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Lot 1109
Aquamarine and amethyst three stone ring, central pear cut aquamarine with pear cut amethyst set either side, ring size M 1/2, together with a single stone amethyst ring, size M, both tested as 9 ct Gross weight 12.72 gramsThree stone ring, all gemstones are set securely and have scratches to top surfaceAmethyst ring has rubbed facet junctions, evidence of repair work to one shoulder
Lot 1085
Vintage three stone ring, set with round brilliant cut diamonds, estimated total diamond weight 0.90 carats, ring size S and a similar 1970's single stone diamond ring, size O, both mounted in 18 ct and a Victorian seed pearl stick pin, stamped 15 ct 18 ct gross weight 15.4 gramsstick pin weight 1.4 gramsThree stone estimated clarity Iscratches to surface of gold on both rings single stone diamond ring hallmarked London 1975
Lot 1030
Mixed group of gold jewellery, including a vintage single stone diamond ring, with leaf detail on the shoulders, mounted in 18 ct yellow gold, ring size N 1/2, a modern synthetic spinel dress ring, size P, early 20th C amethyst bar brooch, and yellow paste set filigree brooch, all testing as 9 ct 18 ct gross weight 3.8 grams9 ct gross weight 4.1 gramsDiamond ring estimated clarity I, illusion setEarly 20th C amethyst brooch, measures approximately 5.7 x 0.9cm, metal pin with gold catch opening and closing securely Yellow paste brooch has chip to top surface, pin is loose and appears to be later edition
Lot 1021
Three gem set rings, including a synthetic blue sapphire and white sapphire three stone ring, size J 1/2, a three stone blue topaz ring, a tanzanite and diamond ring, both size L and all mounted in 9 ct Gross weight approximately 6.32 gramsSynthetic sapphire ring, one white sapphire on the shoulders is chipped in two places
Lot 1164
Four rings, one green quartz ring, mount stamped 18 ct, ring size P, another set with opal and sapphires, size Q, sapphire and cubic zirconia cluster ring, size O 1/2 and a cubic zirconia single stone ring, size L 1/2 18 ct gross weight 4.6 grams9 ct gross weight 6.4 gramsgreen quartz ring, stone is loose in setting and under gallery for mount is mis-shapenOpal ring , two opals have scratches to surface and two sapphires have small chips to surface
Lot 6
Rogier van der Weyden, NachfolgeMadonna mit Kind Öl auf Eichenholz. 48 x 37 cm.ProvenienzJacques Leegenhoek, Paris, 1984.LiteraturCorinna Peuckert, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 45-7, Abb. Nr. 18.Rogier van der Weyden war einer der erfindungsreichsten Maler der niederländischen Kunst des 15. Jahrhunderts. Er schuf Bildthemen, die jahrzehntelang von seiner Werkstatt und später von seinen Nachfolgern verwendet wurden. Von all seinen Schöpfungen erwies sich die Darstellung der „Maria Lactans“, der „Stillenden Madonna“ als eine der beliebtesten. Sie war vor allem für die häusliche Andacht gefragt und wurde gelegentlich auch mit einem Stifterporträt als Diptychon verlangt. Die vorliegende Tafel ist ein schönes Beispiel für einen Bildtypus, der auf dem Kunstmarkt in Brügge und Brüssel sehr geschätzt wurde. Die verschiedenen überlieferten Versionen dieses be- und geliebten Bildes unterscheiden sich in Stil, Fassung, Ornamente und Technik voneinander. Je nach dem Preis, den der Auftraggeber zu bezahlen bereit war, wurden die Figuren entweder in einer repräsentativen Umgebung, vor einer Landschaft oder einfach nur vor einem monochromen Hintergrund dargestellt.In Brügge finden sich solche Beispiele u.a. beim „Meister der Ursula Legende“, wo die Jungfrau Maria im Himmel vor einem Goldgrund gekrönt erscheint (vgl. Aachen, Suermondt-Ludwig-Museum; Worcester, Art Museum), im Gerard-David-Kreis (vgl. Madrid, Museo Lázaro Galdiano, Inv.-Nr. 3049), von Adriaen Isenbrant und Ambrosius Benson, oder gar auf einem Manuskriptbild aus der Gent-Brügger Schule (vgl. Brüssel, Auktion Romantic Agony 14.6.2008, Lot 951).Am Ende des 15. und Anfang des 16. Jahrhunderts arbeiteten in Brüssel, der Heimatstadt van der Weydens, verschiedene Maler noch unter seinem Einfluss. Darunter der „Meister der Blattstickerei“ oder der „Meister der Legende der Heiligen Katharina“. Das Nationalmuseum in Stockholm beherbergt eine „Maria Lactans“ (Inv.