Woolley & Wallis by Jamm Design Ltd

WOO L LE Y & WA L LI S SA L I S B U R Y SA L E R O O M S

Jewellery by Design

The Collection of Dr. Anne Shannon An Academic Eye

Wednesday 31st October 2018

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Specialist Departments Please dial +44 (0)1722 followed by the number listed below 20TH CENTURY DESIGN Michael Jeffery Zoe Smith

424505 446955

ASIAN ART John Axford MRICS ASFAV Jeremy Morgan Marta Olszewska

424506 424506 424591

CHINESE PAINTINGS Freya Yuan-Richards

VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV Clive Stewart-Lockhart FRICS FRSA

424509 424598

MARKETING Ilona Pichler Tamzin Corbett

446960 424590

ACCOUNTS Janice Clift (Office Manager)

424500

424589 GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Ruth Pike

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham

424507

FURNITURE, WORKS OF ART & CLOCKS Mark Yuan-Richards Jim Gale Suzy Becsy

411854 339161 446974

SALEROOM MANAGER David Jordan

JAPANESE ART Alex Aguilar Doméracki

424583

CASTLE GATE MANAGER Matt Hill

JEWELLERY Marielle Whiting FGA Jonathan Edwards FGAA (Consultant) Charlotte Glyde

424595 424504 424586

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Zoe Cordey

341469 446980

PAINTINGS Victor Fauvelle Jo Butler Hollie Morrison

424503 424592 424592

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

339752 446980

424500

CASTLE GATE RECEPTION Madeleine White BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director

FRICS FRSA

Natalie Milsted FCCA Finance Director

424599

ASSOCIATE DIRECTORS Janice Clift Clare Durham Will Hobbs Michael Jeffery Mark Yuan-Richards Rupert Slingsby Marielle Whiting FGA

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 • www.woolleyandwallis.co.uk

424500

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

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JEWELLERY BY DESIGN

THE COLLECTION OF DR. ANNE SHANNON AN ACADEMIC EYE Wednesday 31st October at 10.00am VIEWING TIMES Friday 26th October Saturday 27th October Monday 29th October Tuesday 30th October Wednesday 31st October

10.00am – 4.00pm 10.00am – 1.00pm 10.00am – 4.00pm 10.00am – 4.00pm 8.30am – 9.45am

ENQUIRIES

Marielle Whiting FGA 01722 424595 mw@woolleyandwallis.co.uk

Consultant Jonathan Edwards FGAA 01722 424504 je@woolleyandwallis.co.uk

Charlotte Glyde 01722 424586 cg@woolleyandwallis.co.uk

BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 25% plus VAT

Michael Jeffery 01722 424505 mj@woolleyandwallis.co.uk

TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Tuesday 30th October. LIVE BIDDING

ILLUSTRATIONS Front cover:

Lots 130-133

Page 1:

Lots 89 216 127 295 221 161

Back cover:

Lot 165

Catalogue £12.00 (£15.00 by post)

www.the-saleroom.com Please register by 5pm on Tuesday 30th October. Please note there is a 3% +VAT surcharge for using this service.

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DR. ANNE SHANNON Dr. Anne Shannon's impressive collection of over 300 pieces began over 50 years ago with a modest purchase of an unassuming silver pendant by Georg Jensen. This ignited a passion for jewellery, spurring Anne into amassing a selection of over 100 pieces of silver jewellery by Jensen through the 1960s whilst pursuing a successful career in medicine in London. As her interest in jewellery grew, Anne devoted more of her limited leisure time to this new passion; reading widely, visiting dealers, and attending auctions, even undertaking a short course at Sotheby's and joining the Society of Jewellery Historians. A chance meeting with the late Muriel Wilson (former editor of Jewellery History Today) sparked the next phase of Anne's collection, through an opportunity to volunteer at Goldsmith's Hall. One day a week, for several years, Anne and Muriel helped to organise and archive an extensive bequeathed collection of Omar Ramsden / Ramsden & Carr design drawings. Her intimate involvement with this work encouraged Anne to begin buying examples of their jewellery; pendants, bracelets, brooches, rings, and earrings, steadily growing this new collection in parallel with her Georg Jensen range. By this time, Anne had become increasingly focused on Jensen's early work, guided by Michael von Essen, the longstanding curator of Jensen's antique department and museum in Copenhagen. Anne continued to widen the scope of her interest in jewellery, developing her knowledge through increased involvement with London's antique dealers. Trips to Paris, New York, Maastricht, Copenhagen and Asia enabled her to embrace a range of British and European designers, creating new sections in her ever-growing collection. These included Giuliano, Castellani, Lalique, FabergĂŠ, Mellilo, Falize, Froment Meurice, Child & Child, and a range of designers from the British Arts & Crafts and the Art Nouveau scenes. In 2004 one of Anne's favourite Castellani bracelets (lot 276) was selected by The BARD Graduate Center in New York for display in an exhibition of classical revival jewellery, before being transferred for a further exhibition period in Rome. Now retired with her husband John in Buckinghamshire, the catalogue 'Jewellery by Design' provides a retrospective into a lifetimeâ&#x20AC;&#x2122;s passion and a legacy to be treasured by their son, daughter and five collective grandchildren.

