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Click here to subscribeAn 18ct gold ruby and diamond three stone ring. The ring being set with a round cut ruby to the centre flanked by to round cut diamonds in prong settings set to a plain band. Marked 18ct & plat. Weight 3.1g. Size L.5. Ruby measures 6.1 x 3 mm. Diamonds measure 4.8 x 2.3 mm and 4.8 x 2.6mm. Diamonds estimated 0.70ct in total.
A vintage 20th Century Einer Modahl Norwegian modernist silver and enamel butterfly brooch, enamelled in green, white and red. Together with a red stone elephant pendant with gilt mounts on a yellow metal bar link chain (unmarked). Brooch measures 2.5cm wide. Elephant pendant measures 3.5cm, chain measures 15 inches.
Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, fourth issue, London: Bloomsbury, 1997, hardback, print line on copyright page reads '10 9 8 7 6 5 4'. Contents incredibly good, clean, bright; one tiny, faint ink mark on front free endpaper; binding tight and square, boards incredibly well-preserved (the book appears unread); dust-jacket very well-preserved, bold and vibrant with only very faint bumping/wear to extreme edges. An excellent copy. Together with two paperback editions of the same, being 31st & 39th issues respectively, sold with all faults (3)
Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, third issue, London: Bloomsbury, 1997, hardback, publisher's pictorial boards, print line on copyright page reads '10 9 8 7 6 5 4 3'. Contents very good, clean, bright; boards well-preserved, bold and vibrant; very light bumping and discolouration to extreme edges of spine; shelf-lean; dust-jacket with discolouration/fading and creasing to edges
Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, first issue [one of only 500], London: Bloomsbury, 1997, hardback, publisher's laminated pictorial boards, print line on copyright page reads '10 9 8 7 6 5 4 3 2 1'; '1 wand' appears twice on p.53; 'Philosopher's' is misspelled 'Philospher's' to rear cover; 'Wizardry and Witchcraft' [rather than 'Witchcraft and Wizardry'] to rear cover. Excellent condition, unread and almost as new, slightest wear to extremities, incredibly faint toning to outer edges of text-block. The author's debut novel and first in the Harry Potter series. Very scarce. Only 500 copies were printed of this true first issue hardback, and 300 of those were sent to schools and libraries - this being one of the more desirable 200. Together with Chamber of Secrets, first issue, hardback, 1998, housed in Gift Set slipcaseProvenance: Vendor was a financial director for a paper merchant who brokered supplies of paper to the book trade. He saw a review of Harry Potter and the Philosopher's Stone in The Bookseller, 1997, and ordered a copy from The Leatherhead Bookworm. As a collector of children's books, he decided to keep the book safe, in unread condition, and later bought another copy for his daughter to read when the Gift Set was released, and used the slipcase (and dust-jacket from the later issue Philosopher's Stone) to protect and house these two first issues of his own, both of which remained unread
Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, fourth issue, London: Bloomsbury, 1997, hardback, publisher's pictorial boards, print line on copyright page reads '10 9 8 7 6 5 4'. Contents very good, clean, bright; boards well-preserved, bold and vibrant; a few tiny spots on top edge of text-block; dust-jacket good with very slight fading at spine and a short tear at rear fold
Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, first issue [one of only 500], London: Bloomsbury, 1997, hardback, publisher's pictorial boards; 'Philosopher's' is misspelled 'Philospher's' to rear cover; 'Wizardry and Witchcraft' [rather than 'Witchcraft and Wizardry'] to rear cover; '1 wand' appears twice on p.53. Lacking title page (and therefore imprint), but the issue points on boards indicate a true first printing. Contents generally good with slight toning; slight wear on dedication page and extreme edges in places, not affecting text; children's doodles of Harry Potter and other characters on endpapers, showing very slightly on half-title; binding lacking the delicate laminate to boards, lacking spine, heavily worn around edges, some paint/marks on lower board; shelf-lean. Evidently enjoyed many times. The author's debut novel and first in the Harry Potter series. Very scarce. Only 500 copies were printed of this true first issue hardback, 300 of which were sent to schools and libraries
