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Lot 235
Marc Chagall - - 1887 Witebsk - 1985 Saint-Paul-de-Vence Roses et mimosas. 1967. Farblithografie von Charles Sorlier nach einer Gouache von Marc Chagall. Sorlier CS 29. Signiert und nummeriert. Im Stein bezeichnet 'Ch. Sorlier Sculp.' und 'Marc Chagall Pinx.'. Aus einer Auflage von 75 römisch nummerierten Exemplaren. Verso ohne die typografische Bezeichnung von Charles Sorlier. Auf Velin. 61 x 45,5 cm (24 x 17,9 in). Papier: 75 x 55,5 cm (29,5 x 21,8 in). [EH]. • Aus der Folge 'Nizza und die Côte d'Azur'. • Die Folge ist eine Liebeserklärung Chagalls an seine zweite Heimat. • Chagall findet in der Farblithografie sein Medium der Druckgrafik. PROVENIENZ: Privatsammlung Norddeutschland. Aufrufzeit: 18.06.2021 - ca. 16.01 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONMarc Chagall -1887 Witebsk - 1985 Saint-Paul-de-Vence Roses et mimosas. 1967. Lithograph in colors by Charles Sorlier after a gouache by Marc Chagall. Sorlier CS 29. Signed and numbered. Inscribed 'Ch.Sorlier Sculp.' and 'Marc Chagall Pinx.' in the stone. From an edition of 75 Roman numbered copies. On wove paper. 61 x 45.5 cm (24 x 17.9 in). Sheet: 75 x 55,5 cm (29,5 x 21,8 in). • From the series 'Nice and the Côte d'Azur'. • With this series Chagall declares his love to his second home. • To Chagall the color lithograpph is the print medium of his choice. PROVENANCE: Private collection Northern Germany. Called up: June 18, 2021 - ca. 16.01 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Lot 314
Willi Baumeister - - 1889 Stuttgart - 1955 Stuttgart Heitere Bewegung auf Rosa. 1946. Öl mit Kunstharz auf Karton, auf Holz. Beye/Baumeister 1293. Rechts unten signiert und datiert '7.46'. 35,6 x 46,2 cm (14 x 18,1 in). • Aus der bedeutenden Werkreihe der 'Figurenmauern' (1942-1950), in der Baumeister meisterlich mit prähistorischen Assoziationen spielt. • Die heiteren Figurenmauern und Landschaften der Nachkriegszeit gehören nach Grohmann zu dem Besten, was Baumeister gemacht hat. • Herausragende Komposition in seltener, sanft rosa Farbgebung von musealer Qualität. • Willi Baumeister gilt als Protagonist der deutschen Nachkriegsmoderne und war Teilnehmer der documenta I (1955), II (1959) und III (1964). PROVENIENZ: Dr. Henning Gran, Oslo. Galerie Schlichenmaier, Grafenau. Galerie Bayer, Bietigheim-Bissingen (wohl seit 1997, Lempertz 22.11.1997). Privatsammlung Norddeutschland (1998 vom Vorgenannten erworben). LITERATUR: Kunsthaus Lempertz, Köln, Auktion 750, 22.11.1997, Kat. S. 22, Nr. 653 (mit Abb. Farbtafel 84). Will Grohmann, Willi Baumeister - Leben und Werk, Köln 1963, S. 104, Kat.-Nr. 942 (mit Abb., Titel: Heitere Bewegung auf Rosa I). 'Die sogenannte 'abstrakte' Malerei ist nicht abstrakt im Sinne von Fremdheit zum Leben und Menschen. Die Empfindungen des Künstlers sind ganz natürliche. Eine senkrechte, gerade Linie vermittelt einen ganz bestimmten Empfindungswert. Eine gekurvte Linie oder ein Fragezeichen löst dagegen andere Empfindungen aus. Ebenso ergeben die einzelnen Farben bestimmte Reaktionen. Kontrastwirkungen entstehen durch exakte Formen im Gegensatz zu malerischen, wolkigen Auflösungen.' Willi Baumeister, Die Natur in der abstrakten Kunst, zit. nach: Wissen und Leben 1, Stuttgart 1952. Bereits Anfang der 1930er Jahre beginnt Baumeister sich für Strukturen zu interessieren, die dem Bildgrund eine aufgelockert-lebendige Oberfläche verleihen. Er wird, wie im vorliegenden Gemälde, zum Träger einer fast linearen, grafischen Komposition, die schemenhaft über den Bildgrund geistert. Urzeitliches wird evoziert, ein Phänomen, das