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Lot 101
A pair of modern designer-made single stone diamond earstuds, each fancy 'spirit sun' round cut diamond tension set in the curl of a ribbon of polished white precious metal, not marked but tests for platinum and butterfly marked 'Pt', length 1.3cm, gross weight 5.18g, diameter of diamonds 4.4mm VAT is payable by the buyer at the standard rate (presently 20%) on the hammer price as well as the buyer's premium.
Lot 102
A graduated multi-colour sapphire necklace, each oval or round cut stone spectacle set and joined by short double wire connections, the colours of the sapphires predominantly blues and yellows but also pink, lilac, white and green; yellow precious metal stamped '585' to indicate 14ct gold; length 56cm
Lot 107
A pair of contemporary single stone diamond earstuds set in a platinum drop, each pierced comma-shaped drop of polished platinum tension set with a round brilliant cut diamond, length 1.1cm, total estimated weight of diamonds 0.20cts, London laser hallmarks for platinum 2007, gross weight 4.56g VAT is payable by the buyer at the standard rate (presently 20%) on the hammer price as well as the buyer's premium.
Lot 119
A diamond five stone ring with further diamond highlights, the five graduated round brilliant cut diamonds with four pairs of diamond points set in the interstices to an Edwardian style scrolling gallery and carved shoulders, ring size Q, set in white-tipped and yellow precious metal stamped '18k', total estimated weight of diamonds approximately 0.55cts
Lot 123
A single stone white zircon bar brooch, the round cut zircon, diameter 7.6mm, in a millegrain edged collet set towards the end of the plain narrow bar, unmarked white precious metal, front tests for platinum, back for 18ct white gold, clasp with safety catch, length 6.2cm, in period fitted case
Lot 129
A pair of single stone marquise cut diamond earstuds, each post headed by a diaper form cushion rubover set with a marquise cut diamond, the unmarked white precious metal with brushed texture finish tests for platinum, and both butterflies stamped '950 Pt', length 0.8cm, total estimated weight of diamonds approximately 0.70cts, gross weight 4.11g VAT is payable by the buyer at the standard rate (presently 20%) on the hammer price as well as the buyer's premium.
Lot 131
A golfing brooch together with a wishbone brooch and a three stone garnet brooch, the first designed as two crossed golf clubs, a wood and an iron, with two seed pearl golf balls, yellow and white precious metal stamped '15ct', in period leather fitted case; together with a realistically modelled wishbone, for good luck, yellow precious metal also stamped '15' for 15ct gold, also in period leather fitted case; and a 19th century garnet brooch with a cushion cut between two pear cuts, claw set on a short pin, also in a period leather fitted case (3)
Lot 137
A pair of diamond cluster earrings cased by Garrard, each earstud designed as a flowerhead of old mainly cushion cut diamonds, with a larger central stone in a close border of eight similar stones, diameter of clusters 1.25cm, total estimated weight of diamonds approximately 2.70cts; in a period fitted case by Garrard & Co PLEASE NOTE CORRECTION OF DIAMETER - SHOULD READ 1.25CM, NOT 2.5CM
Lot 138
A contemporary two stone diamond ring set in platinum, designed as an incomplete hoop, the oval section band becoming round at the front where the two ends both terminate with a rubover set round brilliant cut diamond, platinum hallmarks, London 2007; ring size M, total estimated weight of diamonds approximately 0.40cts, gross weight 10.38g; in original circular fuchsia pink leather case VAT is payable by the buyer at the standard rate (presently 20%) on the hammer price as well as the buyer's premium.
Lot 141
A contemporary single stone pear cut diamond ring, the pear-shaped adapted brilliant cut diamond, estimated weight approximately 1ct, obliquely angled and rubover set with one quadrant free, to a brushed finish tapered band of hallmarked platinum, London 2010, ring size P, gross weight 12.46g; in original circular fuchsia pink leather case VAT is payable by the buyer at the standard rate (presently 20%) on the hammer price as well as the buyer's premium.
Lot 145
A two stone marquise cut diamond ring set in platinum, the open crossover design with a marquise cut diamond part rubover set in each termination, to a plain polished band, size L½, full London hallmarks for platinum 2008, estimated total weight of diamonds 1.15cts, gross weight 10.82g; in original circular fuchsia pink leather case VAT is payable by the buyer at the standard rate (presently 20%) on the hammer price as well as the buyer's premium.