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THE COLLECTION OF DR. ANNE SHANNON AN APPRECIATION When I look back at the most celebrated collectors of antique jewellery over the past 100 years there are three names – all women - which immediately come into my mind. The first of these is Dame Joan Evans, a brilliant scholar, academic and author who donated much of her jewellery collection to the V & A in 1975. Next, the formidable Anne Hull Grundy who accumulated rare and beautiful antique jewels in much the same way that a keen and enthusiastic schoolboy amasses endless albums of stamps, and lastly the American collector Judith Siegel whose incomparable assemblage of Castellani and Giuliano was sold – to great acclaim – by Sotheby’s in 2006. To this select group must now be added the name of Dr Anne Shannon and it is her wonderful antique jewellery collection which forms the basis of this single-owner sale to be auctioned by Woolley & Wallis on 31st October. I first met Anne in the library of Goldsmiths’ Hall about 15 years ago when I was researching the life and work of H G Murphy, the English goldsmith and silversmith. She was sitting at the imposing mahogany table opposite her friend and fellow historian, the late Muriel Wilson. They were both surrounded by an array of papers, charts and drawings and I only discovered some time later that all these documents were part of the library’s own extensive archive relating to two of our most celebrated designer-craftsmen – Omar Ramsden and Alwyn Carr. I little knew at that time just how passionate Anne felt about 19th and 20th century jewellery design and manufacturers and would have been extremely surprised to learn that, quietly and assiduously, she had amassed some 500 pieces over a 50-year period of dedicated collecting. Anne was deft in building close and productive relationships with a small number of reliable, knowledgeable and well-connected jewellery dealers and suppliers who recognized her insight and understanding of the subject and were willing to hold back special pieces for her. This is most apparent where the extraordinarily diverse collection of Georg Jensen jewellery is concerned, a sizeable proportion of which was sourced from Michael von Essen, curator of the Georg Jensen Museum in Copenhagen. Dr Shannon’s collection can broadly be divided into seven different sections. First, signed 19th century jewels by celebrated makers such as Froment Meurice, Wiese, Castellani, Giuliano, Brogden and Burges. Second, an unprecedented 33 lots by Ramsden and Carr including many of their signature enamelled silver pendants. Third, an extensive group of naturalistic, translucent enamelled brooches, pendants and assorted jewels by Child and Child, the popular early 20th century London firm of designer-jewellers. Fourth, an unparallelled collection of Georg Jensen incorporating a high proportion of early examples by this visionary craftsman. Fifth, a large number of English and Scottish Arts and Crafts jewels with many of the movement’s most celebrated designer goldsmiths and silversmiths represented, such as Henry Wilson, Charles Ashbee, John Paul Cooper and the Gaskins. Sixth, signed Art Nouveau and Art Deco from Lalique to La Cloche and, finally, a large and varied selection of Georgian, Victorian and 20th century jewels and accessories. In an auction brimming with so many scarce and interesting goods it is a little invidious to pick out just one highlight but for me, the Garrard 1911 facsimile of the Investiture ring designed for the Prince of Wales perfectly encapsulates this unique collection: rare, scholarly, highly personal and infinitely desirable. The sheer scale and range of Dr Shannon’s collection can thus be seen as a road map of jewellery design over the past 200 years – and I very much hope that the catalogue itself will become an important reference point for jewellery historians, dealers and collectors for many years to come. John C Benjamin August 2018

