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An Edwardian style untested emerald and diamond cluster, the emerald cut green stone within surround of eight round cut diamonds, within white metal mount leading to plain polished yellow metal shank, ring size S 1/2, 3.4gms, total diamond weight estimated 0.40ct, total untested emerald weight estimated 0.50ct Condition report:  Please note, the box pictured is for photography purposes only.All claws are present to the untested emerald. Large chips to the bottom left hand side and top right hand side. Stone is eye clean, but inclusions are present to under x10 loupe. Diamonds are all present, but claws are a little low, will require attention. Diamonds are bright, lively and well matched in colour. Minor inclusions seen to diamonds under x10 loupe but appear clean to naked eye. No major sings of thinning, splits or repair to under bezel. Thinning and possible join of resizing seen to the shank. 

A gilt metal mounted singing bird box automaton, 19th century, the canted rectangular box with chased and engraved decoration, the enamelled hinged lid painted with a pastoral scene and opening to reveal a singing bird with iridescent feathers, contained within associated leather box3.5 x 8.5 x 5.5cmBird action working but in need of some attention as reluctant to fold back into box. Side lever working but again the mechanism needs servicing. The bird does sing tunefully and move to some degree. Needs attention.As per the images the leather covered case is partially missing and has a sticker over the top. Enamel panel good to the naked eye, with tiny surface nicks and marks. Some oxidisation to pierced surround behind bird.

A Victorian natural pearl and diamond pendant/brooch, the main cluster centred by an undrilled button pearl of 8.46ct to a surround of twenty four rose cut diamonds and an outer border of fifteen cushion shaped diamonds approximately 4.5mm, supporting a detachable pendant with pierced diamond set link above a diamond capped drop-shaped natural pearl measuring approximately 10.5-10.6mm wide x 18-20mm long, can be worn as a whole or as individual pendants on the conforming necklace of sixty-four natural pearls, pearls measure from 5.2mm-6.9mm, the necklace having its own small detachable diamond clasp, necklace approximately 20.36g, with accompanying reports from The Gem and Pearl Laboratory stating natural saltwater pearls, report numbers 23942 & 23944Probably a gift from James Tertius Dugdale (1834-1915) to his wife Alice (nee Brooks) (1846-1922). Dugdale and his wife were married in 1868 and it was she who persuaded him to buy Sezincote in 1884, to escape the smoky atmosphere around his cotton factory.

A Victorian garnet brooch, centred by an oval cabochon garnet in an engraved yellow metal surround and suspending a removable conforming drop centred by a teardrop-shaped cabochon garnet, 6cm long, total gross weight approximately 9gWear and tear commensurate with age, some splits and losses to brooch, amateur repair near clasp

An early 20th Century Sherwin & Cotton Maori Emaux Ombrants tile designed by George Cartlidge, with sepia portrait titled Bella, impressed factory marks, GC monogram to front 23cm x 15cm, within a wooden moulded surround.

Four 19th Century 6 inch dust pressed tiles, two printed with pigs and piglets in brown and blue over white ground, by Maw & Co Broseley, and Henry Richards Tile Co respectively, a Mintons Hollins tile, black printed and hand painted over a white ground, decorated with a wolf and lamb from Aesop's Fables series, and a Minton & Co Prossers Patent tile, blue printed over white ground, depicting the family crest of the Dalhousie family in the form of a double headed Wyvern. Note:  Minton Exhibition Catalogue stated that this tile was originally from a set in a French marble fire surround at Panmore House, Scotland, the home of Lord Dalhousie

An early 20th Century Sherwin & Cotton Emaux Ombrants dust pressed portrait tile, of Abraham Lincoln in 'Commemoration of the One Hundredth Anniversary Celebration of the Birth of Abraham Lincoln February 12th 1909', modelled from the only untouched negative in the US, taken 1864, 23cm x 15cm, framed with a moulded wooden surround.

A set of three 19th Century Maw & Co 6 inch dust pressed tiles from the Months of the Year series depicting April, May and June, all printed in sepia and grey to a buff glazed ground, each mounted to a wooden surround. (3)

A 19th Century Carter & Co Architectural Pottery 6 inch red clay dust pressed tile decorated by William De Morgan in the Marlborough pattern (lower section) with two stylised flower heads in yellow on green, framed in a pine surround, relief moulded marks.