-Nr. NM 6179), die diesem namentlich nicht bekannten Meister zugeschrieben wird. Kompositorisch ist das Stockholmer Bild mit der vorliegenden Tafel vergleichbar und führte zu einer Zuschreibung unseres Bildes an den „Meister der Katharinen-Legende “ (E. Mai, op. cit.). Allerdings entspricht die Auffassung der Landschaft bei dem Katharinen-Meister richtigerweise noch dem gotischen Stil des 15. Jahrhunderts. Das Lempertz-Bild hingegen, mit seiner realistischeren Behandlung der Natur, der tiefen Perspektive und der Maltechnik, bei der die Figuren mit Bleiweiß modelliert wurden, ist als ein eindeutiges Werk des frühen 16. Jahrhunderts zu erkennen.Abgesehen von der Landschaftsdarstellung fügt sich das Marienbild perfekt in die ursprüngliche Tradition des Vorbilds van der Weydens ein. Die Jungfrau Maria und das Christuskind sind in Nahansicht vor einer Hügellandschaft in der Nähe eines Dorfes dargestellt. In der Ferne ragt eine mittelalterliche Burg zwischen den Bäumen heraus. Ein kleiner Fluss schlängelt sich parallel zwischen dem Weiler und der Figurengruppe. Mit dem leicht nach links geneigten Kopf bereitet sich Maria darauf vor, das Kind mit der linken Hand zu stillen, während sie es mit der anderen Hand auf ihrem Schoß hält. Sie sitzt vor einer niedrigen, mit Laub bedeckten Steinmauer. Die linke Hand des Kindes ist erhoben, während die rechte einen kleinen Apfel hält. Ein Strahlenkranz hebt beide Figuren hervor. Maria trägt einen blauen Umhang und ein rotes, mit Pelz unterfüttertes Überkleid, die Ärmel aus Goldbrokat haben goldene Knöpfe an den Handgelenken. Auf dem Brüsseler Kunstmarkt des frühen 16. Jahrhunderts waren solche Bilder mit einer derartigen Mischung von geistiger Kraft und mütterlicher Liebe, eingebettet in eine friedliche Natur, für die private Andacht sehr geschätzt. Rogier van der Weyden, follower ofThe Virgin and Child Oil on oak panel. 48 x 37 cm.ProvenanceWith Jacques Leegenhoek, Paris, 1984.LiteratureCorinna Peuckert, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 45-7, no. 18, reproduced.Rogier van der Weyden's œuvre reveals the master as the most inventive early Netherlandish painter in the 15th century, creating works of art which served as for decades onwards by his workshop and followers. Among his creations the Virgo lactans or Nursing Madonna turns out to have been one of the most popular themes used for private devotion, sometimes associated with a donor portrait in the format of a diptych. The present panel is a fine example of a pictorial type highly appreciated on the art market in Bruges and Brussels. The various surviving versions of this beloved image single out from each other by their style, setting, ornaments and technique. According to the price paid by the patron the figures were either set in a prestigious surrounding, before a landscape or just simply in front of a monochrome background.In Bruges such examples can be found among others by the Master of the Legend of Saint Ursula where the Virgin appears crowned in heaven before a gold ground (Aachen, Suermondt-Ludwig-Museum; Worcester, Art Museum) in the circle of Gerard David (Madrid, Museo Lázaro Galdiano, inv. no. 3049) by Adriaen Isenbrant and Ambrosius Benson, or even on a manuscript painting from the Ghent-Bruges school (Sale Romantic Agony, Brussels, 14 June 2008, lot 951).At the end of the 15th and early 16th centuries in Brussels - home town of Van der Weyden - painters were all working under his strong stylistic influence. Among them were the Master of the Embroidered Foliage and the Master of the Legend of Saint Catherine. The National Museum in Stockholm houses A Virgin nursing the Child holding an apple (inv. no. NM 6179) which has been attributed to the latter. Compared with the present composition it shows a clear stylistic relationship. But while the Swedish panel belongs to the 15th century gothic style, the present painting bears witness to the 16th century style with its much more realistic treatment of the landscape, the in-depth perspective and its painting technique using white lead in modelling the figures.Apart from the presence of a landscape the Marian icon fits perfectly into the original Rogerian tradition. The Virgin and Infant Christ are depicted in a close-up view in front of a hilly landscape near a village with a medieval castle at the far distance. A small river meanders parallel between the hamlet and the group. Her head slightly inclined to the left, the Virgin Mary prepares to nurse the Child with Her left hand while holding Him in Her lap with the other. She sits before a low stone wall covered with foliage. The Child's left hand is raised while the right holds a small apple and both Mary and Jesus have a halo around their heads. She wears a cloak and a red overdress lined with grey fur. Her armlets are of gold brocade with golden buttons at the wrists. It bears no doubt that the Brussels art market would have indeed appreciated such a blend of spiritual power and motherly imagery set in nature's peaceful backdrop, to adorn one's private home.