Baumeister in mehreren seiner Werkzyklen als grundlegendes Thema wählt, da der Künstler sich intensiv mit der Ur- und Frühgeschichte beschäftigt. Er sammelt etwa Fossilien, vorzeitliche Gefäße und Steinbeile und setzt sich intensiv mit den Ursprüngen der Kunst in der frühen Steinzeit auseinander, indem er die Maltechniken der steinzeitlichen Fels- und Höhlenmalerei erforscht. Die locker angeordneten Formen und Farbflächen in 'Heitere Bewegung auf Rosa' vermitteln eine heitere Schwerelosigkeit, die Raum für vielerlei Assoziationen lässt. Assoziationen an musikalische Tempi sind oft werkbestimmend. Hier wird mit leichter Hand das Urzeitliche in ein burleskes Gewand gekleidet und so aller Sinnenschwere enthoben. Der feine Humor, der diese Komposition begleitet, findet in der zart tänzerischen Art, in der sich die schemenhaft angedeuteten Figuren über den rosa Fond bewegen, seine Entsprechung. Durch den Einsatz von Kunstharz erzielt Baumeister eine mauerputzartig strukturierte Oberflächenwirkung, die den prähistorischen Charakter des dargebotenen Formenrepertoires noch zusätzlich unterstreicht. Die mauerhafte Präsenz der Komposition wird durch die trockene Malweise und Fragmentierung sowie die bildfüllende Anordnung der Formen noch gesteigert. Weitere Arbeiten aus der Werkreihe der 'Figurenmauern' befinden sich u. a. in den Sammlungen des Osthaus Museums in Hagen, der Nationalgalerie Berlin sowie der Staatsgalerie Stuttgart. [JS] Aufrufzeit: 18.06.2021 - ca. 17.28 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONWilli Baumeister -1889 Stuttgart - 1955 Stuttgart Heitere Bewegung auf Rosa. 1946. Oil with synthetic resin on board, on panel. Beye/Baumeister 1293. Lower right signed and dated '7.46'. 35.6 x 46.2 cm (14 x 18.1 in). • From the important work series 'Figurenmauern' (Figure Walls, 1942-1950), in which Baumeister renders a masterful play with pre-historic associations. • Grohmann calls the merry figure walls and landscapes from the post-war era the best that Baumeister ever created. • Excellent composition in rare soft rose colors and of museum quality. • Willi Baumeister is the protagonist of German post-war modernism and participated in documenta I (1955), II (1959) and III (1964). PROVENANCE: Dr. Henning Gran, Oslo. Galerie Schlichenmaier, Grafenau. Galerie Bayer, Bittigheim-Bissingen (presumably since 1997, Lempertz November 22, 1997). Private collection Northern Germany (acquired from aforementinoned in 1998). LITERATURE: Kunsthaus Lempertz, auction 750, Cologne November 22, 1997, cat. p. 22, no. 653 (with color illu. on plate 84). Will Grohmann, Willi Baumeister - Leben und Werk, Cologne 1963, p. 104, cat. no. 942 (with illu., titled: Heitere Bewegung auf Rosa I). 'So-called 'abstract' painting is not abstract in a sense of alienation from man and life. The artist's sensations are very natural. A straight vertical line conveys a certain perceptual value that everyone can perceive the same way. A curved line or a question mark trigger different sensations. The same is true for the reactions that colors evoke. Contrast effects come from exact forms contrasted with cloudy dissolutions.' Willi Baumeister, Die Natur in der abstrakten Kunst, quote from: Wissen und Leben 1, Stuttgart 1952 From the early 1930s on Baumeister began to develop an interest in structures that had the right properties to both animate and decentralize the pictorial ground. This approach becomes obvious in the painting offered here, where the pictorail ground becomes carrier of an almost linear, graphic composition. Primeval associations are evoked, a phenomenon that Baumeister