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Lot 444
A superb and important collection of memorabilia relating to the Manchester United player Tommy Taylor, the content formed from two original sources Tommy Taylor's parents and his best friend Harry England, outstanding and poignant content including approx. 75 original photographs including some rare colorised images and covering his career at Barnsley, Manchester United and on England international duty, also a few privately taken unpublished photos; a season ticket issued to Mrs Taylor in 1960-61; the lot also includes a number of testimonial letters that were used in the foreword in a book about Tommy Taylor; exceptional items include a condolence card sent to Taylor's parents by Mr & Mrs Jimmy Murphy; a letter of condolence sent to Mr & Mrs Taylor from Tommy's landlady at 22 Great Stone Road, Stretford, recalling how she waved him goodbye before the trip to Belgrade; a letter in the hand of Tommy Taylor to his great friend Harry England, written on a BOAC airmail envelope and whilst flying in choppy air over the Andes during the England Tour to South America in 1953; and many other letters from Tommy to Harry, also postcards, Christmas cards, tickets for Harry to see United games, and other miscellaneous items, (all contained in sleeves in a boxed ring binder file)
Lot 237
An Egyptian-style carved schist (?) stone figural element of Psamtik III, age unknown, with remaining polychromic paint bearing Egyptian hieroglyphs, 13 cm long x 7 cm x 3.5 cm, together with an Egyptian faience Sobek (crocodile god) amulet on a mounting block, 3 cm wide, a faience amulet of a hawk/falcon. 4.5 cm long and a terracotta Egyptian shabti 8.5 cm long.Note: These items come from an old collection and no documentation is present with this lot.
Lot 203
Georges Saulo (1865-1945) French, 'Jeanne d'Arc', bronze and ivory figure, chryséléphantine, the sword's handle embellished with a green stone, signed, on a rose onyx square base, 32 cm high.Ivory certification reference J714VP5J. Private collection. Ex lot 14, Sotheby's Paris, 28th November 2007
Lot 153
Frans van Everbroeck, um 1638 – um 1672Der Maler ist vor allem für seine prachtvollen Früchte- und Blumenstillleben bekannt.FRÜCHTESTILLLEBEN MIT SILBERSCHALE IN EINER STEINNISCHEÖl auf Leinwand. Doubliert.39,5 x 29,5 cm.In dekorativem Rahmen.Wir danken Fred G. Meijer für die Bestätigung der Zuschreibung.In einer rundbogigen Nische eine Silbertazza, darin eine Orange und leuchtend gelblich-rote Pfirsiche. Im Bereich des Standfußes weitere Pfirsiche und glänzende rote und helle Weintraubenrispen. Die Beleuchtung fällt von links auf die Nische und setzt gekonnt Licht- und Schatteneffekte. Die Lichtführung bewirkt das Leuchten der reifen Köstlichkeiten, die dadurch aus dem fast schwarzen und dunkelgrünen Hintergrund in hellem Glanz hervortreten. Harmonische Malerei in der Manier des bekannten Künstlers. (1371443) (1) (18)Frans van Everbroeck,ca. 1638 – ca. 1672FRUIT STILL LIFE WITH SILVER BOWL IN STONE ALCOVE Oil on canvas. Relined.39.5 x 29.5 cm.We would like to thank Fred G. Meijer for confirming the attribution.
