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Click here to subscribeCa. 4000 BC. Neolithic, Northern Europe. A speckled dark grey stone perforated axehead, drilled to the centre and with flat butt to both ends. Provenance: Private UK Collection. Danish collection, 1950s-1990s. Private Belgium collection between 1997-2007; then sold to a British collector. Size: L:95mm / W:41mm ; 340g
Ca. 664 - 32 B.C. Late Dynastic to Ptolemaic Period. Egyptian. An ancient Egyptian mummiform ushabti group wearing a plain tripartite wig; the arms are crossed on the chest; and small hand hold a pick and hoe, faintly modelled in low relief. The Ushabti is flat-backed, and stands upon a trapezoidal base.The Egyptians assumed even after getting to the afterlife that life would not be easy, so they took magical figures with them called shabtis to ask a servant to make their afterlife as easy and trouble-free as possible.The idea of shabtis first appeared as wax figures in the First Intermediate Period. These gradually moved onto figures formed of stone and wood in mummiform shape. By the time of the New Kingdom during the Reign of Thutmose IV these became more stylised and would carry agricultural tools to assist them plough the fields, bring in the harvest and fill in the water channels.These figures were an important object in the tombs of the deceased and by the time of the Third Intermediate Period, tombs would carry them in chests in large supplies. These shabtis would come alive on the command of the dead and were called upon with magic from the Book of the Dead.Janes, Glenn, The Shabtis Collections, (3) Rochdale Arts and Heritage Services, Page 78, pl. 258.17.1 – 258.17.8.Warrington Museum and Art Gallery - Accession Number: RA.215 Provenance: From a London private family collection, formerly acquired on the UK art market in the 1960s - 1970s; then passed by descent. Size: L:Set of 5; 40-55mm / W:44486mm ; 40g
Ca. 2000–1700 BC. Neolithic period, NORTHERN EUROOE / SCANDINAVIA. A beautiful nordic flint dagger, grey in colour, with an elongated leaf-shaped blade convex on both sides, with sharp edges, the shoulders sloping to the long handle shaft, triangular in section, terminating in a fish-tailed butt. The worked flint daggers were much sought-after among the farming societies in Denmark at the end of the third millennium BC. They came into use all over the country but were mainly made in northern Jutland and southeastern Denmark. While many of the flint implements of the Stone Age such as axes and knives were essential to life, the daggers do not seem to have been usable for everyday activities. They had another function. They were prestige objects that were used to show the owner’s status. In the men’s graves of the Dagger Period, the daggers lie by the waist of the body. For a similar example see no. 505, p. 121 in Glob, P. V. (1948). 'Danish Antiquities: Late Stone Age', vol. II; and no. 4.220, p. 80 in McAlpine of West Green, Brown, MacGregor, Brown, Ann, MacGregor, Arthur, Ashmolean Museum, & University of Oxford. (1987). Antiquities from Europe and the Near East in the collection of the Lord McAlpine of West Green. Oxford: Ashmolean Museum. Provenance: Private UK Collection. Danish collection, 1950s-1990s. Private Belgium collection between 1997-2007; then sold to a British collector. Size: L:280mm / W:46mm ; 175g
Ca. 5000–3000 BC. Neolithic. A nice ground axe head with a slightly rounded butt and curved edge, the ground socket with expanding edge has a hole drilled in to accept a haft. During the Neolithic period, stone axes were a widely used tool for multiple different tasks; to clear forests for early farming to make space to grow crops and keep animals. Axes were also used to prepare different parts of the animals they killed. They would butcher the meat and prepare the skins. They could also use them to dig up different things when needed. When needed, they were used as a weapon. Provenance: Private UK Collection. Danish collection, 1950s-1990s. Private Belgium collection between 1997-2007; then sold to a British collector. Size: L:140mm / W:43mm ; 370g
Ca. 200–400 AD. Gandharan. A schist stone head of a bodhisattva on a modern wooden stand. He is presented with the adornments of a North Indian prince, with elegant hair and an elaborate headdress. The headdress is designed like two horses on the headband, their faces meeting above his forehead, with a lion depicted in the centre of his top knot. The lion had long had associations with strength and majesty in this region, but it may have been the Classical influence and the importation of Heracles imagery that popularised the use of lions in head and hair décor. This rich decoration clarifies he is a bodhisattva, finery representing spiritual riches before attaining the simpler attire of a Buddha. A bodhisattva was originally conceived as Gautama on his path to enlightenment before he became the Buddha, but by this point, it was conceived as anyone who was in the process of reaching enlightenment, or