Lot 149
A single stone diamond crossover ring, the round brilliant cut diamond, estimated weight 0.63cts, tension set between crossover and twisting terminations of the polished shank, ring size N, unmarked white precious metal, tests for platinum, gross weight 12.14g; in original circular fuchsia pink leather case VAT is payable by the buyer at the standard rate (presently 20%) on the hammer price as well as the buyer's premium.
Lot 151
A fancy coloured diamond single stone and 18ct gold ring, the round brilliant cut light golden brown diamond, estimated weight 0.79cts, estimated clarity VVS, half-collet set with each shoulder channel set with two round brilliant cut white diamonds to a plain band, size O, Sheffield import hallmarks 1989, contemporary presentation case
Lot 158
An 18ct gold emerald and diamond ring together with a diamond three stone ring, the first with three graduated oval step cut emeralds spaced by X motifs with diamond highlights and further similar diamonds at the terminations, to a carved scrolling gallery and shoulders, and plain shank, size P, hallmarks worn; the second ring with three graduated old round cut diamonds collet set to a plain shank, size P, stamped '18ct' (2)
Lot 159
A modern single stone diamond snake ring, the marquise cut diamond, estimated weight 0.30cts, part collet set in the angled 'head', the body forming the shank around the finger, and the 'tail' tapering at the front, the two ends in parallel crossover formation, ring size N; hallmarked platinum, London 2007, gross weight 9.81g; in original circular fuchsia pink leather case VAT is payable by the buyer at the standard rate (presently 20%) on the hammer price as well as the buyer's premium.
Lot 162
A single stone diamond ring set in platinum, the round brilliant cut diamond, estimated weight 1.27cts, double claw set between tapered millegrain edged shoulders each with a line of three single cut diamonds, to a plain band size M, Birmingham import hallmarks for platinum The ring is in good condition, with only minor scuffs and wear appropriate to age; all the diamonds are in place and appear to be secure. The principal diamond is a clean, bright, well-proportioned stone with good liveliness and sparkle; an accurate assessment of the stone is limited by its setting, but the estimated colour is I-J, estimated clarity VS1
Lot 172
A matched suite of single stone diamond ring, earstuds and pendant set in white gold, each piece with a collet set round brilliant cut diamond, the ring with a tapered shank size N with London hallmarks for 18ct gold and common control mark; the earstuds of 9ct gold, with common control marks; the pendant with Birmingham hallmarks for 9ct gold and common control mark; total estimated weight of diamonds approximately 0.80cts (3)
Lot 190
A diamond heart and sapphire bar brooch, the short knife edge bar set to the centre with a cushion cut sapphire around which is a linear heart close set with old brilliant cut diamonds, to two round cut sapphires at the bar's terminations; length 3.6cm; offered in a mid-20th century box by Tiffany of stone coloured leather and cream silk crêpe interior, stamped in gold 'Tiffany & Co, New York, Paris, London'
Lot 197
A Victorian diamond star with both pendant and brooch fittings, the sixteen uniform points set with graduated old round, oval or cushion cut diamonds, one lacking, down to two rose cuts for the smallest, claw set, around the principal central diamond in a crimp collet, to a kite-shaped bale set with three similar graduated diamonds; both bale and brooch fittings removable, brooch clasp with safety catch; diameter 4.1cm, length with bale 5.7cm; total estimated weight of diamonds approximately 3.20cts Aside from the one missing stone noted in the catalogue entry, this star is in good condition commensurate with age; however it would benefit from a gentle clean - the diamonds have dust and grime especially on the backs , and the setting is lightly tarnished. The claws on the central diamond are sound, but the rest should be checked. The brooch pin is bent but the fitting, as the removable bale, is in good working order. All the diamonds are old cuts with their charmingly erratic faceting - no modern replacements; the overall impression is lively, white and well-matched, but the setting as well as their size preclude individual colour and clarity assessments.
Lot 204
A two stone diamond ring, the two round brilliant cut diamonds claw set obliquely with the plain shank tapering to curve around and between them in an S line, white precious metal stamped 'Plat', ring size N, total estimated weight of diamonds 1.85cts, cased The ring mount has light scuffs appropriate to light wear, the claws are sound and stones secure. The diamonds are good - bright and well-matched- and estimated at colour F-G, clarity VS1 or better - but the setting makes accurate assessment of the diamonds difficult; they might perhaps be worth sending to a grading lab for certification (when they would be unset for assessment).
