic cards tiled 'Where Women Vote [etc]'; approximately 20 photographic or RPPCs including 2 original Leet Brothers cards, together and an envelope of reprints. The many posted cards include one written by Alice Stone Blackwell to her fellow suffragist Agnes Edna Ryan ('Shall try to send a good batch of stuff for the papers', postmarked 9 August, 1913), and another to Ryan from an anonymous friend ('One of the two Pankhurst tickets which Miss Reilly & I had bought was promised to a friend... I am sorry', 14 November 1913).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 151
COOKERY & MEDICINEManuscript culinary and medicinal recipe book written in several hands, containing some 250 receipts, including 'For Minst Pyes', 'To make Cleave Cakes', 'For Griping in the Guts', 'Aunt C's raisen wine', 'How to make Aquamirabilis', 'A Plaister for a Sore-Throat', 'An Excellent Receipt for the Gravel or Stone from Dr Hebbin', 'To make the oyle of Swallowes' ('...Take twenty four Swallowes all a line...'), 'The Weapon Salve' ('...if the wound be done with the thrust of a weapon, anoint from the hilt or hand of the weapon towards the point, if it be made by a blow or cutt then from the back to the edge...'), 'Kings Evill' ('...tryed... especially by a gentlewoman upon a man desperately fare spent which the Doctors had given over to death...'), 'A Quakeing Pudding', 'A Cure for an Epidemical Distemper. Anno Domini 1741', 'A Receipt for a cake to be kept halfe a year', 'How to make Gumbles', some with names of contributors ('W. Briggs', 'Mrs Ward' 'Mrs Bertie', 'My Lady Jenkinson'), pen trials and figurative drawings on recto of last leaf with ownership inscription 'Grace Briggs her recete Book/ Eliz. Briggs rote this March 17456/ March 10 17456', including other names ('Joseph Briggs', 'Mary Howard'), c.122 numbered leaves (inconsistent), three leaves excised, dust-staining and marks, edges frayed with some small tears, one long tear to p.114, original calf gilt, worn with losses, holes for ties but lacking ties, 4to (207 x 150mm.), eighteenth centuryFootnotes:'IF THE WOUND BE DONE WITH THE THRUST OF A WEAPON, ANOINT FROM THE HILT': THE RECEIPT BOOK OF GRACE AND ELIZABETH BRIGGS.Amongst more unusual cures included here is one for the 'Weapon Salve', a remedy that healed a wound by treating the weapon that made it, hence the instruction here to 'anoint from the hilt'. Among the ingredients called for is a '...pint of knotted worms... the braines of a boar dried... the bloodstone called Hamatite all finly powdered... half an ounce or more of a dead mans scull...'. If the weapon is not to hand, it is suggested that a willow stick be thrust into the wound, advising '...if it be a great and dangerous wound then the weapon is to be anointed every day...'. It was a method first attributed to the Swiss physician Paracelsus in the sixteenth century and expanded upon by Sir Kenelm Digby who coined the phrase 'Powder of Sympathy' for the cure in the mid seventeenth century. Whether it was a natural or demonic process was widely discussed among physicians and clergy, who held that the cure was wrought by magic, a view compounded by William Foster in his Hoplocrisma Spongus, or a Sponge to Wipe away the Weapon-Salve of 1631. Our compiler assures the reader, however, that '...this salve have noe affinity with witchcraft or inchantment but worketh the effect or cure by Loadstone like virtue which it receives from the Starres and communicaties it by and through the agres, it cures all wounds of all Creatures haveing flesh and bones... although the party be many miles distant...'. 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 203
ASSOCIATION ITEMS AND MEMORABILIAPresentation clock given to the Leicester suffragette Dorothy Pethick, inscribed on reverse 'Dorothy Pethick. From the Leicester members of the W.S.P.U. as a Souvenir of her work in Leicester. May 17th 1912', in folding leather case, case c.105 x 108mm.; silver-plated triple egg stand reputedly from the Bath Hotel, Felixstowe, burned down by suffragettes on 28 April 1914, marked on base 'Triple Deposit. Mappin & Webb's Prince's Plate London & Sheffield', with date mark Z (c.1911); together with a replica Holloway 'portcullis' badge, a NFWW badge, a pair of Hiatt police handcuffs, a wooden truncheon with metal weight, and a collection of photographs, printed illustrations (a few framed including an original satirical anti-W.S.P.U. cartoon for the Daily Despatch by 'Matt'), a folder of later material relating to fellowship and memorials (plus a signed photograph of Margaret Thatcher), newspapers reporting events of the time, folders of cuttings, 2 LPs of speeches etc. (quantity)Footnotes:Dorothy Pethick was the younger sister of Emmeline Pethick Lawrence. An early supporter of the WSPU, she was arrested in 1909 for throwing a stone (in vain) at a window, and sentenced to 14 days' hard labour. She went on hunger-strike on that occasion, and served two further prison sentences before leaving her role as organiser for the WSPU in Leicester in 1912.For further information on this lot please visit Bonhams.com
Lot 208