who had reached it but, forsaking nirvana, chose to remain in this world to teach others how to reach it too. His finely modelled face is decorated an urna on his forehead that symbolises the third eye and spiritual clarity. This would probably have been part of a full-size statue, and the iconography of the body’s posture and accoutrements might have revealed the exact identity of this bodhisattva. The back is unworked, and this would likely have adorned a stupa or another holy site. Gandhara sat at the crossroad of civilisations on the Silk Road, drawing on influences from across the world, and its earlier conquest by Alexander the Great had left a legacy of Greek artisans and enduring Hellenistic style. This makes Gandharan art distinct for its use of Buddhist themes and iconography with some of the delicate naturalism of Greek sculpture. Here the delicate realism of Classical influence can be seen in the round smoothness of his cheeks and other features, while the almond-shaped form of his downturned eyes retains a sharp and traditional Buddhist style. Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in Belgium; previously in 1970s European collection. Size: L:(with stand) 280mm / W:110mm ; (with stand) 3.3kg
Ca. 100–300 AD. Roman/Parthian. A restrung and wearable necklace comprising a single string of beautiful stone and glass beads in creamy yellow hues in a variety of shapes, including three ribbed beads. Beads were an important part of Roman and Parthian women's dress and were used both for aesthetic purposes and to communicate social messages of status and wealth. For more information on Roman bead types, see M. Guido (1978), The glass beads of the prehistoric and Roman periods in Britain and Ireland. London: Society of Antiquaries. Provenance: Private UK collection; From an old British collection formed in the 1990s. Size: L:255mm / W:mm ; 31.2g
Ca. 5000 BC. Neolithic period, Northern Europe. A large polished red-coloured stone axe with rounded edges, broad curved blade, and pointed poll. In the Neolithic period, people began to use axes that had been polished. The polished axes made it possible to cultivate the land – large trees could be felled so there was space for fields. But these axes were also used when houses and fences were to be built or if firewood was to be chopped. Besides being tools, axes could also have important ritual and social functions. Over the course of the Neolithic period, the shape of axes changed. First, they were ‘point-butted’, then they became thin-butted, and, finally, they were thick-butted. For a Neolithic stone axe head of similar shape, see https://www.britishmuseum.org/collection/object/H_1958-0506-5616. To find out more about Neolithic axes, see Kendrick, T. (1925). 'The Axe Age: A study in British prehistory.' London: Methuen &. Co. Provenance: Private UK Collection. Danish collection, 1950s-1990s. Private Belgium collection between 1997-2007; then sold to a British collector. Size: L:180mm / W:48mm ; 715g
Ca. 1200–700 BC. Western Asiatic. A bronze dagger with a long, leaf-shaped bevelled blade, horizontal guard, concave handle that would have been inset with stone, bone or ivory, and a crescent moon-shaped pommel; custom-made stand included. Bronze weaponry production flourished in Western Asia, the Aegean, and mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it. For more information, see Moorey, P. R. S. (1971). Catalogue of the Ancient Persian Bronzes in the Ashmolean Museum. Oxford: Oxford University Press. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s. Size: L:423mm / W:48mm ; 280g
Ca. 200–300 AD. Roman. A beautiful gold ring with a hollow circular band, flared shoulders, and an ellipsoidal bezel inset with a carnelian stone depicting a left-facing profile bust of Fortuna (or Tyche) wearing a turreted crown and a scarf tied over her chignon. In Roman religion, Fortuna was the goddess of chance or lot who became identified with the Greek Tyche; the original Italian deity was probably regarded as the bearer of prosperity and increase. As such she resembles a fertility deity, hence her association with the bounty of the soil and the fruitfulness of women. Her iconography was known to the whole ancient classical world due, among other things, to the famous monumental statue of Tyche made for the city of Antioch by Eutychides of Sikyon in about 296 BC. In Italy, Fortuna was worshipped extensively from the earliest times. At Praeneste (near Rome) her shrine was a well-known oracular seat, as was her shrine at Antium. For a gem with a similar intaglio depicting Tyche sold at Christie's, see https://www.christies.com/lot/lot-5004613. To find out more about Roman jewellery production, see Higgins, R. (1980). Greek and Roman jewellery. London: Methuen. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Provenance: Private UK collection; From an old British collection formed in the 1990s. Size: D: 210mm / US: 4 / UK: U; 1.56g