A set of five early 20th Century Sherwin & Cotton Emaux Ombrants relief moulded tiles, each depicting a different scene with figural and portrait studies in the tonal brown glaze, each 3 inch x 4.5 inch, framed as a group in an oak surround with gilt slips, relief moulded marks. (5)

An early 20th Century Minton Hollins & Co commemorative paperweight for the Coronation of Edward VIII with a relief moulded portrait within decorative surround picked out in a tonal turquoise glaze, fully marked to the reverse, measures 4.5 inch by 3 inch.

A 9ct gold opal and diamond drop pendant, in an oval surround, on a belcher link neck chain, with bolt ring clasp, 2.9g.

An 18ct gold ruby and diamond ring, with three central rubies in a surround of diamonds, size K, 3.1g.

A 9ct gold amethyst and diamond ring, set with five amethysts in a surround of diamonds, size N, 2.6g.

A 19thC Grand Tour Pietra Dura specimen paperweight, inset with agates, lapis lazuli, blue john and other stones, within a slate surround, 22cm wide, 11.5cm deep.

A 9ct gold sapphire and diamond ring, the oval cut sapphire in a surround of diamonds, with diamond set shoulders, size O, 3.0g.

A 9ct gold amethyst and diamond ring. Central oval free cut amethyst with a surround of illusion set single cut diamonds. 1.8g. Size M, together with an unmarked yellow metal amethyst and pearl ring. 2.35g. Size M

A 18ct white gold sapphire and diamond ring, central oval free cut sapphire in a rub over setting with a surround of 16 single cut diamonds and diamond set shoulders. size J. 3.8g

CATALOGUE AMENDMENT - THE BROOCHES IN LOTS 164/165 ARE SHOWN INCORRECTLY SEE NEW PHOTOGRAPHS AND DESCRIPTIONS, A Victorian brooch and earring suite in fitted box, the Etruscan style yellow metal brooch, raised oval centre having a eight ray blue enamel star set with a pearl, white enamel surround, the suspended drop from the brooch matching the earrings with tapered tassel fringe, overall dimensions of brooch 80x30mm, earrings 40mm drop, the box named James Ramsay High St. Dundee.

A ruby and diamond pendant on a white metal chain, the oval mixed cut ruby, 6.9x4.8mm, within an openwork double surround of twenty and twenty-eight brilliant cut diamonds, with a further three diamonds to the bale, all claw set in a 9 carat white gold mount, on a white metal Franco link chain 43cm long, marked 10K Italy, total gross weight 3.5g.

An oval locket with pearl surround, mourning ring, two bar brooches, an oval locket with seed pearl surround, pad stamped 15ct, with seed pearl set bale, aperture 22x16mm, locket 29x23mm, gross weight 7.8g; a 15 carat yellow gold and black enamel mourning ring size O½, gross weight 2.4g; a 51mm aquamarine and seed pearl bar brooch, with safety chain, marked 9ct, base metal pin, gross weight 2.8g; and a 58mm red stone bar brooch, indistinctly marked, base metal pin, F S Staddon Nottingham vintage brooch box.Qty: 4

An opal dress ring, the approximately 13.3x11.5mm cabochon cut opal collet set with a rope border and outer petal surround in an 18 carat yellow gold mount ring size S½, hallmarked Birmingham 1998, 5.8g.

A collection of Victorian and later jewellery, a pair of yellow metal hollow earrings, marked 9ct; a 9ct back and front locket; a yellow metal curb link brooch, pad stamped 9ct, metal pin; other yellow metal and gold-plated brooches, some gemset; a carved hematite cameo brooch with red paste surround; a carved shell cameo brooch; two loose carved shell cameos; a tie pin with photograph compartment, in a fitted case; a paste set ring; a red stone and seed pearl pendant, on a base metal chain; and a seed pearl necklace, cased.Qty: 1 box