Harry Potter. Collection of first editions, comprising: Philosopher's Stone, Celebration Edition, first issue, paperback, 2001; Goblet of Fire, hardback, 2000; Order of the Phoenix, hardback, 2003; Half-Blood Prince, hardback, 2005; two copies of Deathly Hallows, hardback, 2007; two copies of Chamber of Secrets, first issue, paperback, 1998; Prisoner of Azkaban, first issue, paperback, 1999. Together with six other Harry Potter novels. Most books in reasonable, read condition, some better than others, sold as found with all faults (14)
Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, first issue, London: Bloomsbury, 1997, paperback, print line on copyright page reads '10 9 8 7 6 5 4 3 2 1'; '1 wand' appears twice on p.53; 'Philosopher's' is misspelled 'Philospher's' to rear cover; 'Wizardry and Witchcraft' [rather than 'Witchcraft and Wizardry'] to rear cover. Contents very good, clean and bright, but with some pale staining and small spots to inside covers and first/last leaves (more pronounced at rear); tight and square (appears unread); covers very well-preserved, bold and vibrant, but the spine with fading from sunlight; incredibly light wear to extreme edges of covers; some toning and very pale spotting to edges of text-block; neat owner inscription on half-title
Sale Item: BOX GLASS & STONE BOTTLES (AF) Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 15% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 4.95% of the hammer price plus VAT @ 20%
ITALIAN SCHOOL OF THE PROBABLY EARLY 16TH CENTURY PORTRAIT OF A YOUNG MAN WITH LONG HAIR Polychrome tempera colours on lime ground on stone. 42,5 x 35,5 cm (F. 47,5 x 40,5 cm). Partly dam. and rest. Frame. Provenance: North German private collection.ITALIENISCHE SCHULE DES WOHL FRÜHEN 16. JH. BILDNIS EINES JÜNGLINGS MIT LANGEN HAAREN Polychrome Temperafarben auf Kalkgrund auf Stein. 42,5 x 35,5 cm (R. 47,5 x 40,5 cm). Part. besch. und rest.. Rahmen. Provenienz: Norddeutsche Privatsammlung.
Full title: A Chinese stone head of Buddha, Ming or laterDescription: H 44 - 31 cm (with and without base)Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: A carved stone head of Buddha, probably Thailand, 13th/14th C.Description: H 69,5 - 49,5 cm (with and without base)Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
MAX ERNST (1891-1976)Méduse circonflexe signed 'Max Ernst' (lower right); signed, inscribed and dated 'Max Ernst Méduse circonflexe 1933 26 rue des Plantes Paris 14e' (on the reverse, listed in the catalogue raisonné as beneath the lining)oil on canvas38.3 x 46.2cm (15 1/16 x 18 3/16in).Painted in 1933Footnotes:ProvenanceRichard Feigen Gallery, Chicago.Leo Orenstein Collection, New York.Galerie Jan Krugier, Geneva.(Possibly) Galerie 623, Paris.Galerie Jeanne Castel, Paris.Acquired from the above by the previous owner (1990s); their sale, Sotheby's, Paris, 19 October 2017, lot 1.Private collection, Europe (acquired at the above sale).ExhibitedLondon, The Mayor Gallery, Max Ernst Exhibition, 8 June – 1 July 1933, no. 3.Zurich, Kunsthaus Zurich, Was ist Surrealismus?, 11 October – 4 November 1934, no. 47.New York, Julien Levy Gallery, Max Ernst, Exhibition Surrealist, 18 November – 9 December 1936, no. 29.LiteratureW. Spies, S. & G. Metken, Max Ernst Oeuvre-Katalog, Vol. IV, Werke 1929-1938, Cologne, 1979, no. 1892 (illustrated p. 167).The primeval figure who floats suspended at the centre of the present work marries Ernst's interest in Greek mythology and the process of metamorphosis, as well as his fondness for wordplay. Painted in 1933, Méduse circonflexe also looks outward to the seismic events of contemporary Europe whilst showcasing the artist's pioneering grattage technique.Although he resisted being identified as a full member of the Surrealist group, Max Ernst became one of the key figures associated with the movement, drawn to André Breton's 1924 siren call from the Cologne Dada group alongside Jean Arp and Man Ray. Highly experimental, Ernst would utilise techniques across the spectrum of painting, sculpture, collage and literature to create haunting dream-like compositions prompted by the teachings of Sigmund Freud, aiming to unlock the unconscious mind. The title of the present work recalls Medusa of Greek mythology, commonly depicted as a winged female with venomous snakes in place of hair, turning those who met her gaze into stone. One of the three Gorgon sisters, Perseus was challenged to behead her. Armed with divine protection from the gods, he attacked, using a polished shield to deflect the reflection of her petrifying stare. Successfully severing her head, he escaped but her power remained even in death, with Perseus using it to turn his enemies to stone. Painted in 