chose as a fundamental theme in several of his work cycles, since the artist had a deep interest in pre- and protohistory. He collected fossils, ancient vessels and stone axes and examined the origins of art in the early Stone Age by looking into the techniques of Stone Age rock- and cave painting. The loosely arranged forms and colored surfaces in 'Heitere Bewegung auf Rosa' (Merry Motion on Rose) convey a cheerful weightlessness that leaves room for all kinds of associations. Associations with musical tempos often determine the work. Here, with a light hand, the primeval aspect is disguised in a burlesque robe and thus free from burdensome meaning. The subtle humor that accompanies this composition is reflected in the delicately dancing manner in which the shadowy figures move across the pink background. By using synthetic resin, Baumeister achieves a plaster-like surface effect, which underlines the prehistoric character of the presented repertoire of forms. The wall-like presence of the composition is heightened by the dry style of painting and the fragmentation and image-filling arrangement of the forms. Further works from the series of the 'Figurenmauern' (Figure Walls) are at, among others, the Osthaus Museum in Hagen, the Nationalgalerie in Berlin and the Staatsgalerie in Stuttgart. [JS] Called up: June 18, 2021 - ca. 17.28 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Lot 315
Hans Hartung - - 1904 Leipzig - 1989 Antibes T 1975 - R 25. 1975. Acryl auf Leinwand. Links unten signiert und datiert. Auf der umgeschlagenen Leinwand signiert, betitelt und bezeichnet. Auf dem Keilrahmen nochmals betitelt und bezeichnet sowie mit Richtungspfeil. 130 x 162 cm (51,1 x 63,7 in). [SM]. • Hans Hartung, einer der wichtigsten Vertreter des europäischen Informel und einer der einflussreichsten Protagonisten der École de Paris. • Das Musée d’Art Moderne de la Ville de Paris würdigte den Mitbegründer des deutschen Informel jüngst mit einer großen Retrospektive (11. Oktober 2019 bis 1. März 2020). • Mithilfe dieser großen schwarzen und blauen, offensiv in Szene gesetzten Zeichen suggeriert der Künstler eine Bildperspektive, einen räumlich wirkenden und belebten Farbraum. So wirkt die Abstraktion wie eine Übersetzung von inspiriertem Gefühl. Das Werk ist im Archiv der Fondation Hans Hartung et Anna-Eva Bergman registriert und wird in das in Vorbereitung befindliche Werkverzeichnis aufgenommen. PROVENIENZ: Galerie Kallenbach, München (1987 direkt vom Künstler erworben). Privatsammlung Nordrhein-Westfalen. 'I am always, always looking for a law, the alchemic rule that can turn rhythm, movement and color into gold; to transmute apparent disorder with the sole aim of conveying perfect movement and so creating order in disorder, and order through disorder.' (Hans Hartung zit. n. Jennifer Mundy, Hans Hartung. Works on Paper 1922-56, London 1996, S. 20) „Die Bildmittel rücken als Sprache des Malers so weit in den Vordergrund', so der Kunsthistoriker Will Grohmann, „daß man zunächst nur sie sieht. Mit Recht, denn sie sind mehr als bloße Mittel, sie spiegeln das, was wir früher als persönlichen Ausdruck bezeichneten.“ Die Komposition 'T 1975' zeigt vor einem hellen lila und gelben, leuchtkastenartigen Hintergrund eine von Hartung nahezu parallel entwickelte und mit einer Gummiwalze aufgetragene Figurine. 