RIVERA DIEGO: (1886-1957) Mexican painter. A significant Autograph Manuscript signed, Diego Rivera, thirteen pages (separate leaves, written to the rectos only), 4to, n.p., n.d. (annotated April 1933 in pencil in another hand at the head of the first page), in French. The untitled manuscript relates to one of the artist´s most famous works, the Detroit Industry Murals (1932-33) and states, in part, ´Comme programme pour la decoration du jardin couvert cour centrale du Musee de l´instiut d´Art de Detroit, j´ai choisie comme theme l´expression plastique du mouvement oudulant qui se trouve dans les courants d´eau, les ordes electriques les stratifications des differentes couches du sol de la terre et en general dans le developement continuel de la vie.......Le Musee d´Art d´une ville, et specialement dans le cas de l´institut d´art de la ville de Detroit est on doit etre, la cellule centrale pour le developpement de la culture esthetique de la communaute, pour cela, dans le developement de mon travail je fus ammene a preciser de plus en plus la centralisation de l´ensemble des fresques dans l´expression du germe, peinte sur le mur central face a la porte principale d´acces a la cour. Le germe, un enfant, non un embryon contenu dans l´interieur de l´oignon qui s´enracine dans la terre vegetale acumulee dans la conque d´un ancien lac. Sur des lits de sable couches d´eau et sel et gisements de fer, charbon et pierre de chaux. Realite geologique du sol de Michigan et raison primondiale de l´existance de la vie de Detroit......En dessous de ce panneau et des deux cotes de la porte d´entree, est peinte la representation du generateur de vapeur et son ouvrier mecanicien, et du generateur d´electricite et son ingenieur, la force ouviere et la force creatrice de l´imagination et la connaissance. Combustion, expansion, energie positive et negative, mort pour creer de la vie, vie qui amene la mort, mouvement rithmique en onder continues. Tout en haut, l´aviation, a gauche les contructeurs d´aeroplanes usant de la rondage autogine electrique correspondant a ca un petit panneau du frise montre les tourne-soleils analogues en forme aux moteurs d´avion.......L´effort createur merveilleux des ouviers de toutes les races du monde qu´integrent la population industrielle de Detroit, et qui son expression du caracter international et universel du continent americain, et des Etats Unis aussi, circonstance qui est la plus grande force de l´amerique dans la profondeur de l´avenir historique.......La pierre de chaux est analogisee avec la race blanche et le sable a la jaune par des semblables raisons que le fer a l´indienne et le charbon a la noire.......La "predella" en grisaille contient une serie de petits panneaux qui montrent des operations fabriles complementaires au long d´une journee de travail a gauche les travailleur entrant a l´usine au matin marquant le temps a droite ils sortent du travail, a cette angle a l´extreme de la grande composition ont ete peints les portraits du Docteur William Valentiner que par sa volonte pleine de sympathie et bonte pour l´auteur des peintures etant directeur du Musee, fit possible la commande et de Monsieur Edsel B. Ford qui par la liberalite de son criterium, par son donatif, et des grandes facilites qu´il donnat pour le travail fit possible l´execution des fresques, dont il fit don a la ville de Detroit´. (Translation: ´As a programme for the decoration of the covered garden in the central courtyard of the Detroit Art Institute Museum, I have chosen as my theme the plastic expression of the undulating movement found in the currents of water, the electrical orders, the stratifications of the different layers of the earth's soil and, in general, in the continuous development of life.......A city's art museum, and especially in the case of the Detroit Art Institute, is, or should be, the central unit for the development of the community's aesthetic culture. For this reason, in the development of my work, I was led to specify more and more the centralisation of all the frescoes in the expression of the seed, painted on the central wall opposite the main door leading to the courtyard. The seed, a child, not an embryo contained within the interior of the onion which takes root in the vegetable earth accumulated in the conch of an ancient lake. On beds of sand, layers of water and salt and deposits of iron, coal and limestone. The geological reality of Michigan's soil and the primordial reason for Detroit's existence......Below this panel, on both sides of the entrance door, is painted a representation of the steam generator and its mechanic, and the electricity generator and its engineer, the working and creative forces of imagination and knowledge. Combustion, expansion, positive and negative energy, death to create life, life that brings death, rhythmic movement in continuous waves. At the very top, aviation, on the left the aeroplane builders using the electric auto generator corresponding to this a small panel of the frieze shows the sun turners analogous in shape to the aeroplane engines.......The marvellous creative effort of the workers of all the races of the world who make up the industrial population of Detroit, and which is an expression of the international and universal character of the American continent, and of the United States too, a circumstance which is America's greatest strength in the depths of the historical future.......Limestone is analogous to the white race and sand to the yellow for similar reasons as iron to the Indian and coal to the black.......The ‘predella’ in greyness contains a series of small panels which show complementary manufacturing operations throughout a working day: on the left, the workers enter the factory in the morning marking the time; on the right, they leave work. At this corner, at the extreme of the large composition, are painted the portraits of Dr William Valentiner, who, by his willingness, full of sympathy and kindness for the author of the paintings and director of the Museum, made the commission possible, and of Mr Edsel B. Ford, who, by the liberality of his criterium, his donation, and the great facilities he gave for the work, made possible the execution of the frescoes, which he donated to the city of Detroit´). An important manuscript of fine content. Some very light, extremely minimal age wear and with small staple holes to the upper left corner of each page. VGIn 1932 Wilhelm Valentiner, Director of the Detroit Instiute of Arts, and the American business executive Edsel Ford, commissioned Rivera to create the Detroit Industry Murals, a series of frescoes consisting of twenty-seven panels depicting industry at the Ford Motor Company and in Detroit. Together they surround the interior Rivera Court in the Detroit Institute of Arts. Painted between 1932 and 1933, they were considered by Rivera to be his most successful work.