Lot 160
Elias van den Broeck, um 1650 Antwerpen – 1708 Amsterdam PRACHTVOLLES BLUMENSTILLLEBENÖl auf Leinwand. Doubliert.48,5 x 40 cm.Links unten auf Steinplatte signiert „Elias van den Broeck“.In dekorativem Holzrahmen.Vor beige-braunem Hintergrund, der von links nach rechts aufhellt, auf einer grauen Steinplatte in einem bauchigen Gefäß stehend ein farbenfrohes prachtvolles Blumenstillleben. In diesem sind u.a. zu finden: Rosen, Anemonen, orangefarbene Ringelblumen, diverse Kleinblütler, eine weiß-blaue Ackerwinde, eine Sonnenblume sowie eine große, bis zum oberen Rand gehende, rot-weiß gestreifte Tulpe. Feine qualitätvolle Malerei mit gekonnter Lichtführung in der typischen Manier des Künstlers.Laut RKD wurde der Künstler 1665 Schüler von Cornelis Kick (1634-1681) in Amsterdam und 1669 Schüler von Jan Davidsz de Heem (1606-1683/84) in Utrecht. 1673 begleitete er de Heem nach Antwerpen, wo er Meister der Lukasgilde wurde. 1685 kehrte er nach Amsterdam zurück und wohnte vor dem Utrechter Tor, wo er einen Garten für seine Atelierbedürfnisse anlegte. (13714311) (1) (18)Elias van den Broeck,ca. 1650 Antwerp – 1708 AmsterdamMAGNIFICENT FLORAL STILL LIFE Oil on canvas. Relined.48.5 x 40 cm.Signed “Elias van den Broeck” on stone slab lower left.According to the RKD the artist became a student of Cornelis Kick (1634-1681) in Amsterdam in 1665 and a student of Jan Davidsz de Heem (1606-1683/84) in Utrecht in 1669.
Lot 233
An Edwardian 18ct yellow gold and platinum three stone diamond ring. The ring is set centre with a round old mine diamond with an approximate carat weight of 0.06 carats, further set with two rose cut diamonds, to a pierced geometric design, pierced shoulders flowing down to a thin shank. Stamped 18ct and plat. Ring size N. Weight 1.3g.
Lot 20
Jack Butler Yeats RHA (1871-1957) On a Western Quay/ Sligo Quay (1923) Oil on panel, 23 x 35.5cm (9 x 14”) Signed Provenance: Sir Patrick Ford, London; With J. Leger & Son, Old Bond Street, London, November 1942 label verso; Sale, these rooms 16 March 1978, lot 114; Private Collection, Dublin.Exhibited: Dublin, Stephen’s Green Gallery, April/May 1923, Drawings and Pictures of Life in the West of Ireland, cat. no.24; New York, Society of Independent Artists, Annual Exhibition, March 1924; London, Tooth, Pictures of Irish Life, cat. no. 33; London, Leger Galleries, October 1942, London Group 4th Wartime Exhibition.Literature: Listener (6 April 1942); Hilary Pyle, A Catalogue Raisonné of The Oil Paintings, Andre Deutsch, 1992, cat. no. 193.Bounded by a spectacular West of Ireland landscape, a sailor leans against a wooden building, its planked construction giving a sense of structure and solidity to the right hand side of the painting. Its starkness makes the surrounding scenery appear even more fantastical. A high mountain dominates the vista with a large ascendancy house to its left. In the centre huddled along a causeway are a line of comparatively tiny cottages. Hilary Pyle has identified the location as Drumcliffe, the area north of Sligo town, under the shadow of Ben Bulben, where W. B. Yeats was later buried and where the Yeats’s paternal grandfather was once the clergyman.¹ The rugged shaped mountain has also been identified as Knocknarea, to the south of Sligo town, on a note on a label on the reverse. It is not possible to identify the specific location. Yeats seems to have exaggerated the details of the view for dramatic effect as he did in many of his later epic paintings such as On Through the Silent Lands (1951, Ulster Museum) and Two Travellers (1942, Tate Gallery), both of which feature similar glacial peaks. Here the juxtaposition of the large house and the sheer limestone cliff face of the mountainside convey a familiar congruence of manmade splendour and the more sublime beauty of nature as it exists in the West of Ireland. This, as in all Yeats’s work, is painted from memory and may combine different elements in the one composition. The details are probably gleaned partly from the perusal of earlier sketches. The man is dressed in a dark double breasted, marine style jacket and a peaked cap, like that of the pilot, a recurring figure in the work of Yeats. The pilot is based on Michel Gillen, who worked at Rosses Point when Yeats was a child living with his grandparents in Sligo. Gillen’s job was to guide merchant ships from Rosses Point along the Garavogue River to the quayside in Sligo town. The pilot’s job required great skill in navigation and sailing as well as a deep knowledge and understanding of the geography and conditions of the Garavogue and its environs. He appears in several of Yeats’s drawings and paintings, often in or near the Pilot House, a look-out hut, which was located on the headland at Rosses Point, and from where he could watch for the arrival of ships into the river mouth. In a contemporary work, Pilot Comes Ashore, (1923, Private Collection) the pilot stands on a quay in front of Knocknarea.