DEPUTATION TO THE HOUSE OF COMMONS, 1909Votes for Women. Souvenir & Official Programme. the text continuing 'A Deputation of Women will go the House of Commons on Tuesday, June 29, ...to see/ The Prime Minister/ to lay before him their demand for the vote...', with an explanation beneath '...Miss Wallace Dunlop's inscription which she stamped on the wall in St. Stephen's Hall on Tuesday took two men over two hours to erase the violet inkstains with pumice-stone, soap and water...', the text surrounded by twenty engraved portraits of the main protagonists including the Pankhursts, Emmeline Pethick Lawrence, Flora Drummond, Mary Gawthorne etc. and a purple, white and green foliate border, one page, printed on crepe paper, some staining and small tears and holes, framed, image 345 x 345mm., with frame 575 x 560mm., unexamined out of frame, printed by Burgess, York Place, Buckingham Street, W.C., [1909]Footnotes:On 22 June, as celebrated on this souvenir and invitation, the artist Marion Wallace-Dunlop was arrested and charged with wilful damage for stamping an extract from the Bill of Rights on the wall of St Stephen's Hall. According to this 'official' souvenir it took 'two men over two hours to erase the violet ink stains with pumice-stone, soap and water'. Whilst in prison she instigated the first hunger strike. A week later on the 29th, a deputation set out from Caxton Hall to confront Asquith at the House of Commons. On being rebuffed by Asquith's private secretary at the door, Emmeline Pankhurst struck the unfortunate policeman, whilst another knocked off his hat. This resulted in a prolonged melee in which 3,000 police were engaged and some 108 women were arrested. Towards the end of the demonstration, a small group partook in breaking the windows of the Privy Council, Treasury and Home Office, using small stones wrapped in paper and hung on strings so as not to injure the people inside (Andrew Rosen, Rise Up, Women!, 1974, p.118-119).For further information on this lot please visit Bonhams.com
Lot 80
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."The Oxen".Terracotta soffit on a wooden base.This work in stone is catalogued in: Montserrat Blanch, "Manolo", Barcelona, Polígrafa, 1972, p. 41, nº 48.Measurements: 31 x 44 x 4 cm (soffit); 4 x 53 x 11.5 cm (pedestal).Montserrat Blanch states "In Manolo's work there is no synthetic or orthodox cubism, but there is Cezannian and analytical cubism, which he develops from a completely personal point of view and without moving away from his artistic trajectory for a single moment. In it "the idea of ordering the given reality" (analytical cubism) exists at all times, but without diminishing the expressive and the sensitive.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew first-hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are housed in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.
Lot 91
JOAN REBULL (Reus, 1899 - Barcelona, 1981)."Girl".Stone sculpture.Signed on the lower right-hand side.Measurements: 62 x 27 x 20 cm.This work is an eloquent example of the most personal work of Joan Rebull, an artist who develops a language with classical aesthetic roots, based on the principles of nobility, beauty and proportion, which nevertheless uses an idealisation and a synthesis of forms in accordance with the avant-garde and not with the models of Classical Antiquity. Thus, we are faced with a serene, balanced child portrait with a certain immutable, archaic and almost sacred character in the perfection of its proportions and structural lines, which establishes a bridge between the ancient idols and avant-garde plastic research.Considered to be the most outstanding Catalan sculptor of his time, Joan Rebull began in the world of sculpture in his native city under the guidance of the sculptor Pau Figueres. In 1915 he moved to Barcelona to begin his artistic training at the La Lonja School of Fine Arts, while at the same time working in the workshop of the marble worker Bechini. In 1916 he made his solo debut with an exhibition at the Centro de Lectura in Reus, and the following year he founded, together with other artists, the group known as "Els Evolucionistes" (The Evolutionists), which aimed to counter the Catalan Noucentisme. In 1921 he received a grant from the Círculo Artístico and travelled to London and Paris, where he was particularly impressed by the ancient art housed in their museums. Between 1926 and 1929 he lived in the French capital and took part in the Salon des Indépendants, although he also sent works to exhibitions in Barcelona. In Paris he was the first artist to be contracted by the prominent Catalan art dealer Joan Merli. On his return he was appointed president of the new Montjuic Salon (1932) and a member of the Sant Jordi Academy (1934), took part in various exhibitions in Madrid and Barcelona and, in 1938, won the Campeny Prize at the Salon d'Automne in Barcelona. After the war, he went into exile in Paris, where he took an active part in artistic life, taking part in the exhibition "Le Jeune Sculpture Française" and the Salons d'Automne. He returned to Barcelona in 1948, and three years later won a great prize at the I Bienal Hispano-American Art Biennial in Madrid. In 1962 he was appointed professor at the Sant Jordi School of Fine Arts, and shortly before his death he was awarded the gold medal of the Generalitat de Catalunya. A child of noucentista perfectionism and a great draughtsman, Rebull worked with great technical mastery and confidence in the path to follow. His sculpture is direct and anti-rhetorical, based on a serene and essential vision of reality. His style can be defined as a reencounter with the source of classicism, from which he never copies the consequences. He is represented in the National Art Museum of Catalonia, the Reina Sofia National Centre, Barcelona City Hall, the Monastery of Montserrat and the Palau de la Música Catalana, among other centres.