GANDHI MAHATMA: (1869-1948) Indian political and spiritual leader during the Indian independence movement. A good A.L.S., yours, Old Friend, (although also signed ´from M. K. Gandhi´ to the head of the first page), four pages (written to the first and fourth and second and third sides of two bifolia), 8vo, Ahmedabad, 30th July n.y., to [Hermann Kallenbach] (´My dear friend´). Gandhi states that he has received his friend´s letter ´from your strange & new abode´ and that it had arrived shortly before his time for grinding wheat, ´I thought of you whilst grinding. I wished you were opposite me helping to grind. I then thought how we w[oul]d have talked away, how you would have perhaps kicked against the monotony of it, how you would have wanted to turn the handle alone, how I would then have gone for you & how you would have patiently put up with all that & so we would have made ourselves merry. But it was only a dream. I sighed & I laughed´. Gandhi continues to write in a philosophical manner, ´The experiences you are undergoing are all a preparation for a better future, no matter what it is to be. I shall fondly hope that these experiences are nothing but an asset for our joint life. War must end one day and one day we must meet & again be physically near one another as we are in spirits today. Let not the life there have a depressing effect upon you. Then it will be well with you. Mind is its own place; it can make heaven of hell & hell of heaven. My experiences are no less varied than yours. Every day brings me some fresh experience whether from the inmates of the Ashram or from visitors. All these experiences teach me to be stronger & more & more confirmed in my views´ and also sends news of his family and other matters, ´Manilal [the second son of Gandhi] has now commenced his tuition in a handwove business. Jamnadas [a nephew of Gandhi] has already been to a factory. Tamil study is getting on. I have three Tamilians on the farm engaged in teaching everybody Tamil. I think that the order that is being evolved will please you. It may be that you will just come here when we are best fitted to please your Germanic exactness in all we do. Only be as exacting from yourself as you are from those who surround you´. A personal and endearing letter of fine content demonstrating the warm friendship that existed between Gandhi and Kallenbach, as well as their philosophical and spiritual exchanges, and also illustrating Gandhi´s optimism in the face of war and his indestructible faith in the future of mankind. Some light tape stains to various edges of the letter, only very slightly affecting a few words of text and not the signatures. GHermann Kallenbach (1871-1945) Lithuanian-born Jewish South African architect, one of the closest and foremost friends and associates of Mahatma Gandhi.