² In Sligo Quay, he appears as an outsider in the depths of the countryside, his pose retaining a nautical stance. This solitary male figure in an expansive landscape that moves between water and mountain becomes a major theme in Yeats’s later work. Here the traveller is the pilot man who waits patiently for his boat to arrive rather than the nomads of the later work. He contemplates the incoming tide instead of the magnificent landlocked world beside him. The mixture of the building types in this space – the large colonial mansion and modest dwellings - denotes the complex history of rural Ireland. When the painting was made in 1923, the conflict generated by this past was raging throughout the land, and the solemn pose of the figure and the quiet calm of the view could be seen to reflect contemporary political and social tension. It shares the clarity of vision, psychological intensity, and rich colour with such other work of this period as the Island Funeral (1923, Model Sligo), Liffey Swim (1923, NGI) and Early Morning, Glasnevin (1923, Private Collection). The stone bollard on the quayside demarcates the foreground of the painting. Its solid form casts a shadow across the stone blocks of the quay, leading to the pilot. Touches of red in the sky suggest the slow dissent of the sun which casts its intense light on the gables of the houses and on the mountain cliffs in the distance, also heightened in red tones. Movement is conveyed by the blue turquoise torrent of the water and the cloud strewn sky above, a subtle indication of change and energy in the otherwise tranquil scene. The painting was exhibited in Dublin in 1923, at the Society of Independent Artists in New York in 1924, at the Goupil Gallery, London in 1925 and in the Leger Galleries in London in 1942. It belonged to the Scottish politician and art collector, Sir Patrick Ford for many years. Dr Róisín Kennedy (July 2023) H.Pyle, Jack B. Yeats, A Catalogue Raisonné of the Oil paintings, l, p.169H.Pyle, Jack B. Yeats, A Catalogue Raisonné of the Oil paintings, l, p.170
Lot 255
A very large fossilised squidSolnhofen, Germany, Jurassic 117cm wide by 42cm high Solnhofen in Germany is one of the most famous and important fossil localities in the world, and it is from here that the celebrated Archaeopteryx (the first known bird) was found. The quarries around Solnhofen were originally mined for the beautiful lithographic slate they contained and the process of lithography was invented using this stone. While digging, the quarrymen often came across the remains of a variety of different creatures perfectly preserved in the rock. Small dinosaurs, crocodiles, pterosaurs, plants, sea urchins, fish and sometimes - although very rarely – even insects, like the dragonfly offered here Fossils, Natural History
Lot 2
Edward Lear (British, 1812-1888)The Nile at Kasr-es-Saad inscribed 'Nile. Kasr es Saad' (lower left)watercolour and bodycolour17.5 x 37.5cm (6 7/8 x 14 3/4in).Footnotes:ProvenanceThe Honourable Eustace Henry Dawnay, 8 Belgrave Square, London.Thence by family descent to the present owner.Private collection, UK.'Last night, we arrived at one of the most beautiful places I ever saw - Casr el Saadd. I am quite bewildered when I think how little people talk of the scenery of the Nile - because they pass it while sleeping I believe. Imagine immense cliffs, quite perpendicular, about as high as St Paul's & of yellow stone - rising from the most exquisite meadows all along the river! While below them are villages almost hidden in palms... it is one of the most beautiful spots in the world'.(Edward Lear, letter to his sister Ann, 18 January, 1854)Lear encountered the subject of the present work (now known as Kasr-es-Saiyyad) early into his first journey down the Nile in 1854. He produced a number of pencil and watercolour studies on the spot (see for example Christie's, London, 21 November 2002, lot 66, and 2 July 208, lot 52.). As was his working practice, Lear later worked up his drawings into a series of large oils of the subject, one of which was shown at the Royal Academy in 1870.For further information on this lot please visit Bonhams.com