Lot 104
GOLDEN COCKEREL PRESSSWINBURNE (ALGERNON CHARLES) Lucretia Borgia: The Chronicle of Tebaldeo Tebaldei... Engravings by Reynolds Stone, NUMBER 8 OF 30 SPECIALLY BOUND COPIES, with the additional collotype facsimile leaves of Swinburne manuscript, wood-engraved illustrations, original pigskin by Sangorski & Sutcliffe with gilt design on upper cover, gilt lettered spine, t.e.g., slipcase, folio, 1942; Hymn to Proserpine, number 340 of 350 copies, illustrated by John Buckland-Wright, publisher's cloth, 8vo, 1944--LUCAS (F.L., editor & translator) The Golden Cockerel Greek Anthology, number 34 of 74 copies on handmade paper with 20 illustrations by Lettice Sandford, original half pigskin by Zaehnsdorf, t.e.g., slipcase, folio, 1937, Golden Cockerel Press (3)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 122
ROWLING (J.K.)Harry Potter and the Philosopher's Stone, fourth impression paperback, INSCRIBED BY THE AUTHOR 'FOR JENNY, WHO DOES BELIEVE IN MAGIC...' on the dedication leaf, light toning, short marginal tear to pp.141/2, publisher's pictorial wrappers (some small creases, a few abrasions touching image, short tears at extremities of spine), 8vo, Bloomsbury, 1997Footnotes:'FOR JENNY, WHO DOES BELIEVE IN MAGIC (I DO TOO, REALLY) (BUT DON'T TELL ANYONE). J.K. ROWLING'.A copy of the author's first book inscribed for the vendor's daughter Jenny, then seven years old, at the Edinburgh Literary Festival in August 1997. Jenny's mother wrote in her journal for that month 'We all went to hear Joanne Rowling reading from her first children's book 'Harry Potter and the Philosopher's Stone' and were so impressed we bought a copy and Ms. Rowling signed it for Jenny. Jenny read 'Harry Potter' first, then me and now she is reading it again so Peter has'nt had a chance yet! It really is a very good read'. Rowling appeared in the Tepee Tent, the smallest venue at the festival, reading extracts of the book to an audience of less than fifty people. Jenny's mother recalls that 'Jenny was aged 7 and very into wizards, magic, fairies and the like so when she took the book to be signed, she had a whispered question for Joanne Rowling - hence the inscription in the book'.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 124
ROWLING (J.K.)Harry Potter and the Philosopher's Stone, FIRST EDITION, THIRD IMPRESSION, SIGNED BY THE AUTHOR on the dedication leaf, with number line 10 down to 3, publisher's pictorial boards, dust-jacket, 8vo, Bloomsbury, [1998]Footnotes:A FINE SIGNED COPY OF THE THIRD PRINTING OF THE PHILOSOPHER'S STONE, the first to be issued with a dust-jacket.Provenance: Signed for Jenny, the vendor's ten year old daughter, at the Edinburgh Literary Festival in 1999. At the same event Rowling signed two copies of Harry Potter and the Prisoner of Azkaban (see adjacent lots). An image of Jenny holding the book at the Festival is viewable on our website.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 128
ROWLING (J.K.)Harry Potter and the Philosopher's Stone, fifteenth impression of the paperback edition, INSCRIBED BY THE AUTHOR 'To Emily who asked an excellent question with best wishes J.K. Rowling' on the dedication leaf, small area of orange pen scribbling across a few words of pp.220-224 and inside lower cover, and a small hole affecting a few letters to pp.221-222, light damp wave to fore-edge of some pages, publisher's pictorial wrappers, a '1997 Gold Award Winner' sticker on the upper cover, worn at extremities (small tear to lower spine, and upper margin of lower cover), sides with blind indentations from scribbling, 8vo, Bloomsbury, [1997]Footnotes:INSCRIBED FOR AN EIGHT YEAR OLD GIRL 'WHO ASKED AN EXCELLENT QUESTION'.Provenance: Inscribed by Rowling for Emily, the current vendor, at the Cheltenham Literature Festival in 1998. According to the Festival website Rowling 'appeared... with her book about a certain boy wizard in a modest 160 seat venue'. Emily, at the time only eight years old, can no longer remember the 'excellent question' that she asked. See also following lot.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 3
DECLARATION OF INDEPENDENCEIn Congress, July 4, 1776. The Unanimous Declaration of the Thirteen United States of America. When in the Course of Human Events..., engraved plate (735 x 635mm.), folded, light offsetting, 2 spots around central left edge, diagonal crease from upper left corner, [Washington, Peter Force, reprinted 1833 from the original copperplate], BOUND INTO: FORCE (PETER) American Archives: Fifth Series, vol. 1, half-title, light browning, contemporary half calf, joints cracked at ends, small loss to head and foot of spine, rubbed, folio (347 x 220mm.), Washington, [Peter Force], 1848Footnotes:FINE AND ATTRACTIVE COPY of Peter Force's 1833 issue of the Declaration of Independence. 