'T 1975' ist typisch für die Zeit und den unerhörten Reichtum an Formen und Farben, die Hartung zu einer harmonischen Idee vereint. Ab Anfang der 1970er Jahre setzt Hartung Werkzeuge ein wie eben eine Gummiwalze, die eigentlich zum Einfärben eines Lithografiesteins dient, um die Farbe, oft Schwarz und hier bisweilen Blau, auf einen vorab mit der Spritzpistole gleichmäßig eingefärbten Hintergrund zu rollen. Es bleibt nicht bei der Gummiwalze; Hartung präpariert etwa unterschiedliche Bürsten, Rollen, Besen, Pinsel, Schaber, Kratzer, Spachtel, Fächer und vieles andere mehr, um mit diesen Gerätschaften erstaunliche Effekte zu erzielen. Er entwickelt dabei ein technisch variables System, mit dem er die großen Gesten in seinen Bildern formuliert. Aber seine Malerei erschöpft sich nicht in ihren Werkzeugen, sie dienen ihm wie hier die Gummirolle, um unterschiedliche Möglichkeiten des Malprozesses als Experiment mit unvorhersehbarem Ergebnis zu gestalten. Ein Malprozess, den er nicht so sehr als ein Ereignis mit unvorhersehbarem Ausgang versteht, sondern eher als ein Experiment, das zu einem gewissen Anteil präzise steuerbar ist; - eine Technik, die schon K. O. Götz mit dem Rakel sich zu eigen macht, eine Technik, die nicht zuletzt Gerhard Richter zu einer eminent charaktervollen Bildformulierung steigert. Dunkle Farben, eine schwarze und eine blaue Form, stehen hier vor lichtdurchflutetem Hintergrund. Diesen extremen Gegensatz präzise herauszuarbeiten, trotz der Zweidimensionalität der monochromen Farben einen imaginären Tiefenraum zu kreieren, befördert Assoziationen beim Betrachten. Mithilfe dieser großen schwarzen und blauen, offensiv in Szene gesetzten Zeichen suggeriert der Künstler eine Bildperspektive, einen räumlich wirkenden und belebten Farbraum. So wirkt die Abstraktion wie eine Übersetzung von inspiriertem Gefühl. [MvL] Aufrufzeit: 18.06.2021 - ca. 17.30 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONHans Hartung -1904 Leipzig - 1989 Antibes T 1975 - R 25. 1975. Acrylic on canvas. Signed and dated in lower left. Signed, titled and inscribed on the folded canvas. Once more titled and inscribed, as well as with a direction arrow, on the stretcher. 130 x 162 cm (51.1 x 63.7 in). • Hans Hartung is one of the most important representatives of European Informalism and one of the most influential protagonists of the École de Paris. • The Musée d’Art Moderne de la Ville de Paris lately honored the co-founder of German Informalism with a grand retrospective (October 11, 2019 - March 1, 2020). • Through the aggressively staged large blue and black signs the artist suggests a perspective of a three-dimensional and vivid color space. Thus the abstraction is like a conversion of inspirational sensation. The work is registered in the archive at Fondation Hans Hartung et Anna-Eva Bergman and will be included into the forthcoming catalog raisonné. PROVENANCE: Galerie Kallenbach, Munich. (acquired from the artist in 1987) Private collection North Rhine-Westphalia. 'I am always, always looking for a law, the alchemic rule that can turn rhythm, movement and color into gold; to transmute apparent disorder with the sole aim of conveying perfect movement and so creating order in disorder, and order through disorder.' (Hans Hartung, quote from Jennifer Mundy, Hans Hartung. Works on Paper 1922-56, London 1996, p. 20) 'The pictorial means come to the fore as the painter's language', said the art historian Will Grohmann, 'that at first one only sees them. Rightly, because they are more than mere means, they reflect what we used to describe as a personal expression'. The composition 'T1975' shows a figurine in front of a light purple and yellow, background that looks like a light box, developed by Hartung in almost parallel manner and applied with a rubber roller. 