Ca. 3000–2000 BC. Indus Valley Civilisation. A shallow terracotta bowl in a deep amber colour standing on a ring foot. The interior is decorated with concentric panels featuring linear decoration and moon-shaped motifs near the rim; two stylised fish encircle the central panel decorated with concentric squares, circles, and further linear motifs. The exterior is decorated with two concentric black lines near the ring foot and vertical lines of dots. The Indus civilization, also called the Harappan civilization, is the earliest known urban culture of the Indian subcontinent and was an important Bronze Age culture that arose around ca. 3300 BC and lasted until ca. 1300 BC. It extended from modern-day northeast Afghanistan to Pakistan and northwest India. The nuclear dates of the civilization appear to be about 2500–1700 BC, though the southern sites may have lasted later into the 2nd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel. Perhaps the best-known artefacts of the Indus civilization are a number of small seals, generally made of steatite depicting a wide variety of animals, both real—such as elephants, tigers, rhinoceros, and antelopes—and fantastic creatures. Sometimes human forms are included. A few examples of Indus stone sculpture have also been found, usually small and representing humans or gods. There is a fair number of small terra-cotta bowls decorated with figures of animals like the present item. To find out more about the Indus civilisation and its material culture, see Possehl, Gregory L., 2002. The Indus Civilization: a Contemporary Perspective. Walnut Creek, CA: AltaMira Press. Provenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s. Size: L:100mm / W:290mm ; 1.2kg
Ca. 3100–2500 BC. Bactrian. A fine Bactrian alabaster vessel, featuring a rounded flared base and a tall conical body. It has a beautiful cream colour, with brownish sprinkles running through its body. Alabaster was a precious material, widely traded in the region from the 4th millennium BC onward. The purpose of such a vessel is not known. Pieces like this one often came from burials and votive offerings. Along with others that make up the typology of stone vessels, such as column or circular idols, these objects are all characteristic of the Bactrian material culture. This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system. It was one of many economic and social entities in the vicinity and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India, and the Arab States, amongst others. Many stone carvers inhabited the regions of Margiana and Bactria and there was no shortage in raw material of soft steatite or dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi-precious lapis-lazuli, was in Bactria, at Badakhshan (now north-western Afghanistan), which provided material not only for the Bactrian and Margian carvers but also, further to the west into Mesopotamia, for the Assyrian kings. For more information on Bactria, see Mairs, R. (ed.) (2020). The Graeco-Bactrian and Indo-Greek World. London: Taylor & Francis. Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets. Size: L:190mm / W:95mm ; 1.4kg
Ca. 332 B.C. Ptolemaic Period. Egypt. An ancient Egyptian mummiform figure in a rich green glazed faience wearing a plain tripartite wig and a divine beard. The arms are crossed at the waist, and the hands hold very faintly modelled implements, assumed to be a pick and hoe. The fairly broad upper torso tapers don to narrow ankes. This figure is supported by a dorsal pullar, and they both stand upon a shallow trapezoidal base.The Egyptians assumed even after getting to the afterlife that life would not be easy, so they took magical figures with them called shabtis to ask a servant to make their afterlife as easy and trouble-free as possible.The idea of shabtis first appeared as wax figures in the First Intermediate Period. These gradually moved onto figures formed of stone and wood in mummiform shape. By the time of the New Kingdom during the Reign of Thutmose IV these became more stylised and would carry agricultural tools to assist them plough the fields, bring in the harvest and fill in the water channels.These figures were an important object in the tombs of the deceased and by the time of the Third Intermediate Period, tombs would carry them in chests in large supplies. These shabtis would come alive on the command of the dead and were called upon with magic from the Book of the Dead.Janes, Glenn, The Shabti Collections (3) Rochdale Museum; For related period shabtis see page 85.Rochdale Museum, Rochdale, United Kingdom.Accession number: 1115.Related period shabtis. Provenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection. Size: L:60mm / W:20mm ; 10g
Ca. Late 3000–Early 1000 BC. A large and finely polished fish-shaped axe in light beige stone, with an asymmetric convex cutting edge tapering to shouldered and 'hammer' butt, a hole has been drilled to receive a handle. Provenance: Private UK Collection. Danish collection, 1950s-1990s. Private Belgium collection between 1997-2007; then sold to a British collector. Size: L:190mm / W:60mm ; 895g