'In 1820, John Quincy Adams, then secretary of state and a future President, commissioned a young printer, William J. Stone, to make a full-size facsimile copperplate engraving of the Declaration of Independence... Stone took three years to complete engraving the copperplate, which today is on display at the National Archives Building in Washington, D.C... The prints of the Declaration made from this copperplate are the ones most familiar to Americans, and they provide a clear image of the document that established our nation' (Catherine Nicholson, 'Finding the Stones', Prologue, Summer 2012, vol. 44, no. 2).By the 1830s, Peter Force (1790-1868), historian, publisher and mayor of Washington D.C., was planning an ambitious 20-volume anthology entitled American Archives. He persuaded the State Department to grant him access to Stone's copperplate, which they held at the time. For this reissue a decade after Stone's first printing, his imprint was neatly burnished out at the top of the plate, and replaced with a faint 'W.J. STONE SC[ULPSIT] WASHN.' in the lower left portion. Force printed around 4,000 copies of the Declaration on a translucent tracing paper sometimes mistakenly called 'rice paper', but in fact machine-made Western paper. Each engraving was inserted along its right edge into the binding of the Fifth Series, volume 1, of American Archives and neatly folded in.Force's anthology was a publishing failure. 'In 1853 Secretary of State William Learned Marcy abruptly cancelled the State Department contract to publish the remaining series of American Archives, with only the Fourth and Fifth Series printed' (Nicholson).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 44
SCOTLANDHILL (DAVID OCTAVIUS) Sketches of Scenery in Perthshire Drawn from Nature and on Stone, FIRST EDITION, 30 uncoloured lithographed plates printed by C. Hullmandel after Hill, one original pictorial lithographed upper parts wrapper ('No. 2', 'Pr.6/-') pasted inside upper cover, small dampstain in lower margin of 12 plates, slightly larger in lower fore-corner of 2 others, early half morocco, gilt lettered 'Perth. D.O. Hill. 1821' on upper cover, upper cover detached, loss to spine [Abbey Scenery 509], oblong folio (288 x 455mm.), Perth, Thomas Hill, [1821]Footnotes:David Octavius Hill is today most celebrated for his pioneering work in photography alongside Adamson, but he made his name originally as a fine artist, as show these views of Perthshire, executed while he was in his teens. Issued in parts from 1821-23 by David's father, Thomas Hill, Sketches is 'generally recognized as the earliest series of views to have been produced in Scotland by the lithographic process' (Directory of the Lithographic Printers of Scotland 1820-1870, p.98).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 106
Three seed pearl necklaces with gem set clasps, each designed as a torsade of seed pearls (pearls untested for origin), the spherical clasps pavé set with vari-cut rubies and red stones, (some fittings, pearls and stones deficient), lengths 60cm, 59cm and 28cm (3)Condition report: The shortest necklace is missing a large section of the seed pearl torsade and is fitted with one bead clasp which is missing the threaded fitting and a stone. The longest necklace is fitted with two spherical clasps that are both currently functioning but have missing stones. One of the clasps appears to have French boar's head marks. The other necklace is missing one of its spherical clasps, which has been replaced with a modern bolt ring. The spherical clasp is functioning but has a missing stone. All clasps are white metal mounted.The seed pearls to all necklaces are mostly baroque and heavily worn, with patchy grey and brown discolouration, blemishes and scuffs. Some of the seed pearls are missing and the stringing is loose or threadbare in places. The clasps appear to be mostly set with rubies, with some possibly later red stone replacements. All of the stones have an irregular cut and are heavily abraded and scuffed, some stones with chips and fractures. Some of the rubies contain natural inclusions, such as rutile 'silk', minerals and feathers that are visible under magnification. Combined gross weight approx. 31.4gm.
Lot 107
A collection of jewellery, comprising a 22ct gold wedding band, a yellow precious metal wedding band, stamped '22CT', a fine box-link chain, a green agate and white stone cluster ring, a green agate pendant, stamped '9CT', and a gilt metal locket pendant, cluster ring size P (6)Condition report: Approximate gross weights only: first ring 6gm, second ring 7.8gm, chain 4.6gm, cluster ring 4.6gm, agate pendant 13.5gm
Lot 108
A collection of jewellery, comprising a 9ct gold fancy-link bracelet, two single stone stick pins, a cameo stick pin, two bar brooches, each stamped '9CT', (one with inscription), an engraved white precious metal wedding band, stamped 'PT', a single stone ring, stamped '9CT', and a hairwork memorial ring, bracelet length 17.5cm (9)Condition report: Approximate gross weights only: bracelet 7.8gm, stick pins combined 10.1gm, bar brooches combined 3.5gm, wedding band 3.1gm, single stone ring 2.6gm, memorial ring 1gm.
Lot 109
A collection of jewellery, comprising a pair of coral corallium rubrum ear pendants, on threaded post and butterfly fittings stamped '750', a coral corallium rubrum single stone ring, a freshwater pearl crossover dress ring, indistinctly stamped '14', and a pair of similarly set ear pendants, on post fittings, first ear pendants length 5.2cm and 5.5cm (4)
Lot 110
Two 9ct white gold wedding bands, the first with linear decoration, the second with millegrain borders, and a white stone dress ring, with abstract wirework and beaded mount, 9ct gold mounted, maker's mark JRJ, ring sizes N, N½ and Q respectively (3)Condition report: Approximate gross weights only: first ring 3.3gm, second ring 4.1gm, third ring 7.2gm.