Lot 477
An Italian polychrome lava stone and pietre dure panel, attributed to Giovanni Battista Cali, documented Catania 1831-1837, the centre probably depicting the Hesiodic Cyclopes, the brothers Arges, Brontes, Steropes forging the thunderbolt of Zeus, flanked on the left by a view of Mount Etna with Catania cathedral and with the Cyclopean Isles to the right, set in a late 19th century associated oak table, with carved frieze, on fluted legs and castors, joined by stretchers, 74cm high, 85cm wide, 63cm deepProvenance: UK Private Collection since 1910.Footnotes: Note: The Catanese artist Giovanni Battista Cali came from a family of sculptors and is known to have produced mosaics mainly with views of Vesuvius and Etna. There is very little information on this maker other than that he was Sicilian and active in Naples in the second half of the 19th century and came from a family of sculptors. He was asked to produce works for the church of San Nicolò l' Arena in Catania and for the cathedral of Acireale. Rare signed examples by this maker are in the Museum of San Martino, Villa Rosebery and the Royal Palace in Naples. It is not possible to ascertain if the current lot is signed as it is set into a later oak table.Cali was the innovator of the use of lavic stone in his compositions. The Sicilian scientist Giuseppe Alessi was impressed by the works of Cali, writing thus "...the peridot crystals...mixed with the Etnea lava .., provided a beautiful material for their craftsman...".A marble and pietre dure panel signed by Cali and dated 1886, with a scene of the eruption of Mount Etna, Da una Dimora di Palazzo Farnese, sold Sotheby's, Milan,18 May 2004, lot 240. Another example centred with a view of the port of Catania, in the background Mount Etna erupting, on the right the city of Acireale and with Motta San' Anastasia with a similar border sold Sotheby’s, London, 27 April 2010, lot 74, £15,000.Condition Report: The top - the lower right corner with losses to the inset square specimen and the border. An in-filled corner to the square above this. Further losses to the right edge and historical in-fill at this point. The mottled marble border to the three pictorial panels has small flat losses in places which are hardly visible to the eye. Miniscule losses in areas overall consistent with age and use. The top is fixed into the later oak base and it is not possible to remove to examine the underside.The table base has some sun bleach, scratches, stains and old gouges throughout, signs of old woodworm, piece of moulding missing from one leg, some small splits to wood, structurally sound, overall good condition.
Lot 28
An American Art Deco two colour gold, two stone diamond ring, with a pair of old brilliant cut diamonds, claw set side by side. A pierced and milled head with a line of graduated rose cut diamonds, grain set in white, to a yellow mount with hand engraved decoration. Tested as approximately 18ct gold. 2.75g. Finger size RBuying this diamond ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportDiamonds bright and lively. Claws secure. No damage or issues.
Lot 83
A 9ct gold single stone smoky quartz ring, a rectangular step cut smoky quartz, 15.72mm x 22.18mm, four claw set to an ornate collet, to open shoulders and a plain band. London 1965, 9.34g. Finger size P½Buying this gemstone ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportSmoky quartz in very good condition. Various pits to the mount.
Lot 61
A gold single stone Cairngorm citrine ring, a round mixed cut Cairngorm citrine six claw set to the centre, to openwork shoulders with knot decoration, and a grooved shank. Tested as approximately 14ct gold, 2.80g. Case by Sydney Latimer of 70 George St & 143-5-7 Lothian Rd, Edinburgh Finger size MBuying this gemstone ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportCairngorm bright and lively. Wear to the facet junctions and natural inclusions visible under 10x magnifications. Surface marks to the mount.
Lot 41
A gold crossover design three stone diamond ring, three graduated round brilliant cut diamonds claw set to white collets, to crossover shoulder and a plain band, stamped 18ct, tested as approximately 18ct gold, 2.16g. Finger size MBuying this diamond ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportDiamonds have inclusions visible under 10x magnification. Scratches and marks to the mount. Areas of tarnish to the ring head.