Lot 12
Cornelis KickStillleben mit Römerglas, Orange und Zitronen Öl auf Holz. 43 x 31,5 cm.Signiert Mitte rechts: Corn. Kick.ProvenienzAuktion Sotheby-Mak van Waay, Amsterdam, 30.11.1981, Lot 54.AusstellungenHolländische Malerei aus Berliner Privatbesitz, Berlin, Gemäldegalerie Staatliche Museen Preußischer Kulturbesitz, 1984, Nr. 31.LiteraturJan Kelch: Ausst.-Kat. „Holländische Malerei aus Berliner Privatbesitz“, Berlin 1984, S. 66-67, Nr. 31, mit Abb. – Susanne Rütten, in Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 144-145, Nr. 56, mit Abb.Vor tiefdunklem Hintergrund präsentiert uns der Amsterdamer Stilllebenmaler Cornelis Kick genau sieben Objekte, eng aneinander und nahe an den Rand einer Steinplatte gerückt: ein mit Weißwein halb gefülltes Römerglas, eine Orange, eine Zitrone, ein aufgeschnittenes Zitronenachtel, eine dünne Zitronenscheibe, ein kleiner Zitronenkern und ein Messer, dessen elfenbeinerner Griff leicht über die Tischkante hervorragt. Mit diesen wenigen Gegenständen - hinzu kommen noch einige Wassertropfen - schafft Cornelis Kick eine spannungsreich leicht aus der Mittelachse gerückte Komposition, die insbesondere durch den starken Kontrast der strahlend hell wiedergegebenen Früchte zur dunklen Steinplatte und zum tiefdunklen Hintergrund die Aufmerksamkeit des Betrachters auf sich zieht. Das prachtvolle Römerglas hebt sich vom dunklen Hintergrund vor allem durch die meisterhaft gesetzten Lichtreflexe und -spiegelungen ab: Die obere Hälfte des Kelchs wird lediglich durch linienförmige Lichtreflexe am Rand sowie eine flächige Spiegelung an der Wandung wahrnehmbar, im unteren Teil des Kelchs sind es gelbliche Reflexe, die den Eindruck von Weißwein evozieren, und am Schaft wiederum unzählige winzige, punktförmige Lichtreflexe, die die Darstellung der himbeerförmigen Verzierungen erzeugen.Schon Arnold Houbraken rühmte in seiner 1718/19 erschienenen „De groote schouburgh“ die detaillierte Wiedergabe der Objekte in den Stillleben Kicks. Dennoch gibt der Künstler bis heute Rätsel auf: So wird schon sein Geburtsdatum in der Literatur unterschiedlich mit 1634 oder 1635 angegeben. Neben seiner Tätigkeit als Maler hat Kick möglicherweise einen Laden geführt, sicher erscheint nur, dass er zeitlebens in bzw. vor den Toren der Stadt Amsterdam lebte und zu seinen Schülern die bedeutenden Stilllebenmaler Jacob van Walscapelle und Elias van den Broeck gehörten. Houbraken berichtete in seiner „groote schouburgh“ auch von Portraitdarstellungen des Cornelis Kick („Hy zelf schilderde ook Beelden en Pourtretten“), allerdings sind Bildnisse aus seiner Hand heute nicht mehr nachweisbar. So sind es nunmehr ausschließlich Stillleben, insbesondere Blumenstücke, für die der Künstler bekannt ist, und die wegen ihrer genauen Naturbeobachtung und der brillanten Wiedergabe der Oberflächentexturen und Lichtreflexe geschätzt werden. Insgesamt sind Werke des Künstlers ausgesprochen rar - noch rarer sind seine Stillleben mit Früchten oder kostbaren Gegenständen wie unser vorliegendes Gemälde, das sowohl durch die Monumentalisierung alltäglicher Gegenstände als auch die Atmosphäre der Stille bis heute fasziniert. Cornelis KickStill life with a Roemer, an Orange and Lemons Oil on panel. 43 x 31.5 cm.Signed centre right: Corn. Kick.ProvenanceAnonymous sale, Sotheby-Mak van Waay, Amsterdam, 30 November 1981, lot 54.ExhibitionsHolländische Malerei aus Berliner Privatbesitz, Berlin, Gemäldegalerie, 1984, no. 31.LiteratureJan Kelch: Holländische Malerei aus Berliner Privatbesitz, Berlin 1984, exhib. cat., pp. 66-7, no. 31, reproduced;Susanne Rütten, in Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 144-145, no. 56, reproduced.The Amsterdam still life painter Cornelis Kick presents exactly seven objects in front of a dark background, placed close together and towards the edge of a stone slab: a Roemer glass half filled with white wine, an orange, lemon, a lemon wedge, a thin slice of lemon, a small lemon pip and a knife with its ivory handle protruding slightly over the edge of the table. With these few objects, as well as a few drops of water, Cornelis Kick creates an exciting composition that is slightly off-centre, and attracts the observer especially through the strong contrast of the bright fruits against the dark stone slab and the deep dark background. The splendid Roemer glass stands out against the dark background particularly through the masterfully placed light reflections and mirroring: The upper half of the goblet is only noticeable by the linear light reflections on its edge as well as a flat mirroring on its side. In the lower part of the goblet, yellow reflections evoke the impression of white wine and countless tiny, dot-shaped points of light on the stem evoke the raspberry-shaped decorations. Arnold Houbraken had already praised the detailed reproduction of the objects in Kick's still life in his De groote schouburgh published in 1718/19. The artist nevertheless poses riddles to this day: His date of birth is listed in the literature as 1634 or 1635; aside his activity as a painter, Kick may have had a shop. The only thing that seems certain is that he lived all his life in or just outside the city of Amsterdam and that his students included the important still life painter Jacob van Walscapelle and Elias van den Broeck. In his De groote schouburgh, Houbraken also reported on Cornelis Kick's portraits (Hy zelf schilderde ook Beelden en Pourtretten), although none are identifiable as by him today. It is therefore exclusively still lifes, especially flowers, for which the artist is known, and which are appreciated for their precise observation of nature and the brilliant reproduction of surface textures and light reflections. On the whole, works by the artist are extremely rare - rarer still are his still lifes with fruits or precious objects such as the present painting which continue to fascinate today through the monumentalising of everyday items and the atmosphere of stillness.