Lot 112
A collection of jewellery, comprising a diamond cross pendant, set throughout with round brilliant-cut diamonds, 18ct white gold mounted, together with a half pearl set panel brooch, highlighted with coral and coral coloured cabochons, a sapphire and diamond set spray brooch, 9ct gold mounted, a synthetic colour change sapphire single stone ring, yellow precious metal mounted, stamped '14K', a 9ct gold cased bracelet watch, the dial signed HIRCO expanding-link bracelet stamped '9CT' and signed BRITANNIC, and a stone set pendant, on trace-link chain, (half pearls untested for origin), first pendant total diamond weight approximately 0.70ct, length 2.9cm (6)Condition report: Approximate gross weights only: cross pendant 2.7gm, panel brooch 6.8gm, spray brooch 5.8gm, single stone ring 9.6gm, bracelet watch (including movement) 18.9gm, pendant on chain 1.8gm.
Lot 117
Two diamond set rings, the first a five stone ring, the graduated old-cut diamonds in illusion setting, two colour precious metal mounted, stamped '18CT', the second a single stone ring, similarly set with an old-cut diamond, two colour precious metal mounted, stamped '18K', first ring total diamond weight approximately 0.25ct, ring sizes O and M½ respectively (2)Condition report: Approximate gross weights only: first ring 3.3gm, second ring 1.4gm.
Lot 121
A collection of jewellery, comprising a coral corallium rubrum and half pearl cluster bar brooch, stamped '9CT', a 22ct gold wedding band, a shell cameo brooch/pendant, yellow precious metal mounted, stamped '18', a blue and white stone cluster ring, yellow precious metal mounted, two stone set dress rings, each with ropetwist band, and two further rings, first brooch length 5.55cm (8)Condition report: Approximate gross weights only: bar brooch 3.9gm, 22ct gold wedding band 3gm, cameo brooch/pendant 5.9gm, cluster ring 2.9gm, two stone set dress rings 9.4gm, two further rings 7.9gm.
Lot 122
A collection of jewellery, comprising a 9ct gold pendant, of textured abstract design, on a trace-link chain with clasp stamped '9C', two 9ct gold fancy flattened-link chains, a 9ct gold fine box-link chain, (fitting deficient), a 9ct gold cased lady's bracelet watch, with gilt metal expanding bracelet, a blue and white stone cluster pendant, 9ct white gold mounted, on a trace-link chain stamped '925', together with assorted silver and white metal items, first pendant length 3.3cm (qty)Condition report: Approximate gross weights only: first pendant and chain 6.8gm, two flattened-link chains combined 11.9gm, fine box-link chain 3.1gm, lady's bracelet watch (case back only) 1.9gm, blue and white stone cluster pendant 1.6gm.
Lot 123
A collection of jewellery, comprising a Victorian 22ct gold band ring, later applied with a green stone three-leaf clover panel, an oval shell cameo ring, stamped '9ct', a trace-link chain, spaced with coral corallium rubrum beads, a coral corallium rubrum single stone ring, indistinctly stamped '750', a coral corallium rubrum single stone pendant, a 9ct gold curb-link chain, a cornelian bead necklace, an agate pendant, and a black bead necklace, (damaged), first ring size approximately K (9)Condition report: Approximate gross weights only: 22ct gold band ring with later panel 1.4gm, shell cameo ring 2.9gm, trace-link chain with coral beads 1.3gm, coral ring 0.8gm.
Lot 124
A smoky quartz single stone pendant, the rectangular fancy-cut smoky quartz in four claw setting, with foliate decorated gallery and surmount, yellow precious metal mounted, and a pair of citrine ear pendants, each rectangular step-cut citrine in four claw setting, below a triangular surmount, on threaded post fittings, also yellow precious metal mounted, pendant length 4.8cm, ear pendants length 3.4cm (2)Condition report: Pendant: the smoky quartz has a light to mid yellowish-brown hue, with a curved crown of lozenge-shaped facets and a step-cut pavilion, with surface wear, scuffs and occasional small nicks/chips, commensurate for use. The smoky quartz measures approx. 29.3mm length x 24.3mm width x 16.8mm depth. The pendant mount has general surface wear, scuffs and nicks/chips throughout and is unmarked. Metal standard is untested. Gross weight approx. 25.5gm. Ear pendants: the citrines have a light to mid orangey-yellow hue with areas of whiteish colour zoning and surface wear, scuffs and small chips/nicks, commensurate for use. Each citrine measures approx. 14.5mm length x 9.3mm width x 5.3mm depth. The mounts have general surface wear, scuffs and nicks/chips throughout and are unmarked. Metal standard is untested. Gross weight approx. 7.4gm.
