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Lot 573
A PAIR OF GARDEN URNS POSSIBLY COADE STONE, LATE 18TH / EARLY 19TH CENTURY each of Campana shape, with a bead and palmette decorated everted rim, the body decorated with scrolls and further anthemion motifs and a gadrooned base, on associated composition stone socles, together with a copy of 'Mrs Coade's Stone' by Alison Kelly (3) 68.5cm high, 55cm diameter
Lot 293
A 9ct gold turquoise cluster ring, comprising nine polished turquoise cabochons, claw set in 9ct gold to pierced scrolling shoulders and plain polished shank, ring size N, together with a white sapphire set eternity ring, stamped '9ct', ring size L, a diamond three-stone unmarked gold coloured ring (at fault), and a Victorian mourning ring (at fault) (4)
Lot 282
A diamond three-stone 18ct gold ring, comprising three round old cut diamonds (total approximate diamond weight 0.20 - 0.25 carats), claw set in platinum to tapering shoulders and plain polished 18ct yellow gold shank, ring size N, together with a George V 9ct gold blue stone set bar brooch, marks for Chester 1919, 5.6cm wide, gross weight 4.5gms (2)
Lot 364
After John Boultbee (British, 1753-1812),'The Durham Ox',Engraving on paper by John Whessell (circa 1760-circa 1840), printed in colours with hand finished additions, published by John Day 1802,Printed inscription to lower margin reading 'To The Right Honorable Lord Somerville,This Print is with great respect humbly dedicated, by his Lordship's most obedt. humble Servant John Day. This wonderful Animal is now the property of Mr. John Day of Harmston, near Lincoln, and was March 20 1802, six years old. Subscriptions taken for this Print in the first Year, amounted to two thousand and upwards, from whence the Public opinion of this beautiful Animal may well be ascertained. This Ox is still in a growing and improving state, and weighs according to the computation of the best judges 30 Score pr. Quarter, which is 300 Stone 14 lb to the Stone',54.5cm x 67.5cm,Framed and glazed
Lot 307
A large quantity of of vintage and modern jewellery, to include a necklace and earring suite by Ciro, a silver puffin necklace by Catherine Best, a Whitby jet necklace and matching earrings, an assortment silver and semi-precious stone set earrings, rings, brooches and necklaces, and a further assortment of gold coloured, silver coloured, glass and ceramic jewellery, including rings, earrings, necklaces and brooches (Qty)
Lot 239
A sapphire and diamond three-stone ring, the (untested) central mixed, cushion cut sapphire (measuring 6.98mm x 6.03mm), with a round brilliant cut diamond to each side, each weighing approximately 0.30 carats, all claw set in 18ct white gold to the tapering shoulders and plain polished shank, ring size M 1/2, weight 3.4gmsCR; PLEASE NOTE: This stone has not been tested for synthetic or natural origin, however it is the opinion of the valuer that the stone is of natural origin. This stone has not been tested for heating/ treatment. Through 10x magnification, colour banding is visible. In reflected light, some small crystals are visible, and there are some faint fingerprint inclusions - these occur naturally, but can be indicative of heat treatment.There is moderate abrasion and nibbling to the facet edges of the sapphire There is a small chip to the girdle. Stone shows moderate scratching and wear overall. The claws are secure. The diamonds are in good order, no cracks, chips or losses. We are unable to provide colour and clarity grades due to the setting, however the estimated clarity of the stones is SI/VS, and the stones appear bright and sparkly face up, with a minor draw of colour. The claws are secure.The shank shows moderate scratching and wear, and some thinning, but no splitting or signs of repair. Marks for Sheffield 2005.
Lot 257
A diamond three-stone ring, the central round brilliant cut diamond (weighing approximately 0.05 carats), with a further diamond to either side (weighing approximately 0.02 carats), all illusion set in platinum to engraved foliate shoulders and plain polished 18ct yellow gold shank, ring size L, weight 2.6gms
Lot 287
An yellow gold lapis lazuli set bracelet, circa 1975, the yellow metal articulated bracelet designed as repeating abstract floral forms set with polished oval lapis lazuli cabochons, with tongue and box snap clasp fastening, indistinctly marked, 2.6cm wide, 19cm long, weight 59.6gms This bracelet has been XRF tested and as been assessed as a minimum 17ct gold.All lapis present. One stone shows a large amount of glue repair. All stones show light to moderate scratching and wear.Links do not lie completely flat on a level surface. Some minor splitting and denting to the sides and reverse of the links. All links are moderately scratched and show signs of wear and tear. The tongue and box link closes securely and opens smoothly. The safety catch is dented and bent, but does latch securely.