Lot 27
AN EARLY 20TH CENTURY SINGLE-STONE DIAMOND RING The old European-cut diamond at the centre weighing approximately 1.20ct accented with old single-cut diamonds, between tapering shoulders of similarly and rose-cut diamonds, engraving detail on gallery and hoop, mounted in platinum, ring size O
Lot 28
AN IMPORTANT FIVE-STONE DIAMOND RING Composed of a central old brilliant-cut diamond weighing approximately 2.45cts, between graduated old cushion-shaped diamonds with old single-cut diamond accents, the gallery of scrollwork design, remaining diamonds approximately 2.80cts total, ring size O½
Lot 199
AN IMPORTANT DIAMOND SINGLE-STONE RING The round brilliant-cut diamond weighing 7.36cts within a double four-claw setting, between shoulders pavé-set with similarly-cut diamonds, ring size K¾ Accompanied by a report from the E.G.L laboratory stating that the diamond weighing 7.36cts is G colour, SI2 clarity. Report number EGL3204297229, dated December 2nd 2012
Lot 194
A FINE RUBY AND DIAMOND THREE-STONE RING The oval-shaped ruby, weighing approximately 2.20cts, between old European-cut diamond shoulders, within claw-setting throughout, mounted in platinum, diamonds approximately 2.60cts total, ring size L Accompanied by a report from GCS laboratory in London, stating that the ruby weighing approximately 2.20cts is of Burmese origin, with no indications of heat treatment. Report no. 5776-6349, dated July 19th 2016
Lot 148
A DIAMOND SINGLE-STONE RING The brilliant-cut diamond weighing 2.01cts within a four-claw setting and between pavé-set brilliant-cut diamond shoulders and hoop, mounted in platinum, ring size G½ Accompanied by a report from the GIA laboratory in America stating that the diamond weighing 2.01cts is E colour, VS2 clarity. Report number 6192746774 (laser inscribed), dated October 12th 2018
Lot 48
A SAPPHIRE BRACELET, BY ILLARIO, CIRCA 1955 The supple and articulated bracelet composed of two rows of baguette-cut synthetic sapphires between borders of gold beading detail, mounted in 18K gold, maker's mark for Illario, French import mark, length 18cm Brothers Carlo, Vincenzo and Luigi Illario were a family of goldsmiths/jewellers from Valenza. They established a jewellery firm in 1920, with each brother taking on their own position. Carlo, who was trained in Paris, headed the production, Vincenzo was a stone setter who also selected the precious gems and Luigi was head of administration. The brothers worked under their own name, as well as for bigger firms, and were involved with several different jewellery companies. Some of the most renowned goldsmiths in Valenza practised in their workshop, guaranteeing that each product was crafted with exceptional quality. The company brand from 1935 had been 26AL and the business name was under Carlo Illario e Filli. Traditionally, ownership was handed down from father to son and, in 1953, even Luigi's sons, Giovanni and Vittorio, became a part of the family business. From the end of the 1900s, Vittorio and his sons, Pier Luigi and Edoardo, carried on as owners of the company with the 'Illario 1920' logo. In 1996, Giovanni Illario, along with his sons Carlo and Gian Luca, agreed with Vittorio and his sons to set up a new company that would allow them to be more active in the foreign market. This led to a split in Societa Carlo Illario and to the creation of the new Societa Carlo Luca della Quercia which pursues the traditions and spirit of the original company. Their skilled craftsmanship, reputation of excellence and use of innovative goldsmith techniques caught the attention of well-established retailers. Throughout the 20th century, Casa Illario created unique pieces of haute joaillerie for the most famous Italian maisons: Bvlgari, Cusi, Faraone, Fasano, Fecarotta, Settepassi, Ventrella and others. The company's partnership with Bvlgari was particularly long standing, running from the 1950s through until the 1970s. In this time, Illario made many pieces for Bvlgari, including the now iconic Serpenti watch bracelet. Elizabeth Taylor was a consistent patron, whose personal style and love of dramatic jewels found its home in Illario's creations. Alongside manufacturing for other brands, Illario produced a vibrant assortment of jewellery under their own name. They were known for their fine gemstones and unusual materials, such as polychrome enamel, tortoiseshell and mother of pearl. Striving to stand out, Illario used new techniques in its pieces, such as black rhodium plating to create a contrasted look. The quality of the craftsmanship is clear in all jewels that bear the Illario name, making them highly desirable.