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Lot 229 c.1825

Lot 289 c.1880

Lot 252 c.1860

Lot 267 c.1825

Lot 273 c.1850

1875

1800

1825

1850 Lot 243 c.1870

Lot 264 c.1780

Lot 225 c.1875

Lot 278 c.1865 Lot 276 c.1860

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Lot 104 c.1904 & 1908

Lot 205 c.1905

Lot 212 c.1930

Lot 242 c. 1905

1900

Lot 127 c.1905

1930

1990

Lot 191 c. 1903

Lot 256 c.1925 Lot 187 c.1990

Lot 221 c.1900

Lot 228 c.1905

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1. A collection of books on the subject of jewellery, including: Arthur & Georgie Gaskin (Birmingham Museums & Art Gallery: 1981) ATTERBURY, P., & BENJAMIN, J., The Jewellery and Silver of H. G. Murphy (Suffolk: Antique Collectors Club: 2005) BECKER, V., Art Nouveau Jewelry (London: Thames & Hudson: 1985) GERE, C. & MUNN, G., Artists’ Jewellery (London: Antique Collector’s Club: 1989) - signed by the author KUZMANOVIC, N., John Paul Cooper: Designer and Craftsman of the Arts & Crafts Movement (Glocuestershire: Sutton Publishing Ltd: 1999) PURCELL, K., Falize: a dynasty of jewelers (London: Thames & Hudson: 1999) - signed by the author ZAPATA, J., The Jewelry Enamels of Louis Comfort Tiffany (New York: Harry N. Abrams: 1993) Together with eleven other publications

2. A collection of books on the subject of silver, glass and Fabergé, including: Georg Jensen Jewellery (The Bard Centre for Graduate Studies: 2006) CALLOWAY, S., The House of Liberty: Masters of Style & Decoration (London: Thames & Hudson: 1992) COATS, K., A Hidden Alchemy: Goldsmithing, Jewels and Table-Pieces (Stuttgart: Arnoldsche: 2008) - signed by the author JACKSON, SIR C, J., English Goldsmiths & their Marks: A History of the Goldsmiths and Plate Workers of England, Scotland & Ireland (New York: Dover Publications Inc: 1964) Archibald Knox (London: Academy Editions: 1995) Together with fourteen other publications

£150-200

3. A collection of books on the subject of jewellery, including: BENNETT, D. & MASCETTI, D., Understanding Jewellery (Suffolk: Antique Collectors Club: 1989) BURY, S., Jewellery 1789-1910, The International Era: Volume I - 1789-1861 (Suffolk: Antique Collectors Club: 1991) BURY, S., Jewellery 1789-1910, The International Era: Volume II - 1862-1910 (Suffolk: Antique Collectors Club: 1991) CULME, J. & RAYNER, N., The Jewels of the Duchess of Windsor (London: Thames & Hudson: 1987) DUNCAN, A., The Paris Salons 1895-1914: Jewellery I: The Designers A-K (Suffolk: Antique Collectors Club: 1994) DUNCAN, A., The Paris Salons 1895-1914: Jewellery II: The Designers L-Z (Suffolk: Antique Collectors Club: 1994) GERE, C., RUDOE, J., TAIT, H., WILSON, T., The Art of the Jeweller: A Catalogue of the Hull Grundy Gift to the British Museum: Jewellery, Engraved Gems and Goldsmiths’ Work, VOL. I & II (London: British Museum: 1984) MUNN, G., Tiaras: A History of Splendour (Suffolk: Antique Collectors Club: 2001) NADELHODDER, H., Carter: Jewelers Extraordinary (London: Thames & Hudson: 1984) The Jewels of the Duchess of Windsor (Geneva: Sotheby’s: 2nd-3rd April 1987) RUDOE, J., Cartier 1900-1939 (London: British Museum Press: 1997) Together with seven other publications

£150-200

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

4. A collection of books on the subject of antique jewellery, including: EVANS, J., A History of Jewellery 1100-1870 (London: Faber & Faber Ltd: 1970) GERE, C., & RUDOE, J., Jewellery in the age of Queen Victoria: A Mirror to the World (London: British Museum Press: 2010) - signed to the authors MUSEE LUXEMBOURG., René Lalique: Exceptional Jewellery 1890-1912 (Milan: Skira: 2007) SCARISBRICK, D., Jewellery in Britain 1066-1837: A Documentary, Social, Literary & Artistic Survey (Norwich: Michael Russell: 1994) VEVER, H., French Jewelry of the Nineteenth Century: VOL. I, II & III (London: Thames & Hudsoon: 2001) La Collezione Augusto Castellani (Rome, L’Erma di Bretschneider, 1999) Together with five other publications

£150-200

5. A collection of books on the subject of gems and jewellery, including: JENKINS, P., Unravelling the Mystery: The story of the Goldsmiths’ Company in the twentieth century (London: Third Millenium Publishing: 2000) VOL. I & II UNTRACHT, O., Traditional Jewellery of India (London: Thames & Hudson: 1997) VILLEGAS, R., Kayamanan: The Philippine Jewelry Tradition (1983) Together with seven other publications