'T1975' is typical of the time and the audacious abundance of shapes and colors that Hartung combined in a harmonious concept. Since the early 1970s Hartung has been using tools like the rubber roller, which is actually a tool used to dye a lithographic stone in order to roll the color, often black and sometimes blue, onto a background evenly colored with a spray gun beforehand. But there is a lot more than the rubber roller: Hartung prepares various types of brushes, rollers, brooms, paint brushes, scrapers, spatulas, fans and much more devices with which he achieves amazing effects. He developed a technically variable system with which he formulated the grand gestures in his pictures. But his painting is not limited to its tools; like the rubber roller here, they serve him to make the painting process an experiment with unpredictable results. A painting process that he does not understand as an action with an unpredictable outcome, but rather as an experiment that can be precisely controlled to a certain extent - a technique that C.O. Götz has made his own with the squeegee, a technique which, not least, Gerhard Richter elevates to an eminently characterful image formulation. Dark colors, a black and a blue form, stand here against a light-flooded background. Precisely worked out extreme contrasts, an imaginary depth of space despite the two-dimensionality of the monochrome colors, provokes associations in the observer. With the help of these large black and blue, aggressively staged signs, the artist suggests a pictorial perspective, a deep and lively color space. So the abstraction works like a translation of an inspired feeling. [MvL] Called up: June 18, 2021 - ca. 17.30 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Lot 223
Andalusian school, 16th century. Saint John Baptist. Polychrome and gilded wood carving with stone applications. It represents Saint John the Baptist according to his traditional iconography, that is, as a middle-aged man, long hair and beard, dressed in a red cloak, holding a book on which a lamb rests, not preserved, which he points out, as an allegory of his mission. prophetic of proclaiming the Messiah or Paschal Lamb. 72 x 22 x 16 cm.
Lot 108
A diamond three stone ring, the old cut diamond line inset to the tapered band, estimated total diamond weight 0.65ct, estimated colour I-J, estimated clarity VS2-SI1, ring size Q1/2, gross weight 8.2g. Condition report: Overall condition good to fairRing resizedScratches in keeping with age and wearDiamonds bright and well matched, assessed within the limitations of the settingMaker's marks AD
Lot 112
An 18ct gold sapphire single stone ring, the oval shape sapphire inset to the signet ring, hallmarks for Birmingham, ring size S, gross weight 12.2g.Condition report: Overall condition good to fairScratches and abrasion in keeping with occasional wearSapphire a medium blue, with good saturation and typical inclusionsAngular colour zoning visibleSponsors marks WFApprox. dimensions of sapphire 10 x 7.4 x 4.6mm (assessed within limitations of setting)
Lot 113
A fine 17th century rose-cut diamond presented by Charles II, the oval rose cut diamond weighing approx. 1.50cts, within a later blue enamel surround, the reverse of the setting bearing the inscription 'Given by King Charles the 2nd to the Hon'ble Charles Bertie, Son of Montague Earl of Lindsey 1649' with pierced tapered shoulders, maker's marks TT, ring size R1/2, gross weight 8.5g. Condition report: Overall condition good to fairInscription clear and legibleMaker's mark partially worn but legiblePossible repair work to setting, visible when viewed from the profile - where enamel and diamond setting has been attached to ringEnamel in good condition, with light scratches and abrasion visible with magnificationDiamond with a couple of dark inclusions, towards edge of stone and visible when viewed closely with magnificationSome light abrasion to facet edges visible with magnification