![HOCKNEY, David (b. 1937. illustrator) & Stephen SPENDER (1909-95). China Diary. [London:] Thames and Hudson, 1982. 4to (](https://cdn.globalauctionplatform.com/90ffa5c4-0670-4589-81bb-ac7e00fac987/0be70bcb-00fa-4f27-ad8f-ac7e0110537b/468x382.jpg)
Lot 380
HOCKNEY, David (b. 1937. illustrator) & Stephen SPENDER (1909-95). China Diary. [London:] Thames and Hudson, 1982. 4to (250 x 190mm). Plates and illustrations, many coloured. Original red cloth with Chinese character stamped in gilt on the upper cover and the spine lettered in gilt, original white slipcase with red printed label. FIRST EDITION, SIGNED AT THE FRONT BY THE ARTIST AND AUTHOR. WITH AN ORIGINAL FOLDING COLOURED LITHOGRAPH BY DAVID HOCKNEY, SIGNED AND NUMBERED "310/1,000" IN PENCIL BY THE ARTIST. "This folder contains an original five-colour hand-drawn lithograph, specially made for the signed edition of China Diary which is limited to 1,000 numbered copies worldwide. The lithograph, Red Square and the Forbidden City, 1982, by David Hockney, was printed at Petersburg Studios, New York, from one lithographic stone and four aluminium plates, all drawn by the artist, on Somerset satin-finish mould-made rag paper ... The lithograph is folded three times to form four paper panels ..." (from the folder). With 5 other books by, or relating to, David Hockney, including the brochure for Victoria Wood in Cabaret at Salts Mill. Sunday 3rd March 1996 (Bradford, 1996, front cover with a reproduction of a painting by David Hockney, number 352 of 500 copies), David Hockney's That's the way I see it (London, reprinted 2002) and the same author's Secret Knowledge. Rediscovering the lost techniques of the Old Masters ... new and expanded edition (London, 2006). (6)
Lot 452
GIRARD, Pierre-Simon (1765-1836). Traité Analytique de la Résistance des Solides, et des Solides d' Egale Résistance. Auquel on a joint Une suite de nouvelles Expériences sur la force, et l' élasticité spécifiques des Bois de Chêne et de Sapin. Paris: Chez Firmin Didot [and] Du Pont, 1798. 4to (253 x 195mm). Half title, errata leaf, tables, 9 folding engraved plates at the end (some mainly marginal spotting and staining, a few darker spots). Contemporary calf-backed marbled boards, spine gilt with red morocco lettering-piece (extremities rubbed). FIRST EDITION of this important work which contains the results of the author's researches on the strength and resistance of stone, timber and wrought iron as applied principally to architecture. It was the first book published in France to deal with "beam theory" in all its aspects (strength, flexural strength, elastic stability, yield strength). In the year of its publication, Girard travelled with Napoleon's army to Egypt where he studied the surface elevation and bed characteristics of the Nile; on his return to France, Napoleon appointed him director of the Paris water supply. (See DSB). Not in Brunet.
Lot 63
A LATE VICTORIAN DIAMOND AND VARI GEM-SET BUTTERFLY BROOCH, modelled with pierced outstretched wings edged with oval mixed-cut sapphires and rubies and rose-cut diamonds, enclosing a half pearl set thorax, with cabochon red stone eyes, gold and silver mounted, with detachable brooch fitting and later safety chain, (half pearls untested for origin), width 4.3cm Condition report: Sapphires are mostly well matched, of mid to dark blue hues, most containing mineral and fracture inclusions, some stones with a hazy transparency. Rubies are generally well matched, of mid purplish-red hues, most containing fracture/feather inclusions. The sapphires and rubies have general surface wear, with heavier scuffs, nicks and chips to facet edges. Diamonds are not well matched and many stones have chips, fractures and large inclusions. Half pearls have are not well matched and all are discoloured to have variable greyish hues, with chips, fractures, scuffs and losses to the pearl nacre. The brooch mount has general surface wear, with small areas of pitting/porosity to the sides. The brooch pin is detachable and functioning. The safety chain is later added. Metal standard is untested. Gross weight approx. 12.3gm.
Lot 180
A CHRYSOBERYL PANEL RING, the openwork lozenge-shaped panel of vari-cut chrysoberyls in foiled closed-back settings, later mounted to a yellow precious metal band stamped '18ct', ring size P Condition report: Surface scuffs, scratches and facet edge nicks/chips to chrysoberyls, which have variable yellowish-green hues and patchy discolouration to the foil backing. The edges of the setting are worn and have scattered fine splits. The central three stone setting is a little loose and is riveted in place to the panel, which is white metal mounted, and has been later adapted with a yellow precious metal ring mount. The mount and panel have general surface wear, scuffs and scratches and the shank is also stamped with pseudo marks (imitating a hallmark). Gross weight approx. 6.8gm.
Lot 38
A DIAMOND SINGLE STONE RING, of crossover design, the round brilliant-cut diamond in illusion setting, two colour precious metal mounted, together with a diamond two stone ring, 18ct gold mounted, a diamond and gem set dress ring, stamped '750', a star ruby single stone ring, stamped '18ct', and a 22ct gold wedding band, first ring size P (5) Approx. gross weights only: 22ct wedding band 2.5gm, diamond set band 3.3gm, star ruby ring 5.3gm, diamond single stone ring 2.4gm, gem set ring 5gm
Lot 341
A COLLECTION OF JEWELLERY, comprising a cultured pearl and diamond pendant necklace, a ruby set pendant on chain, 9ct gold mounted, two 9ct gold and gem set spray brooches, a diamond set nugget pendant, on a gilt metal chain, a pair of blue stone ear studs, a Blue John single stone ring, a diamond set dress ring, and further items, first necklace length (excluding extension chain) 40.5cm (qty) Approx. gross weights only: pearl pendant on chain 4.3gm, ruby pendant on chain 8.1gm, two spray brooches 9gm, nugget pendant 1.5gm, cross pendant on chain 3.6gm, diamond set ring 1.8gm, blue John ring 1.4gm, ear studs combined 5gm
Lot 70
TWO DIAMOND SET GYPSY RINGS, the first a ruby and diamond three stone ring, 18ct gold mounted, the second a diamond single stone ring, yellow precious metal mounted, ring sizes J and H½ respectively (2) Condition report: First ring - scuffs, nicks and chips to ruby, which measures approx. 3mm length x 2.5mm width. Diamonds are well matched, bright and lively, but one of the stones has a large surface-reaching fracture, estimated I to J colour and SI2 to P2 clarity, assessed mounted. Total diamond weight approx. 0.08ct. The mount has general wear, scuffs, scratches and nicks and a solder join to the shank. The hallmark has capital ‘F’ date letters to the interior and exterior (on one shoulder) but we cannot see an assay office mark. Width of band at top approx. 6mm. Gross weight approx. 4.2gm. Second ring - the diamond has a bright and lively appearance, with estimated SI1 to SI2 clarity and J to K colour, assessed mounted. Diamond weight approx. 0.15ct. The mount has general wear, scuffs, scratches and nicks and solder joins to the shank. Width of band at top approx. 7.8mm. Metal standard is untested. Gross weight approx. 5.2gm.