£150-200

6. A collection of books on the subject of antique jewellery, including: BECKER, V., Antique & 20th Century Jewellery: A Guide for Collectors (London: NAG Press: 1980) MUNN, G., Castellani & Giuliano: Revivalist Jewellers of the Nineteenth Century (London: Trefoil Books: 1984) NEWMAN, H., An Illustrated Dictionary of Jewellery (London: Thames & Hudson: 1981) RAULET, S., Art Deco Jewelry (London: Thames & Hudson: 1985) THE VICTORIA & ALBERT MUSEUM., Maharaja: The Splendoura of India’s Royal Courts (London: V&A: 2009) The Master Jewelers (London: Thames & Hudson: 1990) - a collection of essays WEBER SOROS, S. & WALKER, S., Castellani & Italian Archaeological Jewelry (London: Yale University Press: 2004) Together with thirteen other publications

£150-200

7. A collection of books on the subject of antique jewellery: including: MOREL, B., The French Crown Jewels (Antwerp: Fonds Mercator: 1988) MUNN, G., The Triumph of Love: Jewelry 1530-1930 (London: Thames & Hudson: 1993) MUS…E DE LA VIE ROMANTIQUE., Bijoux romantiques 1820-1850: La Parure à L’…poque de George Sand (Paris: Paris musées: 2000) MUS…E DE LA VIE ROMANTIQUE., Trésors d’Argent: Les FromentMeurice, orfèvres, romantiques, parisiens (Paris: Paris musées: 2003) Together with eleven other publications

£150-200

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9 8 8. A quantity of jewellery, including a pair of Arts & Crafts silver earrings c1910, suspending stained blue jasper plaques in silver frames, a silver hoop-link bracelet, a silver bracelet set with smoky quartz, turquoise amd rock crystal, stamped STARBORN, a costume bracelet and earrings set with purple paste, a pair of cultured grey pearl and diamond earrings, three pairs of cultured pearl earrings, a pair of hematite drop earrings, a pair of turquoise and coral drop earrings, a pair of gilt metal ear clips by Michaela Frey, a pair of gilt metal ear clips by Hermes depicting winged horses, a gem-set silver ring and a pair of turquoise-mounted stud earrings £200-300

9. A quantity of jewellery, including a carved jade bangle, an Art Nouveau-style enamelled swan pendant with matching drop earrings, a mother-of-pearl necklace and matching bracelet, a turquoise bead necklace, a coral bead necklace, a silver oval-link chain, a branch-form coral and gold brooch, an amethyst bead necklace, an opal-set gold stock pin, an Art Nouveau silver pendant of maiden's-head form and set with small rose-cut diamonds, a gold longuard chain set with six garnet beads, a pair of gold drop earrings with beaded decoration and each set with a faceted emerald bead and a pearl, a pair of garnet flowerhead drop earrings, a silver longuard chain set with seed pearls, an ornate silver gilt pocket watch by Pinnacle, a white metal watch bangle, a threerow pearl, emerald and ruby bead necklace, a 19th century silver and gold medieval-inspired brooch, depicting a knight with shield and sword to its centre, the oval frame quartered with cushion-shaped rubies, and a silver necklace and bracelet, the flowerhead links with yellow and £150-250 lavender enamel decoration 10. A collection of jewellery items, including an early nineteenth century coral bead necklace, c1800, a large coral cabochon ring, a pair of Victorian coral earrings c1845, a pair of French gold earrings suspending coral drops from tied bow motifs set with seed pearls, together with a Georgian gold pedestal seal £150-250 11. A small quantity of jewellery, including a jade bead necklace, the clasp set with a moonstone, chrysoprase and sapphire in beaded frame, a set of silver and baroque pearl foliate jewellery in the manner of Dumont, including a bar brooch, dress ring and drop earrings, a pair of amazonite and citrine silver drop earrings in the manner of Bernard Instone c1925, a circular silver brooch in the manner of Mary Thew, set with a carnelian cabochon in rope-twist silver frame, together with a long silver-gilt chain with plique-à-jour enamelled slidepiece set with synthetic ruby and matching finials £400-600

Accompanied by original purchase receipts from Tadema Gallery, Didier Antiques, Cobra & Bellamy

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

12 12. A small quantity of jewellery, including a black cultured pearl and diamond necklace, with a pair of matching drop earrings, a sapphire and diamond cluster ring, a tourmaline and diamond ring, the step-cut tourmaline weighs approximately 3.40cts and set in yellow gold with small round brilliant-cut shoulder diamonds, size R, together with a multi gem-set half-hoop ring, size M £400-600 13. A small quantity of gem-set rings, including an opal five-stone ring, size Q, a yellow gold leopard ring with enamel decoration and set with diamonds, size M, a pair of double-knot style entwined gold rings, size L, a pink gold plaited ring, size L, a Victorian garnet, half pearl and emerald ring, size O, an Indian turquoise and silver dress ring, size N, a gold and nephrite cabochon ring, size Q, a jade and diamond gold ring, size L, a gold ring, size M, a silver and lapis lazuli foliate ring by Georg Jensen, design no. 55, size M £200-300