Ca. 3100–2500 BC. Bactrian. A stunning alabaster chalice with a tall stem and a conical base topped with a bowl with slightly flaring walls. It has a beautiful cream colour, with brownish veins running through its body. Alabaster was a precious material, widely traded in the region from the 4th millennium BC onward. The purpose of such a vessel is not known. Pieces like this one often came from burials and votive offerings. Along with others that make up the typology of stone vessels, such as column or circular idols, these objects are all characteristic of the Bactrian material culture. This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system. It was one of many economic and social entities in the vicinity and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India, and the Arab States, amongst others. Many stone carvers inhabited the regions of Margiana and Bactria and there was no shortage in raw material soft steatite or dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi-precious lapis-lazuli, was in Bactria, at Badakhshan (now north-western Afghanistan), which provided material not only for the Bactrian and Margian carvers but also, further to the west into Mesopotamia, for the Assyrian kings. For more information on Bactria, see Mairs, R. (ed.) (2020). The Graeco-Bactrian and Indo-Greek World. London: Taylor & Francis. Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets. Size: L:230mm / W:105mm ; 1.2kg
Ca. 5000–3000 BC. Neolithic. Northern European. A finely ground boat-shaped stone axe head with a vertical socket, rounded butt and a curved edge. The ground socket with expanding edge has a hole drilled in to accept a haft. During the Neolithic period, stone axes were a widely used tool for multiple different tasks; to clear forests for early farming to make space to grow crops and keep animals. Axes were also used to prepare different parts of the animals they killed. They would butcher the meat and prepare the skins. They could also use them to dig up different things when needed. When needed, they were used as a weapon. Provenance: Private UK Collection. Danish collection, 1950s-1990s. Private Belgium collection between 1997-2007; then sold to a British collector. Size: L:100mm / W:37mm ; 310g
Ca. 200–400 AD. Gandharan. A schist stone statue of a bodhisattva. He is seated cross-legged on a decorated plinth, richly dressed in the fine garments of a North Indian prince, with various necklaces, bracelets, and a loosely draped sanghati robe. His hair is tied up in an elegant floral headdress. This clarifies he is a bodhisattva, with jewellery and finery representing spiritual riches before attaining the simpler attire of a Buddha. A bodhisattva was originally conceived as Gautama on his path to enlightenment before he became the Buddha, but by this point, it was conceived as anyone who was in the process of reaching enlightenment, or who had reached it but, forsaking nirvana, chose to remain in this world to teach others how to reach it too. His finely modelled face is decorated an urna on his forehead that symbolises the third eye and spiritual clarity. His hands are held together resting in his lap, and they hold a lotus flower. The lotus was a symbol of absolute purity, and as the beautiful flower emerged from muddy waters in nature it was seen as a symbol of attaining purity out of impurity. The front of the plinth depicts two towers framing a fire altar scene in which two worshippers flank the altar. The rear is unworked, and this piece probably decorated a stupa. The almond-shaped eyes and the statue’s iconography are typically South Asian Buddhist, but elements like the smoothness of the face and the musculature of the body draw on Classical tradition. Gandhara sat at the crossroad of civilisations on the Silk Road, drawing on influences from across the world, and its earlier conquest by Alexander the Great had left a legacy of Greek artisans and enduring Hellenistic style. This makes Gandharan art distinct for its use of Buddhist themes and iconography with some of the delicate naturalism of Greek sculpture. Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in Belgium; previously in 1970s European collection. Size: L:375mm / W:210mm ; 5.9kg
Ca. 3000–2000 BC. Indus Valley Civilisation. A shallow terracotta bowl in a deep amber colour standing on a ring foot. The interior is decorated with a lion, two stylised birds and linear motifs. The central panel is decorated with concentric squares and further geometric motifs. The exterior is undecorated. The Indus civilization, also called the Harappan civilization, is the earliest known urban culture of the Indian subcontinent and was an important Bronze Age culture that arose around ca. 3300 BC and lasted until ca. 1300 BC. It extended from modern-day northeast Afghanistan to Pakistan and northwest India. The nuclear dates of the civilization appear to be about 2500–1700 BC, though the southern sites may have lasted later into the 2nd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel. Perhaps the best-known artefacts of the Indus civilization are a number of small seals, generally made of steatite depicting a wide variety of animals, both real—such as elephants, tigers, rhinoceros, and antelopes—and fantastic creatures. Sometimes human forms are included. A few examples of Indus stone sculpture have also been found, usually small and representing humans or gods. There is a fair number of small terra-cotta bowls decorated with figures of animals like the present item. To find out more about the Indus civilisation and its material culture, see Possehl, Gregory L., 2002. The Indus Civilization: a Contemporary Perspective. Walnut Creek, CA: AltaMira Press. Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s. Size: L:95mm / W:220mm ; 710g
Ca. 3000–2000 BC. Indus Valley civilisation. A shallow terracotta bowl in a deep amber colour standing on a ring foot. The interior is decorated with concentric panels featuring stylised birds below the rim (perhaps roosters) interspersed with branches; three concentric lines encircles a floral motif with a hatched pattern. The exterior is undecorated. The Indus civilization, also called the Harappan civilization, is the earliest known urban culture of the Indian subcontinent and was an important Bronze Age culture that arose around ca. 3300 BC and lasted until ca. 1300 BC. It extended from modern-day northeast Afghanistan to Pakistan and northwest India. The nuclear dates of the civilization appear to be about 2500–1700 BC, though the southern sites may have lasted later into the 2nd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel. Perhaps the best-known artefacts of the Indus civilization are a number of small seals, generally made of steatite depicting a wide variety of animals, both real—such as elephants, tigers, rhinoceros, and antelopes—and fantastic creatures. Sometimes human forms are included. A few examples of Indus stone sculpture have also been found, usually small and representing humans or gods. There is a fair number of small terra-cotta bowls decorated with figures of animals like the present item. To find out more about the Indus civilisation and its material culture, see Possehl, Gregory L., 2002. The Indus Civilization: a Contemporary Perspective. Walnut Creek, CA: AltaMira Press. Provenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s. Size: L:85mm / W:210mm ; 630g
Late 19th Century Wool Work Picture Depicting the British Raj in India, worked using a variety of stitches depicting a stone fort flying the Union Jack, coconut trees in the foreground with figures climbing them, white tents and smaller brown huts with figures amongst them, including soldiers on patrol carrying rifles across their shoulders, coloured hills to the background with white stone buildings to the top, numerous flying birds, in a later frame, 54cm by 53cm
Assorted Early 20th Century Costume Accessories, comprising a pair of N Grecot Paris shoes with silk mounts, cream heels with gilt painted decoration and set with paste stones; pair of Hahn Washington pink brocade heeled shoes; pair of W Barratt & Co Northampton black silk Mary Jane shoes, black heels inlaid with paste stones; a black multi-pleated suede hat labelled 'Rose Valois Paris' and 'Best & Co New York, Paris'; Hattie Carnegie gilt metal mesh flapper hat, edged with faux pearls and flower heads; kid leather gloves and a small snakeskin hinged purse with carrying handleCondition report: Black shoes - one diamante stone missing to the heel, slight scuffing to the toes and wear.Grecot shoes - diamante stones missing to each heel and rubbing/wear. Silk is very loose and scuffed/worn.Pink brocade shoes - slight rubbing to the toe, brocade and interior.Hattie Carnegie hat - slight wear.Snakeskin bag - slight wear.Gloves - slight wearRose Valois hat - fading and slight wear.Length of shoe approximtely from toe to back of shoe are 25cm for the black shoes; Grecot shoes 23.5cm and Pink shoes 23cm
PENTTI SARPANEVA - A FINNISH BRONZE AND PYRITE JEWELLERY SUITE, comprising a pendant on chain, bracelet and a ring, of heavily textured pierced circular plaques set with pyrite, signed P. Sarpaneva, Finland Bronze. (3) Pendant 7cm diameter, chain length 65cm, bracelet length 19cm by 3.5cm wide, ring size L (adaptable)CONDITION REPORTOne stone to the bracelet is labradorite rather than pyrite.
AN AQUAMARINE, CHRYSOBERYL AND PINK TOURMALINE FRINGE NECKLACE, the front with graduated drops set with vari-cut stones in claw settings to knife-edge bars, to a belcher chain, marked '15CT'. Drop length 1.0-1.5cm, chain length 37cm, 9.4 gramsCONDITION REPORTVery slight bending to some knife edge bars. There are chips noted to two tourmaline (one to the back of the stone), one chrysoberyl and one aquamarine. The aquamarine are pale. The largest stone (pink tourmaline) measures 5.16 x 4.05 x 2.00mm approximately. The stones are a mixture of octagonal-cut, oval-cut and rough mixed trap-cut. It fastens with a tongue and barrel clasp.