Lot 114
An 18ct gold sapphire and diamond three stone ring by Boodles, the circular shape sapphire with brilliant cut diamond sides, estimated total diamond weight 0.25ct, signed Boodles, hallmarks for Boodle & Dunthorne, London, 1994, ring size F, gross weight 2.7g. With maker's box.Condition report: Overall condition good to fairScratches and abrasion in keeping with age and general wearSapphire with some light abrasion to facet edgesApprox. dimensions of sapphire 5.6 x 5.65 x4mmSapphire a medium blue with good saturation and typical inclusionsDiamonds bright and well matched, good clarity under 10x magnification, a couple of claws to one diamond slightly short
Lot 76
A ruby and diamond three stone ring, the oval shape ruby with brilliant cut diamond sides, estimated total diamond weight 0.50ct, estimated colour I-J, estimated clarity SI, ring size J1/2, gross weight 3g.Condition report: Overall condition fair to goodRing misshapenRing resizedAbrasion to ruby facet edgesRuby a medium slight pinkish red with fair saturation and typical inclusionsDiamonds bright and well matched
Lot 82
Three gem-set dress rings, to include a cat's eye chrysoberyl single stone ring, a shell cameo dress ring and a garnet dress ring, two with hallmarks for 9ct gold, ring sizes G1/2 to M1/2, gross weight 8.6g.Condition report: Overall condition good to fairGarnet ring - some abrasion to garnet facet edges, hallmarks for LondonChrysoberyl ring - unmarked, light abrasionShell cameo - hallmarks for London
Lot 83
A diamond five stone ring, the brilliant cut diamond line within a shared collet setting, estimated total diamond weight 0.70ct, stamped PLAT, ring size N, gross weight 2.7g.Qty: 1Condition report: Overall condition good to fairLight scratches in keeping with occasional wearDiamonds with light and dark scattered inclusions, visible with magnification
Lot 94
Two paste dress rings, to include a Georgian foil back garnet and colourless paste five stone ring, and a green and colourless paste three stone ring, ring sizes N and O1/2, AF (2).Condition report: Overall condition fairGarnet ring - one colourless paste deficient, abrasion to gemstones in keeping with age and wear, ring resized, ring slightly misshapenThree stone ring - Abrasion to pastes, ring resized, with box and note claiming provenance gifted by George IV
Lot 5090
A group of six Sampson Mordan & Co silver and other pencils including a silver SM&Co combination dip pen and pencil, London 1884; a silver SM&Co sliding pencil holder, London 1897; a silver SM&Co telescopic dip pen, London 1910; an SM&Co pencil slide with cornelian stone; an SM & Co pencil slide A/F and a reverse-pull SM& Co propelling pencil in a heavily chased slide. *This lot comes with an unused pack of "1 Dozen Refills for serviceable pencils" by A.W.Faber, Bavaria with screw-in ends. (7)
Lot 5091
A collection of silver and other pens and pencils as follows: A silver "Yard-o-Led" propelling pencil, Birmingham 1975; a silver pencil holder slide, Date Maker AD; A silver sheathed pencil holder, date, Maker AD ; an unmarked 19thC combination dip pen and sliding pencil; an A.W.Faber brass cartridge combination dip pen and pencil; an unmarked slide/propelling pencil with stone; an unmarked 19thC sliding toothpick; A Goldsmith's & Co sliding pencil A/F and a small plated cartridge for leads.