14. Three pairs of earrings, including a pair of lavender jade cabochon earrings with post and clip fittings, a pair of jade and diamond stud earrings and a pair of gold twisted knot earrings with clip fittings £200-300 15. A small quantity of earrings, including a pair of foiled amethyst and gold ear clips, a pair of pietra dura and gold drop earrings, a pair of Victorian gold earrings with tassle drops (missing fittings), a pair of carnelian bead and gold drop earrings, together with two pairs of hollow ware gold earrings (one with missing fitting) £400-600 16. A suite of star ruby and diamond-set gold jewellery, the bracelet set with star ruby cabochons between pairs of diamonds, the yellow gold ring with a rubover-set star ruby, size K, a pair of star ruby stud earrings and a star ruby and diamond gold pendant £300-400

17. Three mosaic gold brooches, one depicting the doves of Pliny the Elder within oval gold rope-twist frame, one depicting St Peter's Basilica, Rome within an engraved gold frame, the other with a floral pietra dura plaque set within a yellow gold frame £80-120

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GEORG JENSEN

18. A collection of silver items by Georg Jensen, including an Art Nouveau tea strainer with foliate decoration overall and pierced scrolls to the bowl, design un-numbered, c1909-1914, stamped GI830S Copenhagen, 13cm long, with a pair silver sugar nips, initialed GI and with maker’s mark GS, with London import marks for 1929, 10cm long, a circular silver compact, design no. 277a, c1948, the hinged cover chased with an eagle, stamped GJLtd and 925 Sterling Denmark and with London import marks for 1948, 7.8cm wide: a silver square-form compact, design no. 279A, post-1945, stamped Sterling Denmark and GJLtd, with London import marks and obscured date letter, 5.7cm: a small oval silver napkin ring with bead pattern borders, design no. 7, c1904-1908, stamped 830 S and with maker’s mark, 3cm wide: a small circular silver bowl on raised foot, design no. 180, c1931, with pierced foliate mid-section, stamped 925 Sterling Denmark, GJLtd and with London import marks for 1931, 5.7cm wide: a small silver desk seal in the form of an owl, c1936, design no. 36, sitting on a melon-form pedestal, stamped 925 and initialed GI, with London import marks for 1925 and with maker’s mark GS, 4.5cm high: a silver bookmark, design no, 60, post-1945, stamped 925 S Denmark, 6.5cm wide, a silver caddy spoon, design no. 84, c1915-1927, with slightly oval bowl and the stem folding back with foliate terminal, stamped 830 S and with maker’s marks, a silver caddy spoon with slightly oval bowl and double-struck foliate decoration to the handle, stamped GI830S within pellet border and with Danish silver hallmarks, 11cm long: a silver caddy spoon, c1929, with oval bowl and double-struck foliate decoration to the handle, stamped 925S and with maker’s mark GS, with London import marks for 1929, 11cm long: a miniature steel and silver-plated table knife, the blade marked Georg Jensen Copenhagen, Cutler Frank Cobb, Sheffield, England, 11cm long: a twopronged silver pickle fork with double-struck foliate decoration to the handle, with Danish silver hallmark and stamped GI 830 S, 15cm long: a small pair of sterling silver and horn salad servers, with acanthus terminals, stamped GI830S and with Danish silver hallmarks, 16.5cm long £100-200

19. A small three-piece silver cafe au lait set and an oval waiter by Georg Jensen, design no. 1 & 223, c1915-1932, the side handle pot with wooden handle and finial to the domed cover, conforming milk jug and sugar basin, stamped 1, Sterling and GI 925S Denmark and with maker’s marks, the side-handled pot 15cm high, the oval waiter stamped 223, GI925S and with maker’s mark, 26cm wide, 858g total £100-200

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

20. A collection of gem-set and silver brooches by Georg Jensen, including an openwork deer brooch, design no. 256 by Arno Malinowski, c1933-1944, stamped 925 and with maker’s mark, 4.5cm wide, a circular silver brooch, design no. 285 by Arno Malinowski, c.1933-1944, depicting a merman riding a fish amongst star fish, stamped 925 Sterling Denmark and with maker’s mark, 4cm wide, together with sixteen further silver and gem-set brooches, dating from c.1933 - post-1945 £600-800