A DIAMOND THREE STONE RING, round brilliant-cut diamonds in a bar setting, to a tapering shank, total estimated diamond weight 0.60 carat approximately, marked '18C', ring size 2. 9.5 gramsCONDITION REPORTLight general wear. The estimated qualities of the diamonds are; colour: H/I; clarity: SI1/SI2.
AN 18 CARAT GOLD DIAMOND THREE STONE RING, graduated round brilliant-cut diamonds in claw settings, total estimated diamond weight 0.70 carat approximately, hallmarked London 1988, ring size P. 3.4 gramsCONDITION REPORTGood overall condition. The estimated qualities of the diamonds are; colour: F/G/H; clarity: SI2/I1.
A 9 CARAT GOLD COMPOSITE BLACK OPAL RING, an oval composite black opal in a bezel setting to forked shoulders, hallmarked London 1977, ring size P1/2. 4.8 gramsCONDITION REPORTProbably an opal doublet or triplet, the setting prevents determining which, please be aware this is a composite stone and not pure black opal. Stone measures 16.26 x 12.28 x 3.96mm, condition of the top layer good, frosting noted between the opal and top composite layer.
A PAIR OF RED STONE AND MOTHER-OF-PEARL DOUBLE CUFFLINKS, of chain-linked button motifs, Continental assay marks. Heads 1.2cm, 7.9 gramsCONDITION REPORTThe stones appear to be a possible mixture of ruby and paste but size and setting prevents thorough gemmological testing. One stone missing. One central 'cross' in yellow metal, the others in white. Appear converted from studs into cufflinks.
A SAPPHIRE AND DIAMOND THREE STONE RING, a round-cut sapphire spaced by round brilliant-cut diamonds in claw settings, total estimated diamond weight 0.65 carat approximately, ring size O1/2. 5.0 gramsCONDITION REPORTGood overall condition. The sapphire measures 7.23mm x 7.29mm x 3.76mm approximately. The estimated qualities of the diamonds are; colour: H/I; clarity: SI1/SI2. It is not hallmarked or stamped but in our opinion would test as white gold.
Hardcover book of Harp, or adapted for harp music, circa 1820 ? 1830, Size 9.75? to 14 inches. Condition and Binding refer to photos. This is harp history and a look into how entertainment took place nearly 200 years ago. Harp is in gold on the spinePencil markings evidence that most of the 1st section was written from Boscha to his pupils.6 pieces by N.C.Boscha 1 by Chatterton with 1 piece referring to a singing by Madame Stockhausen.1 piece of Swiss Airs is noted as performed before His Majesty; 2nd sectionCAMBRIAN HARMONYIntroductory page followed by 2 pages containing lists of subscribers.Collection of Welsh Airs which, at that time, had never been published before. The pieces are adapted for harp and piano by Richard Roberts. They were arranged as they were originally performed by the Ancient Britons. They were published for the author and to be had at his residence in Carnarvon.Three samples of the airs :Dyfyrwch y Brenyn or King?s JoyDafydd Carregwen White stone a beautiful airBeth Gelart or Gelert?s Grave. And many more
A stunning three stone diamond platinum ring comprising of three round brilliant cut diamonds, slightly graduated in size, set in double shared claws to looped collets with raised open chenier shoulders leading to a D profile shank, measuring 1.70mm at base, head 5.95mm depth, total carat weight approx 2.03ct (0.80ct, 0.62ct, 0.61ct) VS2/Si1, colour F/G, girdles:all bruted, knife edge to thin the centre featuring a natural, unhallmarked stamped as 'Platinum', total weight approx 3.2 grams, in very good conditionWith an Insurance valuation for £12,350
A vintage stone sink converted to a trough, height 25cm, width 77cm, depth 56cm, and a two section slate mantelpiece, width 180cm (2).PROVENANCE: The Raymond Rush Collection. Mr Rush was an engineer, farmer and lay preacher who lived at Golden Cross Farm in Siddington, Cheshire. He was also a historian, broadcaster, author and speaker who regularly gave talks on local history, agricultural history and historic curios. In addition, he was also an accomplished maker of corn dollies.PLEASE NOTE: This lot is being sold in-situ from a local farm house in Siddington. Collection within the week by Friday 26th. Full collection and payment information will be emailed with invoice following the sale.Additional InformationThe trough has its draining hole blocked up and is heavily worm along the one edge. he mantelpiece is grubby and scratched with chips and losses throughout.
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