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Lot 135
Collection of letters from artists, architects etc., most autograph and signed, and many to fellow artists or on art-related subjects, some mounted on trimmed album leaves: Sir John Gilbert to [Elhanan] Bicknell, '1853' (and another complaining about the quality of a reproduction, '1872'), C.L. Eastlake (regarding tickets for an RA event, 1852), Henry Holiday (2, one relating to work on a mosaic), James Grant, Richard Redgrave (2), Francis Grant (2), Val Prinsep, Annie Cobden-Sanderson, Walter Crane (1905, small tape-stain), Marcus Stone, Calcott Horsley (2, one a note handing over the portrait of the Earl of Shaftesbury), Edward J. Poynter (2), Edward Welby Pugin (ALS and LS referring to the Ushaw roof, 1856), Sir Charles Barry (1888), James Sant (2), James D. Linton (to Courbould on the affairs of the Royal Institute of Painters in Water Colours, 1888), Edward Burne-Jones (4 pp. ('E.B-J.', to 'Stan' inviting him to Rottingdean, with a separate full signature), Henry Phillips, William Edward Frost (2, one to E.W. Cooke), Mary Ann Flaxman (1828), Frederick Leighton, Frank Holl, M.W. Ridley, W.W. Ouless, Briton Riviere, John Pettie, H.H. Armistead, Edwin Long, John Evan Hodgson (on Royal Academy business), John Gibson, Henry Sharpe, Richard Ansdell, T.S. Cooper, Linley Sambourne, Alfred Elmore, George Richmond, Walter Thornbury, Harry Furniss, William Etty (to Pickersgill), John Everett Millais, Daniel Maclise, Philip Calderon, W[illiam] B[ell] Scott (inits. reiterating his assertion that Watts had not written a controversial review in the Athenaeum), William Wetmore Story (sending Stale-Mate and commenting on errors in the first publication, 1884), Richard Doyle (to Spedding, damp-stained), Edwin Landseer (2 - 'On the 19th the friends of Dickens (Boz) give him a Dinner at Greenwich ...'), and others. Also included is a group of letters to Solomon Alexander Hart, largely on Royal Academy business, from Daniel Maclise, James Sant, C.W. Cope, Richard Partridge, John Knight, Richard Redgrave, Henrietta Ward, Eyre Crowe, Sydney Smirke, George Richmond; also KEATE (George) Epistle to Angelica Kauffmann, 4to, printed London 1781, disbound.
Lot 171
KENT. A Complete History of Kent, 1730, 4to, folding map by Robert Morden, rebacked panel calf; FUSSELL (L), A Journey Round the Coast of Kent, 1818, 8vo, folding map, dust staining, rebacked; MURRAY (John), Handbook for Kent and Sussex, 1858, folding map in pocket, modern quarter calf; BRENT (J), Canterbury in the Olden Time, 1879, plates, worn cloth; CREASY (E), Illustrations of Stone Church, Kent, 1840, folio, plates, foxing, binding detached; SHEPHERD (G) et al. Virtue's Picturesque Beauties of Great Britain, Kent, 4to, plates, staining; also French Revolution. Tableaux Historiques de la Revolution Francaise, circa 1800, folio, lacking title, 24 engraved plates after Prieur, worn binding. etc. Sold not subject to return (12)
Lot 239
THACKERAY (W M), Vanity Fair, 1849; The History of Pendennis, in 2 vols 1850; The Newcomes, in 2 vols. 1854-55; The Virginians, in 2 vols 1858-59; added vignette titles, some typical spotting or staining, uniform half calf; DICKENS (C) Our Mutual Friend, in 2 vols., 1865, 8vo, illustrated by Marcus Stone, foxing to plates, half calf; KINGSLEY (Charles) Westward Ho!, in 3 vols Cambridge 1855, 8vo, slightly toned, half calf; one other later by Thackeray; WHYTE-MELVILLE (G J) Works, 20 vols. c.1860, early or first editions, contents toned, half calf (lacking one spine label); most vols. with Arundell Neave armorial bookplates (33)
Lot 1770
A rare yellow diamond, enamel and yellow gold ring, last quarter 17th century The cushion-shaped old brilliant-cut yellow diamond weighs 3.16 carats and is set within the raised box bezel with engrailed edges above arcading filled with stylised acanthus enamelled white with black details, each shoulder chased with an auricular scroll, formerly enamelled, to the plain hoop, the interior of the plain closed back setting lined with black pitch to heighten the golden tint of the stone. Probably English. Accompanied by report number 2175692368 dated 21st June 2016 from GIA, New York stating that the round-cornered square modified brilliant cut diamond weighs 3.16cts, is a natural, even fancy deep brownish yellow colour with SI2 clarity with strong yellow fluorescence. COMMENTARY BY DIANA SCARISBRICK This fine and rare ring set with a brilliant-cut diamond marks a milestone in gemmological history, resulting from the discovery of the laws of refraction and analytical geometry during the second half of the seventeenth century. Until 1664, when the earliest brilliant-cut diamond, the Wittelsbach, is recorded, diamonds were cut as either point, table or rose-cutsâ„–. This new multi-faceted technique of cutting released so much more fire and light that Robert de Berquen, in Les Merveilles des Indes Orientales (Paris 1669), compared it with "the sun, shining out amongst all other stones". At the same time, the supply of Golconda diamonds from India increased substantially, encouraged principally