20 21. A collection of gem-set silver earrings by Georg Jensen, all post-1945, design no. 49, of flower head form and set with a central amazonite cabochon, screwback fittings, 2cm wide, design no. 66, the dove motif designed by Christian Mohl-Hansen and set with three moonstone cabochons, with London import marks for 1986, 2.3cm wide, design no. 4, with green agate bead drops with silver foliate caps and suspending from flower head upper sections, screwback fittings, 3.5cm high, design no. 74, the red coral cabochons set within leaf-form silver frames, screwback fittings, 1.7cm wide, design no. 82, the amber cabochon drop set within foliate silver frames, screwback fittings, 3.5cm high, and a pair of ‘Anniversary’ drop earrings for 1996, of fruiting-vine form and set with single carnelian beads, all stamped 925 Sterling Denmark and with maker’s marks £300-400

21 22. A collection of silver earrings by Georg Jensen, design no. 126 by Nanna Ditzel, c1957, of architectural hoop form, with London import marks for 1957, 3cm high, design no. 79, c1945-1951, of oval boss form within beaded surround and with screwback fittings, 1.5cm high, design no, 93, post-1945, the circular earrings with chased foliate decoration and with screwback fittings, 1.9cm high, design no. 100, c1945-1951, designed as two entwined tulips and with screwback fittings, 2cm wide, design no. 50A, post-1945, of leaf form with beaded decoration and with clip fittings, 2.3cm wide, design unnumbered, c.1988, designed as large flower head domes and with clip fittings, with London import marks for 1988, 2cm wide, design no. 17, post-1945, the ‘seed and pod’ upper sections suspend an oval silver boss below and with screwback fittings, 3.5cm high, design no. 18, post-1945, the flower head upper sections suspend silver drops and with screwback fittings, 4cm high, all with maker’s marks, together with a pair of un-numbered earrings of flower head form and with screw back fittings £200-300

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23 23. A collection of gem-set silver pendants by Georg Jensen, including a silver and carnelian foliate pendant, design no. 158, c1983, the centre oval carnelian cabochon set within a silver foliate surround and a further four circular carnelian cabochons, suspending from an oval-link silver chain with toggle clasp, stamped 925 S Denmark, and GJLtd, with London import marks for 1983 and with maker’s mark, pendant 5cm high, chain 70cm, together with a silver and lapis lazuli pendant, design no. 10B, post-1945, the large oval lapis lazuli cabochon set within wirework surround and further four lapis lazuli cabochons, on oval-link silver chain with toggle clasp, stamped 925 S Denmark and GJLtd, London import marks for 1987 and with maker’s mark, pendant 36cm high, chain 46cm long, and a silver ‘Anniversary’ pendant, c1996, of fruiting-vine form and set with a single carnelian bead, on silver chain with toggle clasp, stamped 925 S Denmark and 1996, with maker’s mark, pendant 3cm long, chain 43cm long £100-150 Literature: for a similar pendant, see DRUCKER, J., Georg Jensen: A Tradition of Splendid Silver, p. 165

24 24. Three silver pendants by Georg Jensen, including an openwork silver pendant, design no. 283 by Arno Malinowski, post-1945, designed as two butterflies on floral sprays in a hoop frame, on ovallink chain with toggle clasp, stamped Sterling Denmark, with maker’s mark, pendant 56cm high, chain 70cm long, together with a silver foliate pendant, design no. 4, post-1945, set with a domed oval boss within a beaded border, on silver chain with toggle clasp, stamped 925 S Denmark and with maker’s mark, 4.5cm high, chain 66cm, and an ‘Anniversary’ pendant, c1991, of Acanthus bud form, on silver chain with spring ring clasp, stamped 1991, 925 S Denmark and with maker’s mark, 3cm high, chain 44m £100-200 The 1991 Anniversery pendant is based on design no. 80, an early piece design by Georg Jensen 25. A collection of silver rings by Georg Jensen, including an abstract silver ring, design no. 91 by Nanna Ditzel, size T ½, a foliate silver ring, design no. 1A, size Q, a large silver ring designed as a domed oval boss in rubover mount, design no. 46E by Harald Nielsen, size S, a silver ring designed as a smaller domed oval boss with pellet border, design no. 19, size P, all post-1945, together with a folaite silver ring, design no 11B, c1915-1930, size J £200-300 26. A collection of gem-set silver rings by Georg Jensen, including a moonstone and silver foliate ring, design no. 10, post1945, set with a flower head cluster of moonstone cabochons within an openwork foliate silver surround, with foliate bifurcated shoulders, stamped 925 Denmark and with maker’s mark, size S, a carnelian and silver cluster ring, design no. 15, c1933-1944, vertically set with three carnelian cabochons within wirework frame, with bead decoration to the bifurcated shoulders, stamped 925 Sterling Denmark and with maker’s mark, size S, a silver and amber ring, design no. 46B, c19331944, the oval amber cabochon is rubover set on plain silver band, stamped 925 Sterling Denmark and with maker’s mark, size M ½ approx., a silver and coral ring, design no. 11A, post-1945, the coral cabochon set within a silver foliate mount on plain silver band, stamped 925 S Denmark and with maker’s mark, size L, a bloodstone and silver ring, design no. 254, c1933-1944, set with a circular bloodstone plaque, with scallop decoration to the bifurcated shoulders, stamped 925 and with obscured design no., with maker’s mark, size U, a green agate and silver ring, design no. 16, c1915-1927, the oval green agate cabochon is rubover-set within ropetwist silver border and with foliate shoulders, stamped 830 and with maker’s mark, size Q £200-300

