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Click here to subscribeAN OPAL AND DIAMOND CLUSTER RING set with a central cabochon opal of 1.75 carats encircled by a border of round cut diamonds. Ring size O / 7.*** Additional images and information, including information on stone grading, treatments, sizes, metal identification and purity, weights, etc are available on request from info@elmwoods.co.uk ***
A PAIR OF OPAL AND DIAMOND EARRINGS each set with a large oval cabochon opal of 4.71 and 4.82 carats below a floral diamond motif, 3.2cm, stamped 750.*** Additional images and information, including information on stone grading, treatments, sizes, metal identification and purity, weights, etc are available on request from info@elmwoods.co.uk ***
A DIAMOND BANGLE, CIRCA 1860 designed with a floral array of rose cut diamonds to the front, within filigree decoration, with further diamonds set to quatrefoil motifs in the reverse, 168mm.*** Additional images and information, including information on stone grading, treatments, sizes, metal identification and purity, weights, etc are available on request from info@elmwoods.co.uk ***
A CITRINE, YELLOW DIAMOND AND DIAMOND COCKTAIL RING of bombe form, set with circular citrine cabochons punctuated with round cut yellow and white diamonds, full British hallmarks, stamped 750. Ring size M / 6.25.*** Additional images and information, including information on stone grading, treatments, sizes, metal identification and purity, weights, etc are available on request from info@elmwoods.co.uk ***
AN ANTIQUE FANCY LINK LONGCHAIN NECKLACE, CIRCA 1900 designed as a single row of navette links with filigree scrollwork decoration, connected by circular links, length 1500mm, French assay marks.*** Additional images and information, including information on stone grading, treatments, sizes, metal identification and purity, weights, etc are available on request from info@elmwoods.co.uk ***
AN ART NOUVEAU IMPERIAL TOPAZ AND DEMANTOID GARNET PENDANT set with a central oval cut topaz of 4.43 carats surrounded by three round cut garnets within a floral vine motif, suspending a further pear cut topaz of 3.09cts, 5.4cm.*** Additional images and information, including information on stone grading, treatments, sizes, metal identification and purity, weights, etc are available on request from info@elmwoods.co.uk ***
A CITRINE AND DIAMOND BROOCH, CIRCA 1975 designed as an incomplete circle of intertwined barbed vines jewelled with thirteen round cut citrines and three round cut diamonds, 6.5cm.*** Additional images and information, including information on stone grading, treatments, sizes, metal identification and purity, weights, etc are available on request from info@elmwoods.co.uk ***
A FANCY LINK BRACELET designed as a single row of pedestal links, length 200mm, Italian assay marks and maker's marks.*** Additional images and information, including information on stone grading, treatments, sizes, metal identification and purity, weights, etc are available on request from info@elmwoods.co.uk ***
AN ANTIQUE CITRINE AND SEED PEARL RIVIERA NECKLACE, EARLY-MID 19TH CENTURY designed as three strands of seed pearls punctuated with gold beads, suspending fifteen graduated oval cut citrines, the largest 11.40 carats, length 420mm.*** Additional images and information, including information on stone grading, treatments, sizes, metal identification and purity, weights, etc are available on request from info@elmwoods.co.uk ***
A JEWELLED QUARTZ BRACELET set with alternating oval, cushion and square shaped yellow and orange checkerboard quartz.*** Additional images and information, including information on stone grading, treatments, sizes, metal identification and purity, weights, etc are available on request from info@elmwoods.co.uk ***
AN ANTIQUE CARVED CAMEO BROOCH set with a carved oval cameo depicting the bust of a lady in profile, within a bright cut, foliate engraved mount, 4.2cm.*** Additional images and information, including information on stone grading, treatments, sizes, metal identification and purity, weights, etc are available on request from info@elmwoods.co.uk ***
A PAIR OF DIAMOND DROP EARRINGS each designed as a trio of tiered barrel motifs jewelled with rows of single and round cut diamonds, suspended below a round cut diamond, 3.5cm, stamped 750.*** Additional images and information, including information on stone grading, treatments, sizes, metal identification and purity, weights, etc are available on request from info@elmwoods.co.uk ***
A SUGARLOAF EMERALD AND DIAMOND THREE STONE RING set with a central sugarloaf cabochon emerald of 3.97 carats flanked on either side by a triangular rose cut diamond, on a plain band, stamped 18K. Ring size L / 6.*** Additional images and information, including information on stone grading, treatments, sizes, metal identification and purity, weights, etc are available on request from info@elmwoods.co.uk ***
EMERALD AND DIAMOND CLUSTER RING the central emerald-cut stone in a four corner claw setting and raised above a rectangular cluster border of round brilliant-cut diamonds and baguette-cut diamonds, total diamond weight . approximately 0.cts, forming the shoulders, to an 18ct white gold shank. Ring size O
