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Lot 437
A ROSE-CUT DIAMOND CLUSTER RING a rose-cut diamond within a border of further rose-cut diamonds. Unmarked, ring size L1/2, 2.2 gramsThe principal diamond is in a closed-back setting, with some discolouration and giving a green-yellow appearance to the stone. There is a pit/chip to a crown facet. The principal diamond measures 6.0mm in diameter approximately.
Lot 291
A GERMAN SILVER AND PASTE-SET FIGURE OF A MAN SHARPENING A KNIFE by B. Neresheimer & Sohne, Hanau, c.1900, on a rectangular base with canted corners with collet-set coloured pastes of different shapes, the detachable figure of the man using a pedal-operated sharpening stone with two pairs of scissors and a knife hanging to his side, the man’s arms, legs and shoes with collet-set coloured pastes, marked to the base edge with makers mark and 13. 12cm high, 6.6 troy ounces gross The pastes are all present but one with a tiny chip to the base. In generally very good condition commensurate with age.
Lot 499
A LATE 19TH CENTURY DIAMOND BROOCH an oval blue cabochon within a fancy diamond-set scroll frame. Estimated total diamond weight 0.85ct, unmarked, 1.8cm by 4.2cm, 4.6 gramsSome diamonds are later-cut replacements. Blue stone possibly paste or composite turquoise.Estimated diamond colour: H/I/J; estimated clarity: SI1/SI2/I1.
Lot 147
A collection of earrings in 9ct gold, yellow and white metals. To include a pair of 9ct green and white stone set flower studs (approximate weight 3.1 grams) a pair of yellow metal lobed drop earrings (2.9 grams approximately); a pair of 9ct gold flower ear studs, set with amethyst (1.2 grams approximately); a pair of green stone set studs; a pair of Malachite set white metal screwbacks; a pair of 925 onyx drop earrings; a pair of opal triplet studs, a pair of opal and garnet cluster studs and a yellow metal panel featuring a military badge
Lot 51
A late Victorian three stone opal ring in yellow metal, along with two pairs of gem set yellow metal ear studs. The ring is set with three opal cabochons with a greenish-blue play of colour. Size Q1/2; approximate weight 4.1 grams. the ear studs are set with malachite and coral and weigh a total of 1.8 grams approximately.
Lot 43
A collection of five 9ct gold and yellow metal rings. Comprising a citrine ring in yellow metal, set with an octagonal step cut stone, size Q, approximate weight 2.1 grams; a 9ct gold garnet cluster ring, size P1/2, approximate weight 1.7 grams; a carnelian set 9ct gold ring with a cut shank, 2.2 grams approximately; a 9ct blue paste set ring, size Q, approximately 2.6 grams; plus a 9ct stamped green and white paste set ring, size N, approximate weight 5.1 grams.
Lot 114
Four gem set 9ct gold dress rings. Featuring a sapphire set half hoop ring, size N, approximate weight 2.7 grams; a smoky quartz and tanzanite cluster ring, size N, approximate weight 3.1 grams; aa light blue stone set dress ring, size N, approximate weight 3.0 grams, plus a topaz and tanzanite dress ring, size N, approximate weight 2.3 grams.
Lot 92
An Aurum silver and silver-gilt limited edition commemorative anointing cup, commemorating the 300th anniversary of the laying of the foundation stone of St Paul's Cathedral in 1675, with eagle cast gilt handle, the bowl of plain form, maker Jocelyn Burton, London 1975, 7.4oz, housed in original fitted box with signed certificate of authenticity, this example numbered '846/900', length 17.5cm
Lot 254
Owen Bowen (Staithes Group 1873-1967): Stone Bridge in the Isle of Man, oil on canvas signed titled 'IOM' and dated 1901, 49cm x 59cmCondition Report:Good condition, well presented in quality gilt frame - ready to hang. Some light craquelure, minor signs of overpainting visible under UV light.
Lot 296
Mark Senior (Staithes Group 1864-1927): 'The Stone Breaker', oil on canvas signed, titled verso 50cm x 60cm Provenance: private collection; exh. Michael Parkin Fine Art, 'Mark Senior 1864-1927 of Leeds and Runswick Bay and a few friends', 22nd May - 22nd June 1974, no.4; with Phillips & Sons, Marlow, 1980; from the family of the artistCondition Report:Slight protrusion in the canvas lower-left, only noticeable under close inspection, otherwise very good condition. No signs of overpainting visible under UV light. Well presented - ready to hang.
Lot 58
A VERY LARGE GILT AND LACQUERED ANNAMI SCHOOL WOOD FIGURE OF AMIDA NYORAIJapan, the figure 15th-16th century, the lacquer Edo period (1615-1868)Finely carved standing on a lotus dais surrounded by individually carved petals raised on a leafy section supported by a shishi seated in a recumbent pose over lotus lappets on a red-lacquered base. His hands are held in raigo-in (vitarka mudra), used to receive the souls of the deceased as Amida descends from heaven, with the right hand raised and left hand lowered. He is wearing loose-fitting robes with neatly carved folds and decorated with swirling clouds and geometric designs. His serene face with heavy-lidded eyes, gently arched brows, a glass-inlaid byakugo (urna), and full red lips, with thinly painted brows and mustache. His hair is arranged in tight curls over the high ushnisha with a rose-colored stone nikkeishu (jewel of wisdom).HEIGHT 98 cm (the figure) and 139.5 cm (total)Condition: Good condition with minor wear, little flaking and few small losses to lacquer, minor age cracks, minor old repairs with associated touchups. Provenance: From the private collection of a gentleman in the San Francisco Bay Area, USA. The back with an old label reading: "Amida Buddha - "Annami School" Ashikaga Period - 1393-1573 Decorated circa 1675 (Tokugawa) Agent claims this image long known to him at Horyuji (??)"This particular style of Amida Nyorai sculpture is called Annamiyō (Annami-style), a name which is derived from An-amidabutsu, a Buddhist title given to Kaikei (act. c. 1183-1223). Often compared with another Kei-School great master Unkei (d. 1224), Kaikei was one of the most important Buddhist sculptors in Japanese art history, active in the late-Heian to Kamakura periods. Kaikei's works are generally known to be graceful, while keeping the reality of the figure. With the rise of the Jōdo (Pure Land) Buddhism sect, Kaikei, as a devout believer, produced a number of San-jaku Amida (standing Amida figures of approx. 80cm to 1m high) with raigōin, a mudra welcoming believers into the Great Western Paradise, throughout his career. Their beautifully proportioned faces are gentle and intellectual, bodies are moderately fleshy and the pictorial robes drape delicately. In his later works, the drapery becomes more complicated, making the figures even more graceful. Widely favoured as the ideal embodiment of Amida Nyorai in Japan, Kaikei's style was carried on and developed by his followers and later generations. Most standing Amida figures produced during and after the time of Kaikei are said to be more or less influenced by his style.
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