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27 27. A collection of eight gem-set silver rings by Georg Jensen, post-1945, including a lapis lazuli-set ring within square silver mount with bifurcated shoulders, design no. A94 by Bent Gabrielsen Pederson, with London import marks for 1962, size R ½, a silver cigar ring set with a green agate cabochon, design no. 124 by Poul Hansen, size M, a green agate cabochon three-stone ring, design no. 3, size J ½, an amber ring, the amber cabochon (damaged) set within a wirework frame and with bifuracted shoulders, design no. 1B, size L , an amethyst and silver ring, the amethyst cabochon set within openwork silver frame, design no. 6, size M, a carnelian and silver ring, the carnelian cabochon set within a foliate mount with bifurcated shoulders, design no. 24, size J ½, a rubover-set malachite ring, design no 51 by Bent Gabrielsen Pederson, size L, and a moonstone silver ring, the two moonstone cabochons vertically set within a scrolling silver mount, design no. 48, size O ½, all stamped 925 S Denmark and with maker’s mark £200-300 28. A collection of jewellery items by Georg Jensen, including a silver cuff bangle, design no. 55 by Harald Nielsen, post-1945, with chased strapwork and foliate decoration, stamped Sterling Denmark and with maker’s mark, 6.5cm internal diameter, together with a silver and moonstone bar brooch, design no. 2, c1915-1930, the moonstone cabochon within beaded wirework surround and mounted on a silver stock pin, stamped 830 S Denmark and G.I., 4cm long; a silver and opal stick pin, design no.70, c1909-1914, the oval opal cabochon set within a beaded foliate frame and set with four further opal cabochons, stamped 826 S G.I. and signed, 7cm high; a pair of labradorite and silver earrings, design no. 2, c1915-1927, the circular labradorite cabochons rubover-set within beaded border, with screwback fittings, stamped 830 Denmark and with maker’s mark, 1.6cm wide; a pair of circular garnet and silver cufflinks, design no. 13, c1909-1914, each circular cufflink with chased waisted decoration and each set with two garnet cabochons, stamped 826S and with maker’s mark, 2cm high, and two pairs of silver cufflinks, the first pair design no. 30, c1915-1927, of oval form and each depicting a phoenix within silver frame, stamped 830, each link 2.1cm high, the second pair design no. 17, post-1945, designed as oval silver bosses within wirework foliate frames, stamped Sterling Denmark, each link 1.9cm high, both with chased decoration to the fittings, both pairs with maker’s marks £200-300

29. A collection of brooches by Georg Jensen, including a silver fruiting vine brooch, design no. 217 by Harald Nielsen, c1967, designed as a bunch of grapes below a vine leaf, stamped GJLtd and with London import marks for 1967, obscured maker’s mark, 7.3cm high, together with a silver round plaque brooch, design no. 53, c1954, the open-work brooch depicting a bird with bunches of grapes, stamped Sterling Denmark and GJLtd, with London import marks for London 1954 and with maker’s mark, 5.8cm wide, and a silver and gem-set foliate brooch, design no. 78, c1984, the oval amber cabochon within a beaded silver foliate and green agate cabochon frame, stamped 925 S Denmark and GJLtd, with London import marks for 1984 and with maker’s mark, 5cm wide £200-300 Harald Nielsen, the brother of Jensen’s third wife Johanne, joined the Georg Jensen company in 1909. A gifted draftsman and aspiring painter, he helped to establish the Silversmithy’s distinctive style and reputation for exceptional quality. After Jensen’s death in 1935, Nielsen became artistic leader for the company.