1933, Méduse circonflexe coincided with the publication of the first issue of the Surrealist journal Minotaure which 'marked the re-emergence of a mythological theme which would assume increasing importance for Surrealist painting after that date' (W. Chadwick, Myth in Surrealist Painting, 1929-1939, Michigan, 1980, p. 40). The theme of the Minotaur and the labyrinth had already appeared in works by Breton, Ernst, Masson and Picasso; the artists being drawn to the legend by Freud's writing, in which he compared the maze to the mind, the Minotaur symbolising our darker, unpredictable impulses.Ernst had long been interested in ancient myth and legend and was described by his biographer Werner Spies as one of the best-read people, having studied German, philosophy, Romance languages and the history of art at the University of Bonn from 1910 to 1914. Castor and Pollution dates from 1923, before the inception of the Surrealist movement, and references the twin brothers of classical mythology, Castor and Pollux whilst Leda and the Swan of 1927 and Napoleon in the Wilderness of 1941 illustrate his continued interest – the latter work shows the Emperor reimagined as a Greek hero, 'a horse-faced [figure who] appears on a sea coast as a kind of Odysseus [...] The figure is received by a seductive, sirenlike woman' (R. Bouvier, 'Transformations and Re-Formations, Max Ernst's Representations of the Body', in exh. cat., Max Ernst, Retrospective, Vienna, 2013, p. 117).That Ernst embraced myth is evident not only in his art but in his literature, writing about himself in the third person in 1936 thus: 'one may discern in him two attitudes, in appearance irreconcilable: that of the god Pan and the man Papou who possesses all the mysteries and realizes the playful pleasure in his union with her ('He marries nature, he pursues the nymph 'Echo' they say') and that of a conscious and organised Prometheus, thief of fire who, guided by thought, persecutes her with an implacable hatred' (Ernst writing in 1936, quoted in W. Spies, Max Ernst, Life and Work: An autobiographical collage, London, 2006, p. 133). Photographs from 1939 show the artist dressed in white robes and holding a trident, in the image of Poseidon. Jürgen Pech believes that he identified with this god in particular through his 'metaphorical description of the artist as a diver into the unconscious' (J. Pech, 'Mythology and Mathematics. Max Ernst's Sculpture' in exh. cat., Max Ernst, sculptures, Milan, 1996, p. 87).One of Ernst's earliest explorations of Greek myth is to be found in Oedipus Rex from 1922. Rather than a straightforward portrait of the tragic hero, a surreal tableau is formed of giant fingers emerging from a brick wall, pierced through by a needle. In their grasp is a large nut, pierced by arrows, before two birds' heads. Pech explains that 'the pierced hand in his painting Oedipe Rex / Oedipus Rex makes pictorial play on Oedipus' name (= Schwellfuss or Swellfoot) and verbal play on the relationship between solving a riddle and cracking a nut' (ibid. p. 67). 'Oedipus' meant swollen foot or ankle in Greek, referring to his feet being pierced and bound together when abandoned on the mountainside. Wordplay is employed to the same effect in Méduse circonflexe where the ambiguity of the title, referring to both the Medusa of Greek myth and a jellyfish, is reflected in the figure's unclear form, whose tendril-like arms recall both the tentacles of the sea creature and the snakes of the Gorgon's hair and who appears to float beneath the horizon or sea-line. The circumflex of the title appears anomalous, referring in grammar to the chevron-shaped accent placed over a vowel, until the viewer sees the inverted 'v' shape created by the tendrils or tentacles of the 'Méduse'. These forms give a sense of languorous, floating movement, at odds with the hot, fiery orange which dominates the work, punctuated by deep red and cobalt blue elements. Ernst's interest in Surreal literature and writing is well documented, a love of typography which is further shown in the Initiales frottage series from the 1960s. In 1929 Ernst created an extensive collage novel entitled La femme 100 têtes, a similarly ambiguous title which allowed women to be 'hundred-headed', 'headless', 'stubborn', and 'bloodsucking' at the same time, becoming a paradoxical complementary being – a many-head hydra and a beheaded Medusa in one' (R. Bouvier, op. cit., p. 115). The multiple meanings of his titles are reflected in the shifting identities of his subjects, which are frequently presented in the midst of transformation or metamorphosis. In his 1936 La Nymphe Écho for example, Ernst references the myth of the mountain nymph who dissolved into thin air from unrequited love for Narcissus. Relegated as a mere side note in the painting, Ernst instead focuses on another moment of metamorphosis in the tale, as a monstrous green creature formed of vegetation sprawls in the foreground, representing Narcissus, who was transformed into a flower. 