Lot 54
A gold five stone diamond ring, with a line of brilliant cut and eight cut diamonds, grain set to a plain curved boat shape mount, to a plain flat section shank, 2.78g. Finger size NBuying this diamond ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportMinor marks and scratches to mount. Settings slightly dirty. Would benefit from being cleaned.
Lot 51
A two colour gold single stone diamond ring, a round brilliant cut diamond with an estimated weight of approximately 0.50ct, rub set to a plain white collet, to flared hand engraved shoulders, and a plain yellow shank. Stamped 18ct, tested as approximately 18ct gold, 2.59g. Finger size J½Buying this diamond ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportDiamond bright and lively. Colour can't be assessed accurately due to setting limitations. Possibly H-I Clarity estimated as VS Surface scratches and marks to the mount.
Lot 44
A gold three stone diamond necklace,the centrepiece comprising a bowed line of spectacle set round brilliant cut diamonds, with a total weight estimated as 0.30ct, to an 'S' link chain with bolt ring clasp. Marked 14K Made in Italy, tested as approximately 14ct gold, 400mm long, 3.14gCondition ReportDiamonds assessed as:Colour: J-KClarity: Vs2 - Si1The chain is slightly bent in one place.
Lot 42
A white gold single stone diamond ring, a round brilliant cut diamond with an estimated weight of approximately 0.65ct, four claw set to a crossover wire underbezel. A row of graduated round brilliant cut diamonds channel set on either shoulder, to a plain tapered band. Marked 750, 4.59g. Finger size LBuying this diamond ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportDiamond assessed as: Colour: H-I Clarity: Vs2 Surface scratches and marks to the mount.
Lot 48
An 18ct gold single stone diamond ring, a round brilliant cut diamond, estimated as approximately 0.60ct, claw set to a white rex collet, to chenier shoulders and a 'D' section shank. Birmingham 1994, 4.31g. Finger size P½Buying this diamond ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportDiamonds has a slightly hazy appearance. Diamond assessed as: Colour H/I Clarity Si2 Band shows evidence of resizing. Marks and scratches to the mount.
Lot 141
An antique seed pearl brooch and a shell cameo brooch, the first of open scrolling form with foliate trefoils set with seed pearls and a central round cut pink stone, mount stamped '9ct' twice, length 55mm. The oval cameo depicting a girl's head with luxuriant hair, to a plain 9ct gold collet mount, London hallmarks 1970, clasp with safety catch, length 41mm. (2)Condition ReportOne seed pearl is a simulant replacement; the metal of this brooch is tarnished and dirty. Has detachable safety chain.The cameo shell is in good condition, not cracked.Both pins are bent and possibly replacements.
Lot 152
Two 9ct gold figaro link bracelets and four charms,the bracelets both with Sheffield import hallmarks for 1991 and 1992 respectively, lengths 180mm and 192mm, together with gold charms, representing a matador with swirling cape, a donkey, a zodiac medallion with Libra in the centre, and a pierced heart shaped leaf with white stone dew drops. All charms test for approximately 14ct-18ct gold. 18.58g (6)Condition ReportBracelets weight: 6.83g Charms weight: 11.75gWear and tear appropriate to age.One bracelet has a broken clasp.
Lot 160
A three stone diamond ring, the ring set with eight cut and brilliant cut diamonds, grain and bezel set to knife edge shoulders and a plain bifaceted shank, stamped '18CT PLAT', setting tested as approximately 14ct gold, mount tested as approximately 18ct gold, 1.61g, Finger size K½ together with three gold rings, comprising a gold diamond ring, five eight cut diamonds, millegrain set to knife edge shoulders and a plain D section shank, stamped '18CT PLAT', tested as approximately 18ct gold, a 9ct gold shell cameo ring, depicting a lady, Birmingham 1970, and a 9ct gold opal and sapphire cluster ring, London 1977, 9ct gold - 5.73g (3) and a Victorian rolled gold paste brooch, an oval mixed cut paste, bezel set to a hollow scroll-work mount, with pin and 'C' catch, 43mm x 46mm Condition ReportSettings worn. Claws worn, diamonds secure. Setting slightly dirty. Would benefit from a gentle clean. Marks and scratches to mount. Some tarnish. Maker's mark shell cameo ring A&Co. Settings dirty, would benefit from a gentle clean. Underbezel to diamond ring worn to both sides. Solder join to shank slightly visible. Opal slightly abraded. Victorian rolled gold brooch showing multiple soft solder repairs.