Lot 662
GOLD LIGHTER, CARTIER PARISA two-colour (pink and green) gold petrol lighter, Signed Cartier Paris, numbered M7178. French 18K hallmarks. The screw that accesses the petrol reservoir has inside a screw-off compartment to place a spare flint stone. The lighter works perfectly. Height: 5,3 cm Weight: 64 gr Fitted Cartier leather case in perfect condition
Lot 78
ANDREW LANE: 8 titles: YOUNG SHERLOCK HOLMES DEATH CLOUD, London, MacMillan, 2010, (500), 1st edition, numbered (367) and signed, original book mark loosely inserted, original cloth, d/w; YOUNG SHERLOCK HOLMES RED LEECH, London, MacMillan, 2010, (500), 1st edition, numbered (383) and signed, original cloth, d/w; YOUNG SHERLOCK HOLMES BLACK ICE, London, MacMillan, 2011, (500), 1st edition, numbered (294) and signed, original cloth, d/w; YOUNG SHERLOCK HOLMES FIRE STORM, London, MacMillan, 2011, 1st edition, original cloth, d/w; YOUNG SHERLOCK HOLMES SNAKEBITE, London, MacMillan, 2012, 1st edition, original cloth, d/w; YOUNG SHERLOCK HOLMES KNIFE EDGE, London, MacMillan, 2013, 1st edition, original cloth, d/w; YOUNG SHERLOCK STONE COLD, London, MacMillan, 2014, 1st edition, signed, original cloth, d/w; YOUNG SHERLOCK NIGHT BREAK, London, MacMillan, 2015, 1st edition, original cloth, d/w, all titles vgc (8)
Lot 299
An Edwardian aquamarine and 15ct gold bar brooch, circular target set to the centre with a round cut aquamarine, the bar of pierced form, length approx 50mm, stamped 15ct, pin and C clasp, possible replacement pin, total gross weight approx 3.2gms with safety chainCondition report: good stone present and intact, slight tarnish, minor wear and tear commensurate with age
Lot 305
A pair of Russian onyx and ruby 14ct gold earrings, circular form set to the centre with a ruby/paste , overlaid on onyx with faceted edge, with a decorative border of gold, diameter approx 15mm, screw post and fittings for pierced ears, marked 56 to reverse maker mark rubbed, total gross weight approx 4.7gms in a leather bound Russian jewellery boxCondition report - one stone replaced by faceted red paste, wear and tear to backs and marks rubbed
Lot 318
A collection of brooches to include a 19th century pearl and emerald brooch in yellow metal (modifications to pin) along with a Victorian 15ct gold and diamond brooch, (later replacement base pin) total gross weight approx. 3gms, another Victorian gilt metal brooch paste set, an Edwardian silver and gold pearl and diamond set wreath brooch along with a yellow metal initial bar brooch (pearls missing) and a 9ct gold sapphire and diamond pendant (1 bag)Condition report: wear and tear, modifications and some stone losses commensurate with age
Lot 322
A collection of jewellery to include a half Sovereign date 1912, in 9ct gold mount, along with an 18ct white gold and diamond set eternity ring, size N, total gross weight approx 2.9gms a 9ct gold and white sapphire set eternity ring, size P, total gross weight approx 3gms (a/f one stone missing) a 9ct golf pearl set pendant with sapphire set centre (a/f stone damaged) total gross weight approx 0.9gms and gold plated synthetic opal necklace and chain (1 ) Condition report: wear and tear commensurate with age to all, one stone missing to ring
Lot 324
Two 19th Century hard stone seal fobs, including an unmarked yellow metal version with feather and scroll embossed decoration set with bloodstone, height approx 30mm, the seal approx 15 x 13mm, unmarked possibly 15ct gold, total gross weight approx 16gms along with a 9ct gold swivel fob set with bloodstone and quartz, total gross weight approx 4.5gms Condition report: all stones intact, minor wear and tear only .
Lot 333
Three 9ct gold stone set rings to include a three stone ring (possibly white sapphire), size O1/2, a sapphire and diamond cluster ring, size T and a three stone sapphire and paste set cluster ring, size S, total combined gross weight approx 8.6gms Condition report: god all stones present and intact, some wear and tear commensurate with age
Lot 335
A 9ct rose gold signet ring with scrolled shoulders, size W along with a 9ct gold signet ring set with onyx a/f cracks to onyx, along with a 9ct gold and peridot ring (one stone deficient) and a 9ct gold ruby and paste set ring a/f stones missing and a ruby and diamond ring a/f cut thought shank, combined total gross weight approx 11.9gms
Lot 337
A 9ct gold fancy link guard chain, comprising belcher links with entwined lozenge links and faceted bead details, toggle clasp, length approx 60'',along with a carnelian and bloodstone fob mounted in 9ct gold, combined total gross weight approx 32.2gms Condition report: all links present and intact, some denting/marks to entwined links and faceted beads, clasp in working order, minor nibbles to fob stone girdles, minor wear and tear commensurate with ageCONDITION:chain 26.5gms fob 5.8gms