'The need to establish constantly fluid boundaries between various stages of being [...] results, in Surrealist painting of the 1930s, in a gradual mythologizi... This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A large early 19th century Davenport polychrome decorated meat plate and a mid 19th century Heath pattern blue and white transfer printed meat plate.The Davenport plate blue and white transfer printed and polychrome decorated, marked Davenport Stone China, 51cm wide, The Heath pattern meat plate, marked HEATH, C.M & S with an impressed mark Improved Stone China, 54cm wide, with two small Mason's Ironstone bowls (both bowls a//f). (4)
PABLO SERRANO AGUILAR, (Teruel, 1908 - Madrid, 1985)."Bull (oval)", ca. 1949.Carved and polished black stone. Unique piece.Signed "Serrano" in stone.With inventory number from the Indianapolis Museum of Art, USA.Provenance:- Joseph Cantor Collection, Indianapolis, Indiana, USA.- Indianapolis Museum of Art, Indiana, USA (Inv. 1987.97).- Private collection, New York.Literature: "Pablo Serrano. Catalogue Raisonné of Sculptures". Madrid, Fundación Azcona, Gobierno de Aragón and IAACC Pablo Serrano, 2018, p.172, cat. No. 167-UE-1949-13 (black and white illustration).Size: 35.5 x 30.5 x 25.4 cm.Pablo Serrano began his series "Toros" in 1949, when he was already a well-known figurative and religious sculptor based in Montevideo. At that time he had already been awarded the Gold Medal at the Salón Nacional de Artes Plásticas in Uruguay and enjoyed an established artistic reputation. His restless personality and his eagerness to explore new paths led him to focus his production on the simplification of forms, leaving aside the realism that had prevailed in his works until then, and moving towards geometrisation and abstraction. His "Bulls" series seeks the essence of the animal by making use of minimal gestures, based on small-format sculptures that are rooted in the European imaginary of the 1930s, with representatives such as Brancusi and Hans Arp. This bullfighting series, whose sketches were made in Montevideo, although many were melted down after his arrival in Spain in 1955 and later, when he took up the theme again between 1970 and 1973, had already been worked on by other artists such as Picasso, who devoted a large part of his production to extolling the figure of the bull.Trained in sculpture, Pablo Serrano received his first lessons at the Salesian School in Sarriá. After finishing his studies he moved to Argentina, where he was taught the art of carving. After this period abroad, he decided to return to Spain in 1955 with a renewed technique in which diversity and unity prevailed. Serrano evolved through experimentation in each of his stages, as he was guided by his own will and not by the requirements of society. In 1956 he settled in Madrid, where he became a founding member of the El Paso group of Madrid's most innovative artists. Pablo Serrano works through poetry, delving into juxtaposed terms such as beginning and end, life and death, despair and hope. He also works on the figure of the human being, trying to explain and understand the human situation through his works. During his career, Serrano won the Sculpture Prize at the Hispano-American Biennial in Barcelona. In 1962 he exhibited twenty-three sculptures at the Venice Biennale to great critical acclaim. In 2003 the Ministry of Foreign Affairs dedicated a retrospective exhibition to him. Works by Pablo Serrano can be found in the museum that bears his name in Zaragoza, the Museo Reina Sofía, the Museo Nacional in Montevideo, the Museo San José in Uruguay, the Museo Nacional de Arte Moderno in Paris, the MoMA and the Guggenheim in New York, the National Galleries in Rome and Budapest, the Rio Piedras University in Puerto Rico, the Brow University in Providence, the Clear Lake Clear Lake University in Clear Lake, and the University of Puerto Rico, Brow University in Providence, Clear Lake City University in Houston and the University of Zaragoza, the Gulbenkian Foundation in Lisbon, the Hermitage in St. Petersburg, the Wadsworth Atheneum in Connecticut, the Galleria d'Arte Moderna in Venice, the Vatican Museum and the Middelheim in Antwerp, among many others.