Lot 252
A St Petersburg egg, maker's mark of VK, together with a specimen stone stand, the exterior of the egg engraved with two birds on flowering branches, unscrewing to form two egg cups, 5cm (2in) high, the stand with a green stone cup supported on a brown agate column with a square foot, 12cm (4.75in) high (2)
Lot 369
Giovanni Francesco Barbieri il Guercino (Italian, 1591-1666) Portrait of an Italian Cane Corso seated within a stone window opening, a mountainous landscape beyond oil on canvas 55.50 x 76.20 cmProvenance: Acquired by the vendor's great great grandfather in Rome in 1850; and thence by family descentOther Notes: This previously unrecorded painting is an exceptionally rare example of Guercino’s paintings of an individual animal and survives in excellent condition.In a valuation of the picture from the last century, it was given a generic attribution to Guercino. Guercino’s authorship was recently proposed by John Somerville and subsequently fully endorsed by Nicholas Turner on first-hand inspection of the painting, both before and after its recent cleaning by the Hamilton Kerr Institute (report available and also online). The attribution to Guercino has also been endorsed by Francesco Petrucci who has described it as “un vero capolavoro, molto impressionante, di grande potere inventivo e di qualità pittorica, incontestabilmente del Guercino, come giustamente riconosciuto da Nicholas Turner”.The style points to a date towards the beginning of the painter’s transitional period (circa 1625-1630) when his work began to show an increasingly classical influence, following his return to Cento in 1623 after a short stay in Rome (1621-1623).Though the painter included dogs in portraits and other compositions, Guercino’s only surviving animal painting hitherto was his famous portrait of the Aldrovandi Dog (Fig. 1) in the Norton Simon Museum, Pasadena, California, which is generally dated circa 1625.The present picture was probably executed at about the same time. Neither painting is recorded in Guercino’s Account Book (which was only started in January 1629).The robust physique and head of the dog has indicated to both the Kennel Club of Great Britain and its Italian counterpart, the Ente Nazionale della Cinofilia Italiana, that this dog is a Cane Corso, the progenitor of the present day Italian Mastiff. This was, and still is, a breed traditionally used as guard dogs and for hunting. The Italian name, Cane Corso, derives from the Italian word corso meaning ‘street’ or ‘way’. The ancient forebear of the Cane Corso was praised by the Romans for its courage, nobility and strength. When the Romans invaded Britain they found a mastiff-type dog already here and were so impressed, they took some back to fight in the Roman arenas. Over the centuries and certainly since Guercino’s own time, the breed has been bred - both in Italy and elsewhere - to have much longer legs and an even larger head. Today its overall greater size is reflected in its name ‘Mastiff’, rather than that of Cane Corso. In this painting, the dog is silhouetted against the sky and seems to be watching over a walled patch of ground, with flat open country beyond. Its owner must have held it in some affection, presumably commissioning Guercino to paint this dramatic close-up likeness of it. The animal’s body fills the foreground space and further emphasis is given to its commanding physical presence by the breath-taking description of the subtly changing colour and texture of its coat, its glistening eyes and the heavy jaws from which lolls its slightly moist, pink tongue.In the great Norton Simon picture, the dog is a brindle mastiff and though the Aldrovandi family coat-of-arms decorates its large collar, we do not, as here, know the animal’s name. The sweeping landscape in the Aldrovandi painting, against which the dog stands so majestically, competes with it for the viewer’s attention. To the right, the flat countryside may represent the Aldrovandi’s estates of Castello della Giovannina outside Cento, the distant tower perhaps that of the old castle. Guercino may have painted the Aldrovandi Dog as a gift for his friend and patron, Conte Filippo Aldrovandi, to whom he was much indebted. Whatever the circumstances, the Aldrovandi Dog is, in effect, two paintings - a portrait of a dog belonging to Guercino’s friend and a landscape that may allude to one of his estates.The combination of the two seems exceptional and had the picture been painted for one of Guercino’s regular clients (and after he began an account book in 1629), we can speculate that probably he would have been charged a double-price - for the animal and the landscape.The present painting, however, is a portrait of a dog without ‘extras’ and does not belong to the same category as the more deluxe Aldrovandi Dog in Guercino’s product