Lot 357
A collection of jewellery to include a single old European cut diamond earring approx 0.34ct, carved simulated jade and 9ct white gold ring, size L (sized to reverse) a white stone set and 9ct gold ring, (possibly white topaz) size M, wear and tear abrasions to stones, a pair of pearl and 9ct gold earrings and two pairs of 9ct gold earrings to include knot and square versions, combined total gross weight approx 9.6gms Condition report: Good- all stones present and intact,9ct white gold ring has sizing evidence, the eternity abrasions to stones, some wear and tear to all commensurate with age
Lot 371
A collection of gold and unmarked yellow metal jewellery to include a 14ct gold maple leaf pendant and earrings suit, weight approx 3.2gms, along with a 9ct gold dolphin brooch and cross, weight approx 2.9gms along with various unmarked yellow metal and stone set studs including cameo, blush coral and amethyst versions total gross weight approx 6.2gms (9ct and 14ct gold) and unmarked yellow metal earring studs, locket and charm, combined total gross weight approx 7.4gms, together with rolled gold bangles, cameo brooch and two ladies plated wristwatch and locket (1 bag)
Lot 396
A collection of semi precious bead jewellery to include malachite graduated bead necklaces and pendant and ring set in white metal, sodalite bangle, necklace and bracelet in white metal, amethyst bead necklace along with a two lapis lazuli necklaces set in white metals, a ring, cufflinks and pendant and earrings set in silver and an ethnic stone set bracelet and paste set bracelet ( 1 bag)
Lot 398
A amethyst and diamond 9ct gold three stone ring, size O, (thinning to band) along with an amethyst and cubic zirconia 9ct white gold cross over ring, size P1/2 and a pair of amethyst and yellow metal earrings probably 9ct gold, combined total gross weight approx 5.8gms, along with a silver and amethyst ring, costume jewellery including rings, paste set necklaces tie slides, bracelets, faux pearls and ladies dress watches (1 bag)
Lot 414
A collection of silver and white metal jewellery to include a pearl set negligee necklace, vintage rings rings, some set with marcasite, along with stone set versions, garnet set earrings and other drop earrings, paste set pendant and chain, charm bracelet, along with Wedgewood jasperware and daisy jewellery, fob medallions including a gold fronted football medallion, brooches, chains and a turquoise bead necklace (1 box)
Lot 140
An emerald and silver dress ring, comprising a claw set oval emerald, approx 12 x 14mm, weight approx 10carats, set to a textured oxidised silver band, size U, total gross weight approx 7gms Condition report: Good- stone present and intact, stone slightly loose in setting, stone with surface reaching flaws, minor wear and tear only
Lot 146
A pair of ruby and diamond silver earrings, round form each set to the centre with round cut claw set ruby, total ruby weight approx. 3.23 carats, with diamond accents, diameter approx. 12mm, clip fittings along with a pair of black spinel and silver drop earrings, the pear cut top suspending a pearl cut dropper, claw set throughout, length approx. 25mm, post and scroll fittings, total stone weight approx. 19.15 carats, both with original sales tag and Gems TV certificates
Lot 150
A black moissanite and white cubic zirconia set silver ring, the flower form set to the centre with black stone, each petal with grain set cz, setting diameter approx 30mm, size N, unmarked assessed as silver, total gross weight approx 7.8gms Condition report: Good- all stones present and intact, minor wear and tear together with A blue sapphire and diamond set silver ring, comprising a central rectangular cut sapphire, approx 17.10 carats, within a double row border of small claw set rose cut diamonds, blackened silver setting approx 17mm, total diamond weight approx 0.80ct, size P, unmarked assessed as silver, total gross weight approx 9.4gms Condition report: Good- all stones present and intact, slight wear and tear to shank
Lot 156
A pair of large stone set silver drop earrings, comprising a central rose cut pink/purple sapphire within a border of small diamonds and pink sapphires, in oxidised silver settings, size approx 55mm, total gross weight approx 34gms Condition report: all stones present and intact, some surface reaching flaws to stones
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