AN ART DECO SAPPHIRE AND DIAMOND DRESS RING CIRCA 1930The step cut sapphire estimated to weigh 13.37 carats in a four claw setting, to pierced fan shaped baguette cut and old cut diamond shoulders, approximately 0.30 carats total, the shank stamped Platinum and numbered 3698Size/dimensions: finger size K 1/2Gross weight: 7.9 gramsOffered for sale with a Gemmological Certification Services Sapphire Report, number 5782-817, dated 21.02.2022, stating:Origin Sri LankaComment No indications of heatingCondition Report: The sapphire has some abrasion to the crown facet edges, some nibbling, the claws holding the sapphire have worn through in places, but the stone is currently secure in the setting, they will need retipping. Some wear and abrasion to the setting commensurate with age and use, the shank has been resized smaller. The diamonds are present and correct, bright and lively. Offered for sale with a Gemmological Certification Services Sapphire Report, number 5782-817, dated 21.02.2022, stating:Origin Sri LankaComment No indications of heatingCondition Report Disclaimer
A SINGLE STONE DIAMOND RINGThe brilliant cut diamond weighing 1.07 carats, in a six claw settingSize/dimensions: finger size KGross weight: 3.2 gramsCondition Report: The diamond colour is estimated J, clarity VS2/SI1, a couple of mineral inclusions near the girdle, but the stone would benefit from repolishing as it has noticeable scratches to the table. There is some light wear to the setting commensurate with use.6.9mm diameterCondition Report Disclaimer
A SINGLE STONE DIAMOND RING London 2001The pear cut diamond weighing 3.17 carats, in a platinum claw settingSize/dimensions: finger size MGross weight: 5.4 gramsCondition Report: The diamond is very bright and well polished. The colour is estimated H, clarity SI1, with a small mineral inclusion to one side of the table. The inclusion is not visible to the naked eye, but can be seen in the table with a 10x jeweller's loupe. Some wear to the setting commensurate with use, the shank has been sized with a bead.The diamond is approximately 12.9mm long, and 14.1mm long including the claw tip, and approximately 8.1mm widest (excluding the claws). 4.9mm deep. The diamond was taken out of the setting to be weighed. Low fluorescence. Facetted girdle.Condition Report Disclaimer
A SINGLE STONE FIRE OPAL RINGThe oval cut fire opal estimated to weigh 8.23 carats, in a six claw setting, the shank stamped 18ctSize/dimensions: finger size Q 1/2Gross weight: 7.7 grams Condition Report: There are some scratches to the crown facets, some abrasion to the setting, slight thinning to the back of the shank and claws. Opal measures approximately 16.6mm x 13.6mm x 8.6mmCondition Report Disclaimer
GEORGINA FOLLETT, AN OPAL AND ENAMEL BROOCH/PENDANT AND DRESS RING The brooch with a central oval cabochon opal within a blue, green and yellow enamelled geometric surround, to a two pin brooch fitting, together with a matching opal and enamel dress ring, unsignedSize/dimensions: 4.8cm long, finger size N 1/2 Gross weight: 45 gramsProfessor Georgina Follett (b.1949) graduated from the Royal Collage of Art in 1974. Her involvement in Higher Education and progressive desire to develop and test different visual theories meant her work is continually evolving, but her main focus is on the technically demanding plique-à-jour enamelling. Some of her pieces can be found as part of the permanent collections at the Victoria and Albert Museum and the Museum of Scotland.Condition Report: The brooch opal has some cracks, however the stone appears intact currently and is well secured by its setting, some light scuffs to the setting. The opal in the ring has some scratches and abrasion to the top, and there is some abrasion to the setting from use, some rubbing to the enamel, a chipped area under one of the opal end sections, not highly noticeableCondition Report Disclaimer
A LATE GEORGE III SILVER NINE PIECE COMMUNION SET REBECCA EMES & EDWARD BARNARD I, LONDON 1813Engraved with the sacred monogram IHS across the stem of a cross with three nails inside a rayed frieze, and 'Christ Church, Birmingham. 