Lot 128
A collection of jewellery, comprising a lapis lazuli single strand bead necklace, with white metal panel clasp modelled as a stylised ram's head, signed BASZANGER, a lapis lazuli single stone dress ring, with figural shoulders, white metal mounted, maker's mark K.G, a Modernist stone set pendant on chain, a Modernist bangle, a Modernist ring, an enamel panel brooch, depicting the white rose of York, two moss agate set brooches, a pair of moss agate and marcasite ear clips, a fancy-link bracelet, a pendant on bead-link chain, a paste set brooch, with thistle decoration, and a further brooch, necklace length 46cm (13)
Lot 129
Two single stone dress rings, the first with an oval mixed-cut smoky quartz in claw setting, 9ct gold mounted, the second with a circular mixed-cut citrine in claw setting, also 9ct gold mounted, ring sizes P and N respectively (2)Condition report: Approximate gross weights only: first ring 6.5gm, second ring 2.8gm
Lot 132
A sapphire half hoop ring, the line of circular mixed-cut sapphires in claw settings, yellow precious metal mounted, stamped '585', together with a blue and white stone full hoop ring, 18ct gold mounted, both rings size O (2)Condition report: First ring: sapphires of mid to dark blue hues, with areas of whiteish colour zoning and small inclusions visible under magnification. All stones have localised facet edge abrasion and measure approx. 3mm diameter. The ring mount has general surface wear. Metal standard is untested. Gross weight approx. 2.5gm. Second ring: the stones are heavily abraded and chipped and their identification is unknown. General surface wear to mount, marks are clearly struck. Gross weight approx. 2.5gm.
Lot 136
A collection of gem set jewellery, comprising a coral corallium rubrum and diamond brooch and ear clips suite, with ropetwist wirework decoration, the ear clips fittings stamped '9CT', a half pearl and blue stone insect bar brooch, and a single stone bar brooch, stamped '9CT', ear clips length 1.45cm (4)Condition report: Approximate gross weights only: first brooch 4.1gm, ear clips 4.1gm, insect brooch 2.2gm, single stone brooch 1.8gm.
Lot 137
A French citrine single stone cocktail ring, the rectangular step-cut citrine in four claw setting, to a tapered scrolled wirework mount, with French eagle's head control mark and lozenge-shaped maker's mark, ring size J - K Condition report: The citrine has a deep brownish-yellow hue, with surface wear, scratches/scuffs and occasional small nicks/chips, commensurate for use, measuring approx. 21.8mm length x 18mm width x 12.6mm depth. The ring mount has general surface wear, scuffs and nicks throughout. The maker's mark is indistinct. Gross weight approx. 16gm.
Lot 140
A sapphire and diamond set bar brooch, the trio of cushion-shaped mixed-cut sapphires in claw settings, spaced by pairs of lasque-cut diamonds, yellow precious metal mounted, length 4.7cmCondition report: Sapphires are well matched, of mid-blue hues, one of the outer sapphires with a central mineral inclusion, the other with a chip to the girdle. Each of the sapphires has surface wear, scuffs and small chips/nicks. The largest sapphire measures approx. 4.7mm length x 4.2mm width. One of the diamonds has a chip/fracture running through the centre of the stone, all have a typically greyish appearance. The mount has general surface wear, nicks and scuffs and is untested for metal standard. Gross weight approx. 3.8gm.
Lot 141
A sapphire and diamond three stone ring, the circular mixed-cut sapphire claw set between two round brilliant-cut diamonds, white precious metal mounted, total diamond weight approximately 0.20ct, ring size MCondition report: The sapphire has a variable mid to dark blue hue with an area of cloudy transparency to one side and angular colour zoning, The sapphire has surface chips, scuffs and nicks, commensurate for use, and measures approx. 5.2mm in diameter. Diamonds are bright and lively but both stones have small chips/naturals to the girdle, with estimated SI1 to SI2 clarity and H to I colour, assessed mounted. The mount has general surface wear, with scuffs and nicks throughout. The tips and sides of the claw setting have patchy heavy wear and the shank appears to have been replaced, with solder joins present to the shoulders. Metal standard is untested. Gross weight approx. 3.3gm.
Lot 146
A sapphire full hoop ring by Cartier, channel set throughout with rectangular step-cut sapphires, white precious metal mounted, signed Cartier London, ring size I½Condition report: The sapphires have slightly variable tints, from mid to dark blue hues, and slightly variable shapes, some stones longer than others, each stone measuring approx. 2.2mm in width. Most contain natural inclusions, such as fractures, feathers and rutile 'silk' needles, and some stones have areas of whiteish colour zoning. The sapphires have surface wear, scuffs, chips and nicks throughout, commensurate for use. The mount has general surface wear, scuffs and nicks with slight thinning to the edges of the setting and is untested as white gold/platinum. The signature has a little wear but is clearly legible. Width of mount approx. 3.1mm, depth approx. 2mm. Gross weight approx. 2.9gm.