Lot 204
A COLLECTION OF JEWELLERY, comprising a diamond single stone ring, 9ct gold mounted, an emerald and diamond half hoop ring, 18ct gold mounted, (one white stone later replaced), an amethyst single stone ring, stamped '9ct', two cabochon set rings, a signet ring, a white stone full hoop ring, two locket pendants and a chain, first ring size L (10) Approx. gross weights only: emerald & diamond ring 1.6gm, diamond single stone ring 1.1gm, signet ring 2.7gm, other rings combined 10.1gm
Lot 295
A DIAMOND SINGLE STONE RING, the cushion-shaped old-cut diamond in eight claw setting, between engraved shoulders, two colour precious metal mounted, stamped '18ct Plat', diamond weight approximately 0.80ct, ring size N Condition report: The diamond is fairly bright and lively but has a large surface-reaching fracture and small chips/nicks to facet edges and the girdle, with estimated P2 to P3 clarity and K to L colour, assessed mounted. The diamond is set at a skewed angle to the mount. The mount has surface wear and scuffs, patchy tarnishing, with heavier wear to the sides of the setting and shank due to friction against another ring. Metal standard is untested. Gross weight approx. 3.5gm.
Lot 393
A TURQUOISE AND DIAMOND SET HALF HUNTER FOB WATCH, the circular white dial with Roman numerals and subsidiary seconds dial, to a keyless wind movement, the case with blue enamel chapter ring, set to the reverse with a cabochon turquoise and rose-cut diamond cluster star motif, stamped '18c 0,755' and numbered 189821, with Swiss gold marks, the cuvette signed J. Heming & Co, Conduit Street, London, W, the suspension loop with 18ct gold London import mark, suspending a short section of belcher-link chain, stamped '18', watch case diameter 3.1cm Condition report: Dial - good, crystal - missing, case - minor age related marks and some losses to the blue enamel chapter ring and marks to crystal, deeper scuffs and grooves to suspensory loop. Patchy discolouration, scuffs, fractures and pitting to turquoise cabochons, one is possibly a later blue stone replacement. Diamonds have a greyish/brownish appearance, possibly due to discolouration of foil-backing, some stones with small chips and fractures. Gross weight, including chain, approx. 36.2gm. The movement has not been tested and working order cannot be guaranteed.
Lot 312
A DIAMOND AND GEM SET PANEL RING, modelled as a spray of cabochon ruby and green stone flowerheads and foliage in closed-back settings, accented by individual round brilliant-cut diamonds, between bifurcated shoulders of graduated further brilliants, white precious metal mounted, (one cabochon deficient), total diamond weight approximately 0.35ct, ring size O Condition report: One cabochon is missing. Rubies are well matched, of deep pinkish-red hues, all contain fracture, feather and mineral inclusions that are visible under magnification. Some stones have surface-reaching fractures and nicks/chips, all have surface wear. The green stones are untested but have yellowish-green hues and a greasy lustre, with surface wear. Diamonds are well matched, bright and lively, with estimated VS1 to SI2 clarity. The ring mount has surface wear, scuffs and nicks throughout, with a small split to the side of one setting. There are yellowish solder joins/repairs to the reverse of the setting. Metal standard is untested. Gross weight approx. 8.5gm.
Lot 78
AN EDWARDIAN RUBY AND DIAMOND HALF HOOP RING, with scallop pierced setting and scrolled shoulders, 18ct gold mounted, hallmarked for Birmingham 1908, together with a similar ruby and diamond half hoop ring, stamped '18ct', and a sapphire and diamond three stone ring, of crossover design, stamped '18ct', first ring size L (3)Condition report: General surface wear, scuffs and chips to all ring mounts, and chips/scuffs/fractures to all gemstones. Diamonds have variable colour and clarity, some stones with chips and fractures. The second ring has a later shank, with solder joins visible at the junctions of the shank to the shoulders. The third ring has been re-sized. Approximate gross weights: 1st ring 2.5gm, 2nd ring 2.4gm, 3rd ring 1.6gm.
Lot 325
A DIAMOND SINGLE STONE RING, the cushion-shaped old-cut diamond claw set between baguette-cut diamond shoulders, white precious metal mounted, stamped 'PLAT', (shank broken), principal diamond dimensions approximately 7.1mm x 6.8mm x 4.5mm, principal diamond weight approximately 1.50ct, ring size approximately L Condition report: The principal diamond is bright and lively but has nicks and small chips to the girdle. Estimated H to I colour and SI1 to SI2 clarity, assessed mounted. The baguette-cut diamonds are well matched and fairly bright, with estimated J to L colour and VS2 to SI1 clarity, assessed mounted. The shank is broken and mis-shapen. The mount has general surface wear, with solder repairs to the sides and base of the setting and patchy wear to the claws. Metal standard is untested. Gross weight approx. 2.2gm.