Sir George James Frampton RA, (1860 ~ 1928), a patinated bronze model of Peter Pan, dated 1921, after J.M.Barrie's original commission in Kensington Gardens, portrayed standing with left foot forward, his pipes held to his lips in his left hand, the shaped base dated, monogrammed GF and inscribed PP within a circle in the maquette, atop a rectangular Connemara marble socle, 51cm high overall, 34cm wide CATALOGUE NOTES: Sir George Frampton was born in London, the son of a stone carver, he trained as an architect before studying sculpture at Lambeth School of Art and later at the Royal Academy Schools, where he won a Gold Medal and a Travelling Scholarship to Paris to the studio of Antonin Mercie, in 1887 Alongside Hamo Thornycroft, Harry Bates, Alfred Drury, Bertam Mackennal, and Alfred Gilbert, Frampton was a central figure of the New Sculpture movement, who rejected classical prototypes in favour of new allegorical subjects, expressing abstract ideas about the human condition. Part of the New Sculpture phenomenon was what came to be termed the ‘Cult of the Statuette’, which had links to concepts of the house beautiful and the home as a place where art could inspire or give expression to an aesthetic ideal. In the 1880s and 1890s the production of statuettes became a major new business and an important method by which the New Sculpture was disseminated Frampton received numerous honours and produced many public monuments, including a number of statues of Queen Victoria, Queen Mary, and the Edith Cavell Memorial 1920. His most iconic work is his sculpture of Barrie’s famous literary character, Peter Pan. Placed in Kensington Gardens, overnight and without permission as a surprise gift to local children, Frampton’s Pan is both enchanting and unsettling, reflecting the eternal youth for which Pan was famed Cf Lyon & Turnbull, Decorative Arts: Design Since 1860, 6th April 2016, lot 413 Also Christie's London, Victorian, Pre-Raphaelite & British Impressionist Art, 11th December 2014, lot 9
A sculpted lead model of a seated putto, late 19th / early 20th century, portrayed as lightly drapaed and seated on a plinth, a birds' nest beside him, 47cm high; Atop an associated stone composition plinth, 20th century, of square section with moulded top and base, 65cm high; the height overall 112cm
A pair of impressive Victorian sculpted terracotta portrait heads of William Shakespeare and Anne Hathaway, circa 1879, sculpted almost in the round but for wall mounting, the circular backplates formed as Elizabethan collars and ruff, with metal mounts behind; Shakespeare 53cm high, 38cm wide, 33cm protuberance; Hatthaway 43cm high, 42cm wide, 33cm protuberance PROVENANCE: Removed from the Shakespeare Memorial Theatre in Stratford CATALOGUE NOTES: Designed by William Unsworth after a competition and opened on 19th April 1879, this forerunner to the Royal Shakespeare Theatre was destroyed by fire on 6 March 1926. It was constructed of red brick and stone, in a similar Gothic Revivalist style to Keble College Oxford, Saint Pancras Station and Westminster Cathedral, and with its central turreted tower was a striking and rather handsome addition to the Stratford riverside However, the theatre's demise appears not to have been universally lamented -the Guardian newspaper commented that The destruction of the Shakespeare Memorial Theatre at Stratford-on-Avon, though deplorable, is not calamitous. The theatre, built of brick streaked with stone, was without dignity or grace as to its exterior, and inconveniently planned as to its interior. It was quite unworthy of its great name, and inharmonious with its beautiful setting by the river side and its neighbourhood to the famous church where Shakespeare is buried It is unclear on which part of the structure the portrait terracottas here were mounted
A pair of stone composition garden urns on plinths, second half 20th century, of Campana form with beaded rims above scrolling foliate cast bodies, each with twin handles to the lobed underside, above a waisted fluted socle and square base; the square section plinths with moulded bases, 162cm high overall, the urns 58cm diameter, the plinths 59cm wide and deep
A set of four Victorian stone composition twin handled garden urns, probably by Austin & Seeley, second half 19th century, of Campana form, each with trailing vines moulded beneath the rim, above lion mask and foliate handles, fluted socles and square bases, 73cm high, 51cm diameter CATALOGUE NOTES: Around 1840 Felix Austin entered into partnership with John Seeley. Seeley had trained at the Royal Academy Schools and had already been making an artificial stone, before entering into partnership with Austin. In 1841 Austin and Seeley published their first catalogue, Collection of Ornaments at Austin & Seeley's Artificial Stone Works for Gardens, Parks and Pleasure Grounds. The firm continued in production until about 1872 Although their cast stone products were rarely stamped with the makers mark, items by Austin and Seeley can often be identified by their quality, which was recognised by Queen Victoria, who was included amongst their patrons
An Oriental carved granite garden lantern, 20th century, with hexagonal pagoda roof and stupa finial on a four legged base, 88cm high, 77cm wide; another Oriental granite garden lantern, 20th century, mounted atop an arch, 113cm high, 91cm wide overall; and a stone composition garden lantern in Oriental style, 20th century, 60cm high
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