range. The canvas is smaller and there is no extensive landscape background - only a glimpse of a distant countryside with trees and hills appearing between the animal’s left foreleg and the line of the wall to the right, giving a sense of context to the animal. Both pictures, however, share the life-like treatment of the dog, seen from a low viewpoint against a sinking horizon.The brushwork of the dog in the present picture is rapid, intuitive and brilliant. An idea of how the painter freely improvised the handling of the dog’s honey-coloured coat may be observed in the zig-zagging line running parallel to the lowest of the rolls of flesh at the creature’s neck - indicated with the pointed wooden end of the brush in the wet paint. The brio with which the dog is painted, with a heavily laden brush, contrasts in texture to the smooth, thinly-painted compositional framework - such as the parapet on which the dog sits and the wall to either side. These neutral areas serve as a foil to the picture’s dominating central motif. Contrasting thickly-painted key figures in a composition with thinly-painted backgrounds is a consistent feature of Guercino’s working method.Midway between these two types of paint application is the fluffy white cloud that billows out from behind the dog in the Cheffins picture. The cloud bridges foreground and background space. At the base of the cloud - where it is seen against the animal’s body and the wall - the white paint is thickly applied and creates a strong contrast with these two areas. The white paint also hides rejected trials for the contour of the animal’s back and rump. As the cloud ascends in the sky, it becomes wispy and the paint texture lightens as the form mingles with the adjacent open sky. The spontaneous brushwork with which this floating mass of moisture is represented is an extraordinary performance, showing Guercino’s handling at its very best and at the same time it plays a practical role in holding compositional space together.In the Aldrovandi Dog and the Cheffins Cane Corso, Guercino painted the soft fur of the different dogs with wonderful command of his means, as well as summarising with great understanding their physical traits. In the present picture, the impasto in the painting of the dog is set against a mostly neutral background. Yet the personality of each animal is strikingly different; the Cheffins dog has an alert but biddable and affectionate countenance, so well understood by the artist. The Norton Simon dog is depicted as if akin to his owner’s social status, a great, grand and elegant hunting hound.Dottore Francesco Petrucci has requested the loan of the painting for his forthcoming exhibition, ‘Cani in Posa’, to be held at La Veneria Reale, Turin, from 18 October 2018 to 29 January 2019.We are grateful to Dr Nicholas Turner for his help in compiling this catalogue entry.Fig. 1 Giovanni Francesco Barbieri, il Guercino - Aldrovandi Dog - oil on canvas - © The Norton Simon Foundation, California, USA Condition report: Hamilton Kerr report and high resolution images available on request
Lot 379
English School, circa 1600 Portrait of a lady with her small spaniel beside her, an earring in her left ear depicting Cupid, holding a fan, with a writing tablet at her waist oil on panel 88 x 67cm (34 x 26in) Provenance: By family descent in a London private collection Literature: For similar portraits see: Violet A Wilson, Queen Elizabeth's Maids of Honour and Ladies of the Privy Chamber, London: John Lane The Bodley Head Ltd., 1922 - Portrait of Ann Russell, Lady Herbert, p.259 (Collection of the Duke of Beaufort); Portrait of Mary Fytton, Maid of Honour to Queen Elizabeth, frontispiece (from the Collection at Arbury) Sir Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture, The Paul Mellon Foundation for British Art, 1969, Nos. 296-298 - Portraits of Elizabeth Brydges, Lady Kennedy (one at Woburn Abbey, and a full length at Ditchley Park) The sitter is presumably a member of the Court and quite possibly one of the Queen's Maids of Honour, judging by her dress. As a young bride joining the magnificent Court of Elizabeth I, Gloriana, the sitter is wearing pearls which were thought to be the Queen of gems at the time, and she appears to be a girl aged 15 to 20, an heiress of high rank. The present portrait appears to be a marriage portrait - the sitter has her small dog beside her - a symbol of fidelity - and in her left ear hangs an earring depicting Cupid aiming his arrow at a flaming heart. The sitter is wearing some extremely interesting jewellery. The pearl attire on her high padded hair, composed of spiral motifs with peapods, is in the "cosses de pois" style originating in Paris circa 1600, but in use before that. From the central pod hangs a red stone - probably either a spinel or ruby drop attached to a