by the desire of Louis XIV to make his court at Versailles the most splendid in Europe. Across the Channel, by 1695, London had emerged as the centre of the European trade in diamonds due to the gemmological and financial skills of the resident Portuguese Jewish experts. In addition, as far as cutting and polishing were concerned, although the Dutch lapidaries excelled at rose-cut diamonds, the London workshops were acknowledged as the masters of the new brilliant-cut. It is highly significant that the 410 carat Pitt Diamond acquired by the Regent of France was brilliant-cut by Joseph Cope in London 1704-1706. This superiority is confirmed by the auction catalogue of the precious stones of the Chevalier de la Rocque (1745): "celle de l'Angleterre est plus reguliиre, plus nette et plus vive: et par consequйnt plus estimйe" (English cutting is more regular, more precise and more lively and therefore of higher value)І. These words could equally well be applied to this impeccable ring with its wonderful play of light. During this period, before the discovery of the mines in Brazil in 1727, stones of this size were rare and as in most cases jewellers had to make the best of small stones grouped together in clusters, the survival of a solitaire is exceptional. Not only is the faceting apparently English, but also the setting, which differs from late 17th century French mounts which are more elaborately decorated and richly enamelledÑ–. Furthermore, the simplified design in this example accords with the change of fashion, marking the turn of the century towards minimally enamelled and less massive settings; thus, not detracting from the splendour of the gem but showing it off to best advantage. Since grander social events were now taking place at night due to improvement in candle lighting, the effect of this diamond displayed on the finger of a high ranking lady or gentleman would have been extraordinary, eclipsing all other stones. © DIANA SCARISBRICK: August 2016 1. Tillander, H., Diamond Cuts in Historic Jewellery , 1995 p.155 2 Gersaint, E F, Catalogue Raisonnй des differens effets curieux et rare contenus dans le cabinet de feu M le Chevalier de la Roque , Paris 1745 3 Scarisbrick, D, Rings, Symbols of Wealth, Power and Affection, 1993, pp92-93, and p98 DIANA SCARISBRICK, MA, FSA Diana Scarisbrick is a world-renowned art historian specializing in the history of jewellery and engraved gems Her extensive research covers jewels from the Renaissance to the present day and she has contributed to numerous exhibitions, catalogues and art journals worldwide She is Research Associate at the Beazley Archive, Institute for Classical and Byzantine Studies, Oxford University, and was elected Fellow of the Society of Antiquaries in 1987
Lot 1776
A sapphire and diamond three-stone ring, the oval-cut sapphire weighs approximately 3.15cts and is set between two emerald-cut emeralds to the shoulders and eight further small round brilliant-cut diamonds to the shank in white gold. The diamonds weigh approximately 0.75cts in total. Size M.
Lot 1826
An Art Deco gem-set giardinetto brooch, centred with a carved citrine vase with a marquise-shaped diamond set flowerhead. To the sides, carved blue stone and carnelian flowerheads, each centred with a small diamond and with carved dyed chalcedony leaves. The rectangular frame set with circular cut diamonds. 4.2cm wide.
Lot 253
A Jewellery Box containing a variety of items include a hallmarked silver Lipstick Holder, Earrings, garnet Pendant, small silver Nail Buff and Toothbrush, 9 carat yellow gold Bar Brooch, a broken 9 carat yellow gold Watch Strap and a heavy yellow metal Band set with a green stone and one further small Ring set with a turquoise cabouchon
Lot 268
Jewellery to include a cased set of three coral Studs, one further cased set of three Studs set with pearls (one pearl now missing), a yellow metal Pendant set with a multitude of pearls (together with Chain), a pair of ladies yellow metal stone set Earrings and a red leather cased set of four graduated Pins, each centrally set with a pearl (small assortment)
Lot 718
Antique amethyst, diamond and seed pearl pendant, set with an oval amethyst to the centre surrounded by split pearls, in a rose cut diamond openwork mount. Diamond set suspension loop. Height 3.5 cms Rose cut diamonds not best colour, pearls ok not damaged or cracked, amethyst of good colour and stone appears in good condition, only very minor abrasion to stone facet edges, white metal front, yellow metal back, has suspension loop on reverse for further pendant dropper at bottom, 4.5 grams
Lot 722
Emerald and diamond ring, set with a trap cut emerald with a diamonds to each side on yellow 14k gold shank, ring size I, together with a pair of matching emerald and diamond earrings, set tear drop shaped emeralds in a diamond surround , with gold safety post and clip fittings. Emeralds show natural inclusions. Trap cut stone measures 11mm x 8mm, emeralds in earrings 13mm x 10mm. one stone has chip adjacent to bottom claw
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398886 item(s)/page