1813', comprising: Two communion cups, 20.5cm (8in) highTwo cylindrical flagons, 32cm (12 1/2in) high Two standing patens, 20cm (8in) diameter Two plate patens, 25.5cm (10in) diameterA spoon tray, 17cm (6 3/4in) long; And a fiddle and thread pattern straining spoon by William Eley, William Fearn & William Chawner, 5660g (181.95 oz)Provenance: Sotheby's, London sale 'Silver, Portrait Miniatures and Objects of Vertu', Thursday 6th June 1996, lot 415 (lot labels).Christ Church, Birmingham, was a parish church in the Church of England on Colmore Row, Birmingham from 1805 to 1899. The church was built by public subscription. The site was donated by William Phillips Ing. The foundation stone was laid on 22nd July 1805 by George Legge, 3rd Earl of Dartmouth. The Earl of Dartmouth was representing King George III, who had intended to lay the foundation stone personally, but was prevented from doing so by illness. The King gave £1,000 (equivalent to £81,746 in 2019) towards the construction. The final cost was £26,000. It was consecrated on 6th July 1813 by James Cornwallis, 4th Earl Cornwallis, the Bishop of Lichfield. It was unusual in that all of the seating on the ground floor was free and it came to be known as the 'Free Church'. Condition Report: Generally good with light scratches and nicks commensurate with age and use, readable marks, engraving generally good, all sit well. Two communion cups- 1) 4 small dents towards bottom of bowl 2) GoodTwo cylindrical flagons- 1) Slight play in hinge, cover sits well, pinprick dent in cover 2) Very slight play in hinge, cover sits well, goodTwo standing patens- Engraved with the sacred monogram under feet, feet marked 1) 0.5cm nick to one edge otherwise good 2) GoodTwo plate patens- 1) Small dent to incurve 2) Several small dents and creases to incurve and baseA spoon tray- GoodAnd a fiddle and thread pattern straining spoon- Wear to engraving but still readable, marks goodCondition Report Disclaimer
A WILLIAM RIDGEWAY & SONS IMPERIAL STONE 'WELL &TREE' PHEASANT PATTERN MEAT DISH Printed painted and gilt, printed mark53cm longand another similar serving dish en-suite 53cm longtogether with twelve dinner plates en-suiteProvenance: from the collection of Victoria, Lady de Rothschild Condition Report: Dinner plates 26.5cm diameterDinner plates appear to be free from chips, one with hairline crackOne meat dish heavily crackedAll with light scratches and wear commensurate with age and useCondition Report Disclaimer
A LATE VICTORIAN RUBY AND DIAMOND FIVE STONE RING CIRCA 1900The rectangular cushion cut rubies interspaced by two old cut diamonds, with rose cut diamond points between, approximately 0.70 carats total, the shank stamped 18Size/dimensions: finger size N 1/2Gross weight: 3.8 gramsCondition Report: The shank has two sizing beads, the rubies are well matched, some nibbling to the crown facet edges, the diamonds are bright and lively, one has a cluster of black inclusions under the table, I1, the other Vs, assessed in settings. Most of the claws have been previously replaced, some thinning, the shank has been replaced. Condition Report Disclaimer
A VICTORIAN DIAMOND, RUBY AND EMERALD RING CIRCA 1880The central row of old cut diamonds, approximately 0.86 carats total, between a row of cushion cut rubies and a row of step cut emeralds, to tulip shaped shouldersSize/dimensions: finger size LGross weight: 4.4 gramsCondition Report: The diamonds are bright and lively, colour estimated H-I, clarity mostly Si, there are large naturals to the backs of the stones, and some small pin point inclusions, however as the inclusions are not dark they don't detract too greatly from the diamonds brightness, the rubies are fairly well matched, some slight variation in tone, bright and lively. The emeralds are bright, there is a large chip to one side of one of the emeralds. The shank has been resized, some wear to the shank, the shoulders are still quite crisp, the claws in the majority are ok, but there is one holding an emerald where it has a slight bit of damage, it is still holding the stone in place.Condition Report Disclaimer
MOSS AGATE. Two silver & moss agate brooches & a pair of silver & moss agate drop earrings. (Probably Cornish Stone Co.). Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
SILVER & AGATE. A silver & dyed blue agate pendant (probably Cornish Stone Co.) hung on a silver plated chain. Pendant length 5.2cm. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
BEN J. CHAVEZ. A North American silver & bone bracelet with matching ring by Ben J. Chavez. Each piece signed with facsimile signature & stamped Sterling. Ring size (adjustable) Q. Gross weight approx. 122g. (3.94 t. oz.). Also, an unrelated silver mounted stone pendant. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
SILVER CROSSES. Two silver crosses, one with silver chain. Also, a silver bracelet with padlock clasp & a silver dress ring set a lilac stone. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
SILVER CROSS ETC. A garnet set silver cross, a silver & semi precious stone necklace, a silver & brass flowerhead ring & a silver mounted pendant & similar earrings. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
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![Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, first issue [one of only 500], London: Bloomsbury, 19](https://cdn.globalauctionplatform.com/a900ee93-6d84-49ee-84c8-ae2b0097a2ca/25b89467-d9a5-4dfb-922d-ae4c016fbfb8/468x382.jpg)
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