Lot 197
A diamond five-stone ring, comprising five old cut diamonds (estimated total diamond weight of 0.35ct), all bezel set in white gold to tapering yellow gold shoulders and plain polished shank, ring size M 1/2, weight 4.1gmsCR; There is a chip to one of the star facet of the central diamond, and a chip to the girdle. There appears to be no cracks, chips or losses to the other stones. All stones show some scratching, wear and abrasion consistent with wear. There are some gaps between the girdles of the diamonds and settings, but all stones appear secure. There appears to have been some repair to the settings on the outer diamonds, but no other splitting or damage. The shank is in good order, no splitting, thinning or signs of repair.
Lot 290
A sapphire and diamond cluster ring, the central oval mixed cut blue sapphire (measuring 12.20mm x 9.55mm x 6.52mm, weight 6.44 carats), bezel set to a surround of twenty-eight rose cut diamonds, all set in white metal, plain polished shank stamped 'Plat', ring size M, weight 7gms With accompanying Gemmological Certification Services report no. 81316-67, stating that the carat weight is 6.44ct approx, that the stone is a natural corundum sapphire and there are no indications of heating.CR; The central stone is in good order. No cracks, fractures or nibbling. Very minor scratching and wear only. All diamonds to the surround are present, some show nibbling and small chips visible under 10x. Some areas of thinning and wear to the setting and shank, but no signs of splitting. Possible signs of repair to the shank. This ring is believed to be early to mid-20th century.
Lot 204
An opal and diamond cluster pendant, the central polished opal cabochon (measuring 14.5mm x 10.1mm x 3.8mm), with a surround of twenty round old cut diamonds, claw set to a gold coloured mount, 20mm x 15mm, suspended on a 9ct gold curb link chain with lobster claw and loop fastening, 42.5cm long, gross weight 6.2gmsCR; Please note that the central opal has not be laboratory tested for synthetic or natural origin. There is a small chip to the reverse, and a surface reaching crack around 3/4mm long on the reverse of the stone. Claws show some wear, one is broken, but the central opal is secure. All diamonds are present - some have small nibbles and chips to the facet edges visible under 10x. Some wear to the settings, but no splitting, major damage or repair. There does appear to be a fitting to the reverse, suggesting this is a transitional piece (see additional pictures). The metal of this pendant is unmarked and untested. Some links to the chain show signs of possible repair. The claw is in working order.
Lot 61
12 BOTTLES SOUTH AFRICAN WHITE WINETokara Reserve Collection Chardonnay 2019; Glen Carlou Verdelho 2018; Glen Carlou Quartz Stone Chardonnay 2019; Eagles' Nest Viognier 2018; Klein St Chardonnay 2019; Kleine Zalze Chenin Blanc 2020; Kleine Zalze Sauvignon Blanc 2020; Asda Extra Special Sauvignon Blanc 2019; Lidl Sauvignon Blanc 2019; Morrisons The Best Sauvignon Blanc 2019; Morrisons Chenin Blanc 2020; Waitrose Chenin Blanc 2019
Lot 162
A set of three composite stone sculptures of Classical figuresLate 19th/ early 20th centuryOne modelled as a maiden holding a snake, the other with flowers, and the third with an eagle to her side, together with three stone plinths, 63cm wide, 53cm deep, 154cm high (25in wide, 21in deep, 61in high) (6)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 161
After the antique, a carved marble figure of Diana of Gabill19th centuryHer right arm raised (now lacking hand) adorned in drapery standing on a plinth base, together with a stone column plinth base, weathered, 44cm wide, 36cm deep, 143 cm high (17in wide, 14in deep, 56in high) the plinth bae: 38.5cm high (2)Footnotes:Widely believed to represent the Goddess Artemis and traditionally attributed to the sculptor Praxiteles. The sculpture on which the present lot is modelled was discovered in 1792 by Gavin Hamilton on the property of the Prince Borghese at Gabii and immediately became part of the Borghese collection. It is now housed in the Louvre.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 115
A SAPPHIRE AND COLOURLESS STONE BRACELET, of openwork design, the continuous line of circular colourless stones between borders of oval-shaped sapphires, mounted in silver, length 18.8cmCondition Report: The colourless stones are not diamondsMounted in 925 for silverSapphires - blue dark tone - not tested for natural origin or treatmentTotal gross weight approx. 36.8g
Lot 125