Lot 15
A late 19th century pink topaz brooch/pendant, modelled as a scrolled ribbon-shaped panel, profusely engraved with flowerheads and foliage to a textured ground, highlighted with four octagonal mixed-cut pink topaz in collet settings, gold mounted, with base metal pin, and a rock crystal locket pendant, the cover reverse carved with a cross and star motifs, the reverse with plaited hairwork, brooch length 5.2cm, pendant length 3.1cm (2)Condition report: Brooch/pendant: The pink topaz are well matched, of light pink hues, some stones containing faint inclusions, one stone containing fracture/feather inclusions, all with surface wear, nicks and occasional chips. The largest stone measures approx. 8.8mm length x 7.5mm width x 3.9mm depth and the smallest stone measures approx. 7mm length x 6.2mm width x 3.4mm depth. The mount has general surface wear and patchy tarnishing, engraved decoration is cripsly defined. The back is fitted with two small loops, allowing the addition of a necklace chain. The pin is mis-shapen but functioning. Gold standard is untested. Gross weight approx. 8.7gm. Locket pendant: In worn condition, with scuffs, chips and nicks throughout and patchy tarnishing to mount. Dust/dirt residue to hairwork. Metal is untested. Gross weight approx. 8.1gm.
Lot 154
A diamond full hoop eternity ring, set throughout with single-cut diamonds, white precious metal mounted, stamped '18K', total diamond weight approximately 0.30ct, ring size OCondition report: Diamonds are well matched and fairly bright, each stone weighing approximately 0.01ct, some stones with small chips and fractures. Estimated SI1 to P2 clarity and H to K colour, assessed mounted. The ring mount is relatively modern and has general surface wear throughout. Metal standard is untested. Gross weight approx. 2.3gm.
Lot 157
A diamond four stone dress ring, of crossover design, the graduated transitional-cut diamonds in collet settings, two colour precious metal mounted, total diamond weight approximately 0.35ct, ring size XCondition report: Diamonds are well matched, fairly bright and lively, with estimated P1 to P2 clarity and I to K colour, assessed mounted. One of the principal stones contains a surface-reaching fracture. The mount has considerable wear, with thinning, splits and losses to the collet settings, which may require repair. The mount has possible solder joins at the junctions of the shoulders to the shank, with wear to the shoulders, and has been enlarged in size. The shank is stamped 'S.BROS' and has further indistinct marks. Metal standard is untested. Gross weight approx. 2.5gm.
Lot 161
A diamond single stone ring, the round brilliant-cut diamond in raised six-claw setting, 18ct gold mounted, hallmarked for Sheffield 2000, maker's mark EF, diamond weight approximately 1.30ct, ring size KCondition report: The diamond has a bright and lively appearance but contains a large pale fracture inclusion to the centre that is partly surface-reaching to the table facet, a smaller mineral inclusion to the side of this fracture, a dark inclusion to the side crown facets and a further fracture to the side crown facets. These inclusions can be seen to the unaided eye and the facet symmetry is off-centre. Estimated I to J colour and P3 clarity, assessed mounted. The diamond measures approximately 7.3mm in diameter, depth is unknown due to the style of the setting. The ring mount has light surface wear, scuffs and nicks, commensurate for use. The setting measures approx. 8.7mm in height. Marks are clearly struck. Gross weight approx. 4.5gm.
Lot 167
A diamond cluster ring, the flowerhead cluster of round brilliant and old brilliant-cut diamonds in claw and millegrain collet settings, white precious metal mounted, stamped 'PLAT', total diamond weight approximately 0.75ct, ring size PCondition report: Diamonds are bright and lively but one stone has a surface-reaching fracture, with estimated SI1 to P1 clarity and H to K colour, assessed mounted. Each outer diamond weighs approx. 0.10ct and the centre diamond weighs approx. 0.15ct. The mount has general wear throughout, with patchy thinning and rubbing to the outer edges of the setting and to the claws, wear to the sides of the gallery beneath the setting, and scuffs, scratches and chips throughout. The shank appears to have been replaced and is of slightly heavier gauge to the back than to the setting/shoulders. Metal standard is untested. Diameter of setting approx. 1.15cm. Gross weight approx. 4gm.
Lot 172
A diamond single stone ring, the round brilliant-cut diamond in six claw setting, white precious metal mounted, stamped '1.64', ring size KAccompanied by retailer's purchase papers issued by Imhof S.A. of Geneva, stating that the diamond has VVS1 clarity and 'Wesselton' colour, weighing 1.64ct, dated 19 February 1980, and retailer's valuation for insurance issued by Imhof S.A. of Geneva, dated 17 March 1980 Condition report: The diamond has a bright and lively appearance, with a bruted girdle, estimated VVS1 clarity and H colour, assessed mounted. Diameter of diamond approximately 7.8mm, depth unknown as setting is closed-backed. Height from base of setting to table facet of diamond approx. 6.8mm. The ring mount has light surface wear and scuffs, commensurate for occasional use. Metal standard is untested, but assumed to be white gold. Gross weight approx. 2.6gm.