Lot 147
A COLLECTION OF ANTIQUE AND LATER JEWELLERY, comprising an 18th century girandole ear pendant, highlighted with foil-backed red stones and seed pearl borders, (some seed pearls deficient), a pair of cut steel oval buckles, a pair of 19th century pendant drops, with French guarantee marks, a pair of seed pearl grape cluster drops, with enamel decoration, a garnet single stone bar brooch, three shamrock dress studs, and further items, (all pearls untested for origin), ear pendant length 7.7cm (qty)
Lot 73
AN 18TH/19TH CENTURY DIAMOND AND GARNET CROSS OF THE PORTUGUESE ORDER OF CHRIST, the baguette-cut and kite-shaped garnet cross centred with channels of lasque-cut diamonds in pinched collet settings, surmounted by a detachable openwork cluster of further lasque and rose-cut diamonds, set throughout in foiled closed-back settings, some red stones later replaced, with later added brooch and pendant fittings, and later detachable old-cut diamond set bale, length 8.8cm Condition report: Garnets have variable orangey-red to purplish-red hues, all are foil-backed, some with patchy discolouration to the foil-backing. Most stone contain multiple mineral and needle-like inclusions that are just visible to the unaided eye, some stones also contain surface-reaching fractures. All have scuffs, nicks and chips to the surface. Two of the kite-shaped garnets have large fractures and chips that run across the tip of each stone. At least one of the kite-shaped stones and one of the baguette-shaped stones are later replaced red stones (untested). The largest baguette-shaped garnets measure approx. 8.5mm length x 5.5mm width. Diamonds have variable grey and brownish tints, most are heavily included with minerals and fractures, most have chips and surface-reaching fractures, all are foil-backed. We are unable to confirm whether any of the diamonds are later replaced, but there are no obvious indications of this. The cross mount is dented and mis-shapen to one end, and multiple further smaller dents, impressions, splits, chips and scuffs throughout. The cluster mount has later brooch, pendant and hook fittings, with associated dark solder joins, and considerable wear, with small splits, chips and scuffs/scratches throughout. Both panels are tarnished. Metal standard is untested. The brooch pin is functioning but the hinged safety clasp is difficult to position against the pin. Gross weight of cross and cluster combined approx. 39.2gm.
Lot 274
THREE GEM SET RINGS, comprising a cabochon ruby single stone ring, 18ct gold mounted, a diamond set dress ring, 18ct gold mounted, and a cabochon turquoise single stone ring, stamped '750', first ring size R½ (3) Approx. gross weights only: diamond set ring 8.8gm, ruby ring 5.5gm, turquoise ring 10.2gm
Lot 283
A SAPPHIRE AND DIAMOND THREE STONE RING, the oval mixed-cut sapphire claw set between two old-cut diamonds, two colour precious metal mounted, stamped '18ct Plat', total diamond weight approximately 0.25ct, ring size M Condition report: The sapphire has a mid to dark purplish-blue hue with whiteish colour zoning and has multiple chips, scuffs and nicks to the surface. Diamonds have a fairly lively appearance but both stones have chips and fractures, with estimated P2 to P3 clarity and J to L colour, assessed mounted. The ring mount has considerable wear and the sides of the settings have worn flat. Metal standard is untested. Gross weight approx. 2.2gm.
Lot 255
A DIAMOND SINGLE STONE PENDANT, the round brilliant-cut diamond in square four claw setting, white precious metal mounted, stamped '750', on an unassociated white metal chain stamped '925', diamond weight approximately 0.70ct, pendant length 1.25cm Condition report: The diamond is bright and lively but contains small fracture and mineral inclusions, some that are surface-reaching, and has a light yellowish tint, with estimated P1 clarity and K to L colour, assessed mounted. The pendant mount is modern with light surface wear. Pendant weight approx. 1gm.
Lot 45
A DIAMOND HALF HOOP RING, the line of uniform round brilliant-cut diamonds in channel setting, 18ct gold mounted, together with an emerald and diamond three stone ring, also 18ct gold mounted, first ring total diamond weight approximately 0.30ct, size approximately S (2) Condition report - Half hoop ring: Diamonds are mostly well matched, bright and lively to the naked eye, estimated SI1 to P1 clarity and H to J colour, assessed mounted. The ring mount has a split to the back of the shank, general surface wear throughout, and has been enlarged in size. The setting requires a comprehensive clean. Gross weight approx. 3.3gm. Emerald ring: The emerald is heavily included with dark mineral, fracture and fissure inclusions. Some of the fractures are surface-reaching, and the emerald has chips and scuffs to the surface. Diamonds are well matched and fairly bright. The ring mount has a split to the back of the shank, general surface wear throughout, and has been possibly been re-sized. Gross weight approx. 2.3gm.