Lot 136
Two gold five stone rings, comprising a gold five stone diamond ring, with a single row of graduated brilliant cut, old Swiss cut and old eight cut diamonds, grain set in white to a boat shaped head, to incised pierced scroll gallery and a plain 'D' section shank, tested as approximately 18ct gold, and a gold five stone soudé emerald ring, with a single row of graduated step cut and oval and round mixed cut soudé emeralds, grain set to raised ridged closed collets, to plain tapered shoulders and a plain 'D' section shank, 5.34g (2) Finger size S, O Condition ReportVisible solder joins and possible replacement shank to diamond ring. Soudé emeralds showing abrasions, surface reaching inclusions. Marks and scratches to mounts. Some tarnish.
Lot 150
Three gold rings, comprising a five stone sapphire ring, with graduated oval mixed cut sapphires, claw set to a scrolling Edwardian style mount, with a rub set diamond point at each end, tested as approximately 18ct gold, a French 18ct gold ruby ring, with round mixed cut ruby, between scrolls each set with a half seed pearl, French poinçon for 18ct standard, marks worn, to outside of shank, and a 9ct gold garnet daisy cluster ring, round mixed cut garnets, claw set to a plain D section shank, London 1967. 18ct gold - 3.72g, 9ct gold - 1.24g. Finger size J approximate, L, I Condition ReportSapphire ring - repairs to outside of gallery and some claws re-tipped. Finger size approximate, shank out of shape. All three rings have thin shanks. Garnet ring has been re-sized. All rings would benefit from a gentle clean.
Lot 149
Four gold rings, a 9ct gold five stone amethyst cabochon ring, common control mark 375 Birmingham, a 9ct white gold amethyst and diamond cluster ring, Birmingham 2006, a 9ct rose gold pierced engraved ring, Birmingham 2004, and a gold amethyst and diamond ring, tested as approximately 9ct gold, 10.89g Finger size M½, N, Q LE, O Condition ReportFive stone amethyst ring, amethyst cabochons abraded to top of each cabochon, shank solder join visible. White gold and amethyst ring settings slightly dirty, would benefit from a gentle clean. Amethyst and diamond ring settings dirty. Would benefit from being cleaned. Marks and scratches to mounts.
Lot 22
A graduated three stone sapphire boat shaped ring, the central round mixed cut sapphire flanked by two old eight cut diamonds, a round mixed cut sapphire and a further old eight cut diamond on each side. The stones bead and claw set to a pierced scroll mount, to solid shoulders and a plain shank. Indistinct mark 18ct, tested as approximately 18ct gold, 2.78g. Finger size P½Buying this gemstone ring at auction could save up to 0.42 tonnes of CO2e compared to buying new.
Lot 137
Two 9ct gold rings, comprising a 9ct gold Cairngorm citrine single stone ring, with a circular cut Cairngorm citrine, 12.20mm diameter, claw set to a plain flat section band, London 1976, and a 9ct gold diamond heart-shaped cluster ring, with eight cut diamonds, grain set to a two-tier white heart shaped mount, to tapered banded shoulders and a D section shank, Birmingham 1973, with a gold ring clip to the shank, 4.78g (2) Finger size L½ , MBuying these gemstone rings at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportCairngorm citrine two claws heavily worn. Claws require rebuilding. Stone appears to be secure in setting. Marks and scratches to mounts. With a worn ring box.