Lot 182
A diamond five stone ring, the graduated cushion-shaped old-cut diamonds in later claw setting, two colour precious metal mounted, principal diamond weight approximately 0.55ct, total diamond weight approximately 1.65ct, ring size OCondition report: Approximate measurements of three largest diamonds: centre stone 5.1mm length x 4.5mm width x 3.7mm depth; outer stones 4.4mm length x 4mm width x 3mm depth and 4.5mm length x 4.4mm width x 3.5mm depth. The smallest diamonds weigh approximately 0.15ct - 0.20ct each. Diamonds have slightly variable colour and clarity, some stones with fracture and mineral inclusions (some of the fractures surface-reaching), yellowish/brownish tints, facet edge abrasion and scattered nicks/chips. Estimated SI2 to P2 clarity and J to M colour, assessed mounted. Most of the diamonds have a typically unsymmetrical outline. The ring mount appears to be relatively modern and of fairly heavy gauge, with general wear, scuffs/scratches and nicks/chips throughout. Atleast two of the claws require re-tipping. Metal standard is untested. Gross weight approx. 5.1gm.
Lot 183
An aquamarine and diamond three stone ring, the rectangular step-cut aquamarine claw set between two round brilliant-cut diamonds in collet settings, 18ct gold mounted, hallmarked for Birmingham 2000, maker's mark HM, total diamond weight approximately 0.25ct, ring size K½Condition report: The aquamarine has a light greenish-blue hue with good transparency, containing some faint linear inclusions when viewed under magnification at an angle to the table facet. The aquamarine has light surface nicks and scuffs and a chip to the girdle. Aquamarine dimensions approx. 17.4mm length x 11.5mm width x 7.8mm depth. Diamonds are well matched, bright and lively, with estimated VS1 to VS2 clarity and H to I colour, assessed mounted. The ring mount has light surface wear, commensurate for occasional use. Gross weight approx. 8gm.
Lot 26
A late Victorian diamond single stone gypsy ring, the old-cut diamond in lozenge-shaped setting, 15ct gold mounted, hallmarked for Chester 1885, and a Victorian red and white stone cluster ring, with tapered foliate scroll engraved shoulders, stamped '18CT', ring sizes O½ and M½ respectively (2)
Lot 28
A 19th century turquoise and diamond cluster ring, the rose-cut diamond and cabochon turquoise flowerhead cluster in closed-back setting, to a tapered hoop with pierced and engraved floral and foliate decoration, gold mounted, and a white stone full hoop ring, stamped '9CT', (one stone deficient), both rings size O (2)
Lot 30
A George III memorial panel ring, the oval panel depicting a funerary urn and the motto 'NOT LOST BUT GONE BEFORE', within a red stone border, to a white enamel hoop inscribed 'Hannah Robinson OB 5 Aug 1769 AE 19', (some stones deficient or later replaced), together with a George III hairwork memorial panel, verso inscribed, with later stick pin fitting, and a 19th century half pearl and hairwork memorial panel ring, (shank deficient, half pearls untested for origin), first ring size approximately P (3)
Lot 34
Three gem set dress rings, comprising a sapphire and diamond dress ring, of abstract geometric design, with a tiered spray of oval mixed-cut sapphires and single-cut diamonds, stamped '585' and numbered 2370, a similar ruby and diamond dress ring, stamped 585 and numbered 4-671, and a citrine single stone dress ring, yellow precious metal mounted, indistinctly stamped, ring sizes J½, K and N respectively (3)Condition report: Approximate gross weights only: first ring 4gm, second ring 3.8gm, third ring 6.8gm.
Lot 46
A late Victorian/Edwardian sapphire and diamond set bracelet, of fancy curb-link design, centred with a line of alternating cushion-shaped sapphires and old-cut diamonds, stamped '15', total diamond weight approximately 0.20ct, length 19.5cmCondition report: Set with three graduated sapphires, the central sapphire measuring approx. 5mm length x 4.5mm width and the outer sapphires measuring approx. 4mm length x 3mm width, and two old-cut diamonds. The sapphires have mid to dark blue hues, the central sapphire containing fracture/feather inclusions and having a heavily abraded surface, the outer sapphires with general surface wear. Diamonds are bright and lively, one stone with small nicks/chips to the surface, estimated SI1 to P1 clarity and I to J colour, assessed mounted. The bracelet links are hollow and have scuffs, scratches, nicks and chips throughout, with occasional shallow dings and slight thinning at the junctions between links. Small solder joins/repairs with associated porosity are present to some links. The clasp is currently functioning. Metal standard is untested. Gross weight approx. 16gm.
Lot 50
A Victorian gem set bird brooch, naturalistically modelled as a bird in flight, with feather-textured wings, body and tail, its beak clutching a cabochon turquoise forget-me-not spray, its head with cabochon red stone eyes, gold mounted, length 5.5cmCondition report: There is a dark solder repair to the mount, at the junction of the turquoise flowerhead to the mount, and the rivet attaching the flowerhead may be later replaced. There is a further solder repair to the back of the foliate spray. There is a split at the junction of one of the wings to the body and a further fine split to the base of one of the leaves. All of the turquoise cabochons have scuffs, chips and veining and one of the cabochons is heavily discoloured. Surface wear, scuffs and nicks/chips throughout, commensurate for age and use, with patchy light tarnishing/staining. Light patchy wear to textured decoration. One tip of the tail has been filed to the base. The brooch pin is functioning but may be gilt metal. Gold standard is untested. Gross weight approx. 8.4gm.
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