A RARE HERALDIC TABLE CARPET PROBABLY SPANISH NETHERLANDS, 17TH CENTURY Woven with central oval cartouche of a scrolling twin handled vase issuing flowers with inset panel of hound on a lead, flanked by supporters of a stag and lion, serpent, snail, frog and lizard below, the surround woven with fruiting trees and flowerheads on a brown strapwork ground and with four heraldic devices in shields to the corners of the design- hand with bow among four stars, griffin segreant, both mirrored diagonally approximately 165 x 279cm Provenance: From a Private Collection Although traditionally catalogued as a "carpet"- this fine and rare item was intended for laying on a table as a costly and highly decorative cover, rather than on the floor. At this period textiles were rarely used as floor coverings except in the wealthiest households. The heraldic designs are less detailed and refined compared to other examples such as the Lewknor Table Carpet (Metropolitan Museum Accession Number: 59.33), or a comparable Elizabethan example held at Bramhall Hall. However, unlike examples held in the Victoria and Albert Museum such as the 1603 Apsley carpet (Accession Number 710-1904), the heraldry is woven within the main design rather than assigned to the borders. This would suggest a specific commission possibly produced in a professional Spanish Netherlands workshop. At the time of cataloguing, research has yet to determine the probable identity of the families the heraldic motifs may have related to. The use of strapwork suggests a mid to late 16th century inspiration but slightly looser in design than examples such as the knotwork in The Luttrell Table Carpet (Burrell Collection of Glasgow Museum). Almost certainly it originally had a further border which would have hung down vertically from the table's edges. The same composition of central oval panel surrounded by floral strapwork can be seen in a comparable example from the Mayorcas collection and catalogued as a "17th Century Spanish Part-Silk Netherlands needlework Table Carpet", sold Christie's London, 12th February 1999, lot 407. Literature: Anthony Bostock and Paul A. Fox, The Bramhall Hall Elizabethan Heraldic Carpet, The Coat of Arms, Journal of The Heraldry Society, Fourth Series Volume III, 2020 M. J. Mayorcas, English Needlework Carpets, 1963 Condition Report: With wear, marks, as per age, handling, use, and cleaning. The whole formerly with further edge panels, now absent. 20th century backing and small areas of rollover edge visible. The whole looks to have gone through various levels/ages of conservation- the majority professional and well executed. Numerous later small stitch repairs- largest looks to be across a vertical crease/fold running horizontally through the middle. Small traces of metallic thread visible to central armorial. Colour fading but remaining quite vivid in the details . Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer

Early 19th century mahogany side cabinet, the top cross-banded, the two drawers and two panel cupboard doors with reeded surround, raised on bracket feet, 92cm high x 103cm wide x 45cm deep (with key) Condition ReportSurface scratches, scuffs and knocks. Split to the side, split to the top, splits and repairs to the veneer. Handles replaced. General wear and tear.

18ct gold mounted Victorian 1887 sovereign within stylised leaf and circle surround gross weight 15g approx

Gold coloured metal, diamond and pink stone arabesque pendant centred by a pear shaped pink stone with stylised leaf surround set numerous small diamonds, gross weight 4g approx, and a Chinese carved black jade pendant with yellow metal mount, stamped 14k, 4cm high (2)

Gold coloured metal Scales of Justice pendant with ribbed circular surround 2.2g approx, gold plated floral spray bracelet set tiny pink stone, gold coloured hoop earring indistinctly marked and sundry gold coloured jewellery.

Manner of Sir Anthony van Dyck Portrait of King Charles I and Queen Henrietta Maria, bust-length in a painted stone surroundoil on canvas67 x 81cmCondition ReportOverall: 84 x 98cm19th century. Relined. Craquelure with light surface dirt. Not examined under UV light, for a full report please contact the department.