Lot 77
A 9ct gold single stone amethyst ring, c.1970, a round mixed cut amethyst, approximately 10mm, claw set to the square head, to tapering shoulders and a flat section shank, Birmingham 1970, 4.74g. Finger size S½ LEBuying this gemstone ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportSolder joins visible to both shoulders. Minor surface marks/scratches to mount.
Lot 86
A gold single stone moonstone ring, an oval cabochon moonstone, 7.20mm x 11.85mm, four claw set to a collet with open gallery, to tapered shoulders and a plain shank. Stamped 14K, tested as approximately 14ct gold, 3.29g. Finger size H¾Buying this gemstone ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportMoonstone displaying adularescence with a blue sheen. Some surface wear to the cabochon. Surface scratches to the mount.
Lot 46
An 18ct gold five stone diamond ring, with old European and Swiss cut diamonds, claw and grain set to a carved head, Birmingham 1907, 2.93g. Finger size PBuying this diamond ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportMaker's mark AMB. Diamonds appear to be secure in settings. A few claws to end diamonds would benefit from being retipped. Shank slightly out of shape. Hallmark Assay location has been flooded by solder when resizing. Multiple visible solder joins. Minor marks and scratches.
Lot 32
An American single stone diamond ring c.1940, with an old brilliant cut diamond estimated as approximately 0.37ct double and triple claw set to a scroll collet. Pierced scrolled shoulders, each with a diamond set spear head to a plain shank. Marked 18. Hand engraved initials and a date to the inside of the shank. 2.32g. Finger size N½Buying this diamond ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportDiamonds bright and lively. The claws are worn and will require re tipping, one claw tip deficient.
Lot 27
An American Art Deco two stone diamond ring, with a pair of old brilliant cut diamonds, double claw set side by side in a pierced milled head. Two graduated eight cut diamonds, grain set to each shoulder with engraved shoulders and guards to a plain shank. Marked 18CT PLAT. 2.27g. Finger size N ¾Buying this diamond ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportDiamonds bright and lively. A replacement shank that tests as platinum. The claws have been replaced in the past and the solder is yellow under 10x magnification. The head of the ring tests as approx. 18ct gold.
Lot 171
A small collection of gold, silver and costume jewellery,to include a cased gold garnet stick pin, head 12mm x 23mm, tested as approximately 14ct gold, a gold agate brooch, to C catch and base metal pin, stamped '9CT', tested as approximately 9ct gold, a silver and base metal bangle, internal diameter 66mm, a pair of silver twisted hoops, a pair of silver reticulated disc drop earrings, all tested as silver, and a group of costume jewellery to include brooches, earrings, watches etc.,together with a silver plate base metal jewellery box,with a fabric lining, the lid inscribed 'Petrofina (UK) Limited 1927-1977', stamped underneath 'Garrard & Co Ltd 112 Regent Street London W', with a book shaped card box.14ct gold - 3.31g, silver - 46.13gCondition ReportCased gold garnet pin showing a large chip to the garnet pavilion, visible through the front of the stone.With a book shaped card box.Wear to surfaces.Marks and scratches.As found.
Lot 147
A group of gold jewellery,comprising a 9ct gold emerald and cubic zirconia cluster ring, Birmingham 1992, a 9ct gold emerald five stone ring, London 1977, a 9ct white gold diamond ring, one diamond deficient, common control mark, and a 9ct gold figaro link anklet, with side lever clasp, common control mark, 232mm long, 7.98g total (4)Finger size L, J, LCondition ReportEmerald cluster ring: surface reaching inclusions to emerald.Emerald five stone ring: solder join showing to one side of shank. One claw requires rebuilding. Some emeralds showing surface reaching inclusions. All emerald pavillions abraded underneath. Two emeralds cracked.Diamond ring: dirty, would benefit from a clean. One shoulder diamond deficient.Shank thin and worn. Rhodium plating worn. Claws to centre stone very worn - a couple worn down entirely.Marks/scratches to mounts.Tarnish.Bracelet: Marks/scratches.Minor tarnish.Wear between links.
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