THREE ART NOUVEAU BROOCHES, one brooch (possibly a former central plaque for choker), of openwork foliate design, decorated with green enamel plique-a-jour, with baroque pearl highlights, mounted in silver, with maker’s mark for Karl Hermann or Levinger & Bissinger, length 4.5cm, width 8.3cmA second brooch of Egyptian revival design, the central carved scarab in greyish-green hardstone highlighted by two blue cabochons, the wings decorated with green and turquoise enamel plique-a-jour, mounted in silver, with unidentified mark, width 12.4cmA third brooch of Egyptian revival design, the central faceted purple stones (possibly glass) highlighted with two similar stones, the wings decorated with green and turquoise enamel plique-a-jour, mounted in silver, with unidentified mark, width 12cmThe designs of Art Nouveau jewellery first began to appeal to the masses during the period known as the Belle Époque (1890-1910), yet their popularity reached its zenith in the decade leading up to World War I. While the Edwardian sensibility was far more interested in stones than in their settings, an artier crowd during this time began to veer towards a more intricate type of jewellery with an increased focus on detailed craftsmanship. The work of Art Nouveau artists and jewellers was inspired by the natural world, which was exoticized in their creations to show curling lines and elaborate arabesques.Recurring motifs included dragonflies and peacocks, whose bold colours provided ideal grounds for beautiful enamel work and advanced metalworking techniques. Renowned jewellery designer and silversmith Heinrich Levinger was an early advocate of the Art Nouveau style from the town of Pforzheim in Southern-West Germany. Pforzheim was famous for its jewellery-making traditions from the mid-18th century, ensuring the small town was dubbed the “Golden City”. Levinger worked here during the latter part of the 19th century up and founded his workshop around the year 1881, when he was listed in a Pforzheim address book as a dealer in bijourterie wares. By 1893, Levinger’s workshop had become renowned for the creation of gold and silver wares and novelty items worked in silver and enamel, inspired by the waves of Art Nouveau and Japonisme trends which had spread throughout western Europe at the turn of the 20th century. The talented craftsman followed in the footsteps of emerging artists such as René Lalique, who was hugely influential in pushing the boundaries of acceptable themes and materials in the world of jewellery design towards the end of the Victorian era.Heinrich Levinger died in 1899 and left his workshop to Emil Levinger, who sought to lead the firm in a new direction by producing more modern silver jewellery. Wishing to expand the firm, Emil was joined in 1903 by jewellery designer Karl Bissinger, who worked as artistic partner of alongside Emil. Together, the two became known as Levinger & Bissinger from 1904 onwards. They executed their own designs as well as those of other artists. Collaborations included the creationof Art Nouveau pieces with Austrian designer Otto Ptrutscher (1880-1949) and German designer Goerg Kleemann (1863-1932). Bissinger eventually left the firm in 1909, and Emil decided to return to the name of his predecessor, Heinrich Levinger, under which the workshop had experienced its original success. The first creations by German jeweller Karl Hermann were recorded in 1898, under the mention of his workshop in Pforzheim, Germany, in the same local address book as his contemporary Heinrich Levinger. Here, the firm advertised itself as a factory for jewellery and enamelled silverware. By 1902, the workshop had expanded enough for Hermann to require a business partner and he recruited his former jewellery technician Albert Speck to join him in running the bourgeoning business. From this time onwards the company used the mark ‘HS’, continuing to work under the name of Karl Hermann, even after he left the business to the solecare of Albert Spec in 1906.By 1900, Karl Hermann’s workshop was well known in the area for creating pieces which were heavily influenced by the Art Nouveau stylistic approach which had taken the jewellery industry by storm at the turn of the 20th century.For another design by Karl Hermann from the same year, please see Chadour-Sampson, B. and Newell-Smith, S. (2021) Tadema Gallery London: Jewellery From the 1860s to 1960s, p. 135, no. 222.For a comparable brooch by Levinger & Bissinger, please see Chadour-Sampson, B. and Newell-Smith, S. (2021) Tadema Gallery London: Jewellery From the 1860s to 1960s, p. 134, no. 221.Condition Report: Brooch no1: Normal signs of wear, no damage observed on plique-a-jour, clasp on the reverse loose, total gross weight approx. 31gBrooch no2: some loss of colour/enamel on the wings, mark on the reverse unidentified, clasp loose, total gross weight approx. 18.9gBrooch n3: purple glass, main stone with obvious chips, some signs of repair on the enamel, clasp loose, total gross weight approx. 19.10g
Lot 329
CD Singles, approximately two hundred CD singles including Promos and Special Editions with artists including Oasis, U2, Tori Amos, Charlatans, Blur, Sigur Ros, REM, Cranes, Manic Street Preachers, Depeche Mode, Stone Roses, The The, Flaming Lips, The Orb, Primal Scream, Peter Gabriel, Therapy, Suede and more - mainly all in Excellent condition
Lot 116
7" Singles, approximately four hundred 7" singles of mainly Pop and Rock with artists including Kate Bush, Madonna, Bon Jovi, Stone Roses, REM, Saxon, Magnum, Marillion, Depeche Mode, Freddie Mercury, Sammy Hagar, The Belle Stars, Madness, Blancmange, Dr Feelgood, The Detroit Spinners, Phil Everly, Def Leppard, Rolling Stones, Hot Chocolate, Cockney Rebel, Sade, Human League and many more - various years and conditions
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400830 item(s)/page