An Ottoman tortoiseshell, bone and mother-of-pearl inlaid walnut table cabinet, Turkish. dated August 1690, elaborately inlaid to all sides with tessellated designs and geometric borders, fitted with eight small drawers, previously with detachable front cover, one drawer inscribed in black ink 'This cabinet I brought out of Turkey, it was made there, August 1690, Eliz: Trumbull', the carcass with further ink markings and the drawers with later locating pencil inscriptions, 41cm wide, 22cm deep, 23.5cm highProvenance: Ombersley Court, WorcestershireElizabeth Trumbull, née Cotterell, was the 1st wife of Mary Marchioness of Downshire and Baroness Sandys' great-grandfather, Sir William Trumbull, Ambassador to Constantinople.Overall with some glue reside from old re-insertions of inlays, scuffs and light scratches commensurate with age and use. Top with loss of ivory moulding to right corner, several small losses to tortoiseshell inlay, Minor old restorations and small losses to chequered surround, some lifting of wood inlays and surround. Left side sunfaded, some wood inlay sectiona lifting. Right side with lifting of wood inlay top left, minor loss to bone inlay to base. Back with loss to heart inlay lower left, some cracks and losses to tortoiseshell inlay exposing backing foil. slight loss to bone inlay to lower left base. Front with restoration to wood frame of front. Fittings for a fall front but not present, poor painted restoration to base bone inlay to left, wood patching where hinges were fitted and drilled holes, slight loss of bone moulding to upper left frame. Drawers a little tightly fitted. Each drawer inscribed to back in pencil with position. Possible replacements to some bone inlays.

A group of eight rings, comprising: a single stone aquamarine ring, stamped 585, ring size O; an 18ct gold ruby and diamond crossover ring, ring size V; a lapis lazuli and diamond ring, stamped 585, ring size L; an 18ct gold ruby five stone ring, London import hallmarks, 1969, ring size N; a 9ct gold amethyst single stone ring, London hallmarks, 1972, ring size O; a single stone citrine ring, ring size P; a single stone opal ring, with figural gallery and pierced hoop, ring size K-L approximately; and a ruby and diamond ring with carved surround, stamped 750 (8)Condition Report: gross weight 54.3g

A turquoise and diamond ballerina cluster ring, the oval cabochon turquoise within brilliant cut diamond surround and baguette cut diamond outer border, to tapered shoulders and grooved hoop, ring size O (VAT charged on hammer price)Condition Report: Gross weight 13.26 grams.

A group of antique collets and clasps, comprising: a five row clasp with a row of three pearls within old cut diamond set surround, mounted in silver backed in gold, length 2.2cm; a row of six circular eight claw settings; and a circular vacant cluster clasp for a two row necklace, with a quantity of clawed collets in silver backed in gold (a lot) (VAT charged on hammer price)Please note that the pearls have not been tested for natural origin

A diamond and emerald ring, of plaque design, the central brilliant and baguette cut diamonds to two row emerald and diamond surround, with openwork quatrefoil diamond border and plain hoop, stamped 750, ring size MCondition Report: Overall condition good, this ring is of modern manufacture all stones are present, Gross weight 6.0g

A sapphire and diamond cluster ring, the oval mixed cut sapphire to brilliant cut diamond surround, with open shoulders and a plain hoop, stamped 750, ring size OCondition Report: Gross weight 9.53 grams. Sapphire measures approximately 11.8 x 9.5 x 4.1mm.

A light yellow diamond cluster ring, an oval brilliant cut light yellow diamond, claw set to halo surround of brilliant cut diamonds, ring size O (VAT charged on hammer price) Accompanied by report number 16377355 from the Gemological Association of America, GIA, dated 8th November 2007, stating that the diamond is Y to Z range, light yellow, natural color, weight 1.18 carats

A pair of emerald and diamond clusters, each with an oval mixed cut emerald within old cut diamond surround, 1.5 x 1.3cm (2) (VAT charged on hammer price)

An early 20th century diamond cluster ring, the central millegrain set brilliant cut diamond within openwork octagonal brilliant cut diamond set surround, with diamond set bifurcated shoulders and a plain hoop, ring size J½

A pearl and diamond wreath brooch, the central pearl and old cut diamond cluster within openwork wreath surround composed of alternating pearls and diamond set floral clusters, to brooch fitting, diameter 2.6cm (VAT charged on hammer price) Please note that the pearls have not been tested for natural originCondition Report: Four pearls are lacking, there are loose pearls with the brooch but they are not original, and do not fit. The pearls either need to have wider holes drilled, or the pegs of the brooch replaced with narrower wire.