diamond cluster with pearls falling down to her brow. To disguise flaws, diamonds were placed in settings lined with black foil - hence artists painted these stones black with a dot of white paint to convey lustre. Earrings were not necessarily worn in pairs at that time. Unusually this is figurative with Cupid holding his bow to fire an arrow at a flaming heart target. This theme fits with the small dog on the sitter's lap, representing fidelity. Her pearl necklace is standard de luxe for the time but here the swags give emphasis. There is a band of ruby/garnets and pearl clusters at her neckline - with an armlet of similar design composed of clusters linked together, as in a chain. The girdle may be composed of pearl and red stone clusters. The sitter is holding a material bag containing ivory tablets for writing little notes/aide memoires. It would appear to be embroidered inter alia with a pansy meaning 'kind thoughts' (from the French pensée) and showing Prudence looking into her mirror portrayed below a heart. These jewels with fan and book, wired collar, lace cuffs and white satin dress make a statement of wealth, rank and fashion by a newly married English woman circa 1600. Indeed, the choice of white material and pearls (for virginity) and red stones (for love) may well be purposeful. The sitter wears a tightly boned low-neck bodice and farthingale skirt made of richly embroidered Italian silk, trimmed with brocade and ribbons. Similar portraits have appeared at auction in recent years - an early 17th century English School portrait of Lady Parker, which sold for £52,000 at Mitchells of Cockermouth, Cumbria, on 3rd-4th September 2015; and English School, circa 1595-1605, Portrait of Elizabeth Howard, sold from Cowdray Park, West Sussex, at Christie's, London, 13-15 September 2011 for £145,240. We are grateful to Diana Scarisbrick MA, FSA, Jewellery Historian, and to Sir Roy Strong for their assistance with the catalogue entry. A Dendrology report by Ian Tyers is available - Contact Department. On Eastern Baltic oak. Greener and Co. of Liverpool - old framer's label Two small paint losses - tiny - upper right hand corner. Very old panel in three pieces, has wooden rivets. Panels are bowing slightly. 19th Century gilt frame has various chips. Oil on panel. The panel is formed from three boards in vertical alignment. There are butterfly inserts on the reverse of the panel reinforcing the joins. The left hand panel join has a slight concave warp and there is fill and retouching along the length. There is blistering and flaking in the upper right corner. The thin paint layers are worn in some areas such as the hair, but generally in a good condition for the age of the painting. There are scattered retouchings along the joins and other areas. There appears to be some retouching in the face which appears slightly yellow. The varnish is yellowed and semi-matte. The frame has suffered extensively from flaking to the gilding.
Lot 431
John Bodger (British, 1752-1843) Newmarket Heath, The Gallops published 1787 engraving 52 x 77cm (20 x 30in) Other Notes: John Bodger, was born at Stilton, Cambridgeshire about 1752, the son of Samuel Bodger (1723-1761), a farmer, and his first wife Mary, who died in 1750, aged 38. John was an engraver of maps and sporting subjects who exhibited ‘A View of Newmarket, Racehorses in Excercise’ at the Royal Academy in 1821, after a work by Edward Francis Burney (1760-1848). He is recorded as engraving ‘A Chart of the Fishery at Little Whittlesey Mere, Huntingdonshire’ (1796) and James Seymour’s ‘Carriage Match at Newmarket’ published 23 April 1789. He was buried in Stilton St Mary churchyard on 11 November 1843, aged 91, where there is a memorial stone. Crease halfway along the top, running downwards. Some discolouration and browning.
Lot 90
A large single stone Australian opal ring, the oval shallow cabochon opal, measuring 9.2 x 6.5 x 5.0mm, abraded but showing a rainbow play of colour, six claw set to a plain linear gallery and band, size approximately M, yellow precious metal stamped '18ct' and 'Aust' within the outline of the continent
Lot 97
A three stone diamond and platinum ring, the graduated old round brilliant cut diamonds claw set to a coronet gallery and plain tapered shank, size N, London hallmarks for platinum 1986; total estimated weight of diamonds 1.30cts, cased The ring is generally in good condition: there are scuffs commensurate with age, and there is wear on the lower part of the gallery where the ring has been worn with other rings, but the claws are sound. The diamonds are bright, lively and well-matched, and a good colour, though all have inclusions obvious with a loupe; with the restrictions of the setting, the colour of all three is estimated at G, the clarity at P
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