Lot 139
A DIAMOND SINGLE STONE RING, the old-cut diamond in millegrain collet setting, 18ct two colour gold mounted, diamond weight approximately 0.70ct, ring size O Condition report: The diamond has a sizeable chip to the side crown facets and contains central surface-reaching fractures, with estimated P2 clarity and J to K colour, assessed mounted. The mount has general surface wear, with a small dark solder join/repair to the side of the setting, some thinning to the edges of the setting, and a small split to the back of the shank. Gross weight approx. 2.5gm.
Lot 76
A DIAMOND SINGLE STONE RING, the round brilliant-cut diamond in raised double claw setting, white precious metal mounted, stamped '18ct', together with an 18ct white gold panelled wedding band, and two white stone full hoop eternity rings, first ring size P (4) Approx. gross weights only: single stone ring 2.5gm, wedding band 4.3gm, full hoop rings combined 5.5gm
Lot 97
AN ENAMEL AND HARDSTONE INTAGLIO RING, the 19th century fluted setting decorated with scalloped red, white and black enamel, enclosing a possibly earlier oval cornelian intaglio carved to depict an animal, (intaglio chipped), in closed-back setting, between tapered foliate engraved shoulders, ring size approximately O - P Condition report: The intaglio has a large chip to one side, which penetrates in to the stone and encroaches on the incised decoration. The intaglio has scuffs, scratches, pitting and nicks, measuring approx. 12mm length x 10.8mm width. The edges of the setting have worn thin and have fine splits and chips. Enamel decoration is heavily worn, with losses, chips and scratches to the enamel. The mount has considerable wear, with deep scuffs and chips, patchy wear to the engraved decoration and some deep filing marks to the interior. An indistinct mark is scratched to the inside of one shoulder, possibly ‘XXXV’. Metal standard is untested. Gross weight approx. 5.3gm.
Lot 44
AN OPAL FIVE STONE RING, the oval and circular cabochon opals spaced by rose-cut diamonds points, above a scrolled gallery, yellow precious metal mounted, ring size approximately P Condition report: The opals are scuffed, scratched, chipped and crazed. Diamonds have a greyish, fractured appearance and one stone is missing. The setting has a build up of grease and dirt and requires professional cleaning. The setting has general wear, scuffs and scratches, with thinning to the edges of the setting. The shank may have been enlarged. Metal standard is untested. Gross weight approx. 4.4gm.
Lot 336
A PINK TOURMALINE AND DIAMOND PANEL RING, the rectangular pierced and millegrain panel centred with a circular mixed-cut pink tourmaline, bordered by graduated old brilliant, Swiss and single-cut diamonds, above a pierced gallery, white precious metal mounted, stamped 'Platinum', total diamond weight approximately 0.35ct, ring size N Condition report: The tourmaline measures approximately 4.8mm in diameter and has surface scuffs, chips and scratches. Diamonds are well matched, bright and lively, but one of the brilliant cuts has a large chip that penetrates through to the pavilion of the stone. This stone may need replacing. Remaining diamonds have estimated VS2 to P1 clarity and H to K colour, assessed mounted. There is a split to the base of one shoulder, patchy wear to the edges of the setting and solder joins to the shank. Length of panel approx. 1.5cm. Date of manufacture unknown, metal standard untested. Gross weight approximately 4.3gm.
Lot 266
A DIAMOND SET SERPENT BRACELET, modelled as a coiled snake, his head pavé set with rose-cut diamonds and circular-cut red stone eyes, two colour precious metal mounted, stamped 'PAT 18ct', inner diameter approximately 6cm Condition report: Surface wear, scuffs, nicks and scratches to the mount. Diamonds have greyish-white hues, most with chips and fractures. The red stone eyes also have small chips and fractures. Metal standard is untested. Gross weight approx. 24.5gm.
Lot 93
A COLLECTION OF DRESS RINGS, comprising a ruby and diamond half hoop ring, stamped '750', a blue synthetic spinel single stone ring, with openwork abstract mount, stamped '9ct', and two garnet cluster rings, first ring size I½ (4) Condition report: Approx. gross weights only: half hoop ring 6.5gm, synthetic spinel ring 13.8gm, 9ct gold garnet cluster ring 7.2gm, other cluster ring 6.2gm
Lot 271
A DIAMOND SINGLE STONE PENDANT, the heart-shaped brilliant-cut diamond in four claw setting, surmounted by a heart-shaped bale, white precious metal mounted, stamped '750', on a fine curb-link chain stamped '14k', diamond weight approximately 1.60ct, pendant length 1.55cm Condition report: The diamond has pale surface-reaching fractures and chips/naturals to the faceted girdle, with estimated SI2 to P1 clarity and J to K colour, assessed mounted. The pendant mount has a scuff across the heart-shaped panel and a solder join/repair to the back. The chain has surface wear, an extension section and the clasp is loose fitting. Metal standard is untested. Gross weight approx. 4.5gm.
Lot 106
A COLLECTION OF JEWELLERY, comprising a half pearl set pendant, the openwork lozenge-shaped panel centred with a green garnet-topped doublet, suspending a cabochon opal drop, stamped '9ct', a diamond half hoop ring, 14ct white gold mounted, a cabochon single stone ring, 14ct gold mounted, a three stone ring, with scrolled setting, 9ct gold mounted, and a further three stone ring, pendant length 4.6cm (5) Approx. gross weights only: pendant 2gm, diamond half hoop ring 2.6gm, cabochon ring 6.6gm, 9ct gold three stone ring 3.8gm, white metal three stone ring 4.3gm
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