A ruby and diamond heart shaped pendant, with a central pavé brilliant cut diamond set heart, within three row oval cabochon ruby and brilliant cut diamond surround, and pavé brilliant cut diamond set bow surmount, with hinged clip suspension, on belcher link chain, stamped 750, pendant length 5.8cm, chain length 51.5cm (VAT charged on hammer price)Condition Report: Gross weight 61.35 grams.

An opal brooch and earclips, the brooch with an oval cabochon opal bezel set to a textured bar sunburst surround, stamped 14k, diameter 3.6cm, the earclips of matching design, stamped 14k, diameter 2.1cmCondition Report: Gross weight 24.69 grams.

A pair of earring mounts and a diamond pendant, the earring mount with vacant central collets to pavé brilliant cut diamond surround, with clip fittings, stamped PT900; the pendant of hoop form with three rows of princess cut diamonds, stamped 18k, diameter 1.4cm (2) (VAT charged on hammer price)Condition Report: Diamond pendant stamped 2.31ct.

A sapphire and diamond cluster ring, of floral design, with an oval mixed cut sapphire with a stated weight of 9.20 carats, within surround of petal collets channel set with baguette cut and half moon cut diamonds, with a pear cut diamond at each shoulder and plain hoop, stamped PT950 Moussaieff, ring size M (VAT charged on hammer price)Condition Report: Sapphire is a pleasing cornflower blue with good saturation a tendency to window a little at the base of the pavilion, good clarity and transparency, evidence of growth lines visible and one small fracture inclusion on one side under crown facets. channel-set diamonds are of good commercial quality, approx. weight of each pear-cut diamond 0.50 carats, approx. colour G-H, approx. clarity VS, mount in good condition, Gross weight 13.72 grams.

A coloured diamond and diamond panel ring, the central square cut cornered yellow diamond flanked by two collet set brilliant cut diamonds to geometric design baguette and brilliant cut diamond surround, ring size K (VAT charged on hammer price)Please note that the yellow diamond has not been tested for natural colour origin

Van Cleef & Arpels. A coral, diamond and emerald brooch/pendant, central coral (corallium rubrum) cabochon to radiating emerald surround (two emeralds lacking), pavé brilliant cut diamond set marquise shaped panels, and outer coral cabochon border, double pin brooch fitting and hinged suspension loop, signed Van Cleef & Arpels, made in France, numbered 395343, Péry et Fils maker's mark, circa 1970, width 5.3cm

A Victorian diamond circular brooch, designed as an old brilliant cut diamond central cluster with diamond graduated double row surround, in silver cut down setting on gold back and gallery, with later brooch fitting, circa 1880, diameter 2.5cm, in fitted case stamped Bracher & Sydenham, Reading  Provenance: Formerly the property of the designer Eileen Gray thence by descent Eileen Gray (1878 - 1976) was an Irish furniture designer and architect with no formal training who became a pioneer of the Modern Movement in architecture. Gray was born Kathleen Eileen Moray Smith on 9th August 1878. Her father James McLaren Smith was a Scottish landscape painter; he was well connected with a number of well known artists and encouraged Eileen in painting and drawing. He changed his name to Smith Gray by royal license and his children were known as Gray. Eileen's serious art education began in 1900 at the Slade School in London. While at the Slade, Gray met furniture restorer Dean Charles in 1901. Charles was Gray's first introduction to lacquering and she took lessons in the technique from his company in Soho. In 1902 Gray went to Paris to study at the Academié Colarossi and Academié Julian. She returned to London in 1905 and continued her studies. Her career in design began after the first world war when she returned to Paris. She was commissioned to redesign the Rue de Lota apartment of society hostess Juliette Lévy. The interior was described as the "the epitome of Art Deco" and featured in Harper's Bazaar. In 1927 She designed her own house near Monaco known as E1027 and it was visited by the architect Le Corbusier. During World War II, Gray was interned as a foreign national, and her houses were looted. Many of her drawings, models, architectural notes, and personal papers were destroyed by bombing. The first retrospective exhibition of her work, titled Eileen Gray: Pioneer of Design, was held in London in 1972. A Dublin exhibition followed the next year. At the Dublin exhibition, the 95 year-old Gray was given an honorary fellowship by the Royal Institute of the Architects of Ireland.Condition Report: Later brooch fitting, pendant loop deficient Approx. total weight of diamonds 3.60 carats, approx, weight of central diamond 0.50 carats, approx. general colour J-K, general clarity SI, gross weight 9.2g

A ruby and diamond cluster ring, the oval cabochon ruby to two row brilliant cut diamond surround, to split shoulders and a plain hoop, ring size L½

An Art Nouveau 18ct gold diamond set fob, articulated panels decorated with a fox, a goose and a spaniel each within branching and oak leaf surround, with link and Albert clasp suspension, stamped 18 GWC, suspending a heart shaped pendant medal with the profile of a lady with rose cut diamond accents, Louis Rault signature, engraved verso 'A Santiago D. Silva los empleados del Banco H. de la provincia y demas amigos Enero 1910', length 15cm (VAT charged on hammer price)Condition Report: Gross weight 50.36 grams.

An 18ct gold diamond and sapphire cluster ring, the brilliant cut diamond centre within circular cut sapphire surround, to tapered textured shoulders and plain hoop, London hallmarks, 1975, ring size R¼Condition Report: Gross weight 5.37 grams.

A ruby and diamond pendant, the pear shaped pendant with a central pear cut ruby within two row brilliant cut and baguette cut diamond surround, with articulated suspension loop, stamped pt900, length 2.2cm, suspended on a curb link chain with bolt ring clasp, stamped pt850, length 40.5cmCondition Report: Gross weight 6.83 grams.

An early 20th century gold and platinum, diamond and demantoid garnet pendant, the central old cut diamond to openwork surround of demantoid garnets, all mounted in gold with twisted platinum wire borders, with diamond set suspension loop, pendant length 3.8cm, suspended on an 18ct gold curb link chain, length 46.5cm

Two 18ct gold cluster rings, one with an oval mixed cut sapphire to single cut diamond surround, Birmingham hallmarks, 1971, ring size O; the other of quatrefoil design set with emeralds and single cut diamonds, London hallmarks, 1987, ring size O (2)Condition Report: Gross weight 7.01 grams

An 18ct white gold sapphire and diamond cluster ring, the oval mixed cut sapphire to brilliant cut diamond surround, with plain hoop, assay office mark worn, 1975, ring size J¼

A green tourmaline and diamond ring, the emerald cut green tourmaline, measuring approximately 13 x 7mm, to brilliant cut diamond surround and shoulders, and a plain hoop, stamped 750, ring size MCondition Report: Gross weight 11.01 grams.

An early 20th century emerald and diamond ring, of cluster design, the emerald cut emerald to surround of brilliant cut diamonds, with brilliant cut diamond set shoulders and a plain hoop, ring size L½Condition Report: Emerald measures approximately 7.98 x 6.93 x 3.46mm. good medium green with good saturation some fine typical inclusions but clarity generally good some very minor inclusions surface reaching, one facet edge has minor chip only visible under 10x magnification, diamonds are good quality general approx. colour H-I, clarity VS to SI, one diamond probably a replacement. mount shows general wear and minor nicks and scratches commensurate with age. hoop is worn at the base, gross weight 3.0g

A group of diamond set mounts, comprising: a vacant central pear shaped collet with rose cut diamond set claws, within old mine cut diamond surround, with a diamond set floral spray surmount and articulated old cut diamond set collet, length 4cm, together with a pair of mounts of similar design, with a vacant central circular collet, length 3cm (3) (VAT charged on hammer price)

A diamond single stone ring, the brilliant cut diamond with an estimated weight of approximately 0.85 carats, claw set to a foliate surround, tapered shoulders and plain hoop, ring size LCondition Report: Diamond measures approximately 6.25 x 3.62mm.

A sapphire and diamond cluster ring, the oval mixed cut sapphire with an estimated weight of approximately 2.30 carats, within a graduated brilliant cut diamond surround, to plain hoop with stabilising beads fittedCondition Report: Gross weight 4.74 grams. Sapphire measures approximately 9.7 x 7.6 x 4.0mm.