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30. A nephrite and silver foliate pendant by Georg Jensen, design no. 78B, c1983, the large oval nephrite plaque within silver foliate surround and set with a further six nephrite cabochons, on oval-link silver chain with toggle clasp, stamped 925 S Denmark and GJLtd, London import marks for 1983 and with maker’s mark, pendant 5.1cm wide, chain 74cm long £300-400 A similar example is illustrated: KARLIN,E.Z., Jewelry & Metalwork in the Arts & Crafts Tradition (1993), p216 31. A silver plaque pendant by Georg Jensen, design no. 100, c1982, the plaque depicting a winged deer amongst leaves, on silver chain with toggle clasp, stamped 925 S Denmark and GJLtd, with London import marks for 1982 and with maker’s mark, pendant measures 5.6 x 5cm, each chain 41cm long £100-200 Based on brooch design no. 81, an earlier design by Georg Jensen 32. A moonstone and silver bracelet by Georg Jensen, design no. 3, post-1945, formed as a row of alternating foliate and leaf-form links, each set with a moonstone cabochon, with box clasp and safety catch, stamped Sterling Denmark and with maker’s mark, 20cm long £300-400 A similar example is illustrated: KARLIN,E.Z., Jewelry & Metalwork in the Arts & Crafts Tradition (1993), p216 33. A turquoise and silver foliate bracelet by Georg Jensen, design no. 12, post-1945, each flower head link alternately-set with an oval turquoise cabochons, box clasp with safety catch, stamped 925S Denmark and with maker’s mark, 19cm long £300-400 34. An amazonite and silver foliate bracelet by Georg Jensen, design no. 36, post-1945, each flower head link set with an amazonite cabochon within beaded surround, stamped Sterling Denmark and with maker’s mark, 20cm long £300-400 35. A silver and green agate foliate bracelet, design no. 3, post-1945, formed as two rows of foliate links, each set with a green agate cabochon, with conforming oblong box clasp, stamped Sterling Denmark and with maker’s mark, 18.5cm long £400-600

36. A tortoiseshell haircomb by Georg Jensen, design no. 1, post-1945, with silver foliate and strapwork decoration, set with five green agate cabochons, with small silver disc to reverse stamped Sterling Denmark and with maker’s mark, 11cm high, 12cm wide £100-150 37. A silver and green agate giardinetto brooch by Georg Jensen, design no. 67, c1976, designed as a panier of flowers, set with a foliate cluster of green agate cabochons and further green agate cabochons, stamped 925 S Denmark and GJLtd, with London import marks for 1976 and with maker’s mark, 5.5cm wide £100-150 The same model is illustrated: KARLIN,E.Z., Jewelry & Metalwork in the Arts & Crafts Tradition (1993), p213

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38. A silver and amber pendant by Georg Jensen, design no. 54, post-1945, the oval amber cabochon set within foliate silver frame, suspending from a foliate suspension top, on oval-link silver chain with toggle clasp, stamped 925S Denmark, with marker’s mark, pendant 6.8cm high, chain 60cm long £200-300 39. A silver foliate bracelet by Georg Jensen, design no. 50, post-1945, designed as alternating quatrefoil links between blossoming flower head links, box clasp with safety catch, stamped Sterling £200-300 Denmark and with maker’s mark, 20cm long 40. A silver foliate bracelet by Georg Jensen, design no. 31, c1983, the flower head links formed as circular silver bosses with scallop border, with four-row oval connection links, stamped 925S Denmark and GJLtd, with London import marks for 1983 and with maker’s mark, 18cm long £200-300 41. A silver plaque bracelet by Georg Jensen, design no. 19, post-1945, each circular scrolling plaque with chased feather-form decoration and a circular silver boss, box clasp with safety catch, stamped 925 Sterling Denmark and with maker’s mark, 2.5cm wide, 18cm long £400-600 42. A silver foliate bracelet by Georg Jensen, design no. 30, post-1945, each link alternately-formed as a double leaf spray and tree design, with large oval domed box clasp, stamped 925 S Denmark and with maker’s mark, 20cm long £400-600 Bracelet no.30 is considered a ‘Paris Model’, as it was designed by Georg Jensen during his visit to Paris in 1925-26. The same model is illustrated: KARLIN,E.Z., Jewelry & Metalwork in the Arts & Crafts Tradition (1993), p212 43. A silver ‘Seed & Pod’ necklace by Georg Jensen, design no. 11, post-1945, each scrolling foliate link alternately-set between domed silver bosses, with box clasp with safety catch, stamped Sterling Denmark, with maker’s mark, 41cm long £600-800 44. A silver ‘Seed and Pod’ bracelet by Georg Jensen, design no. 15, post-1945, each scrolling foliate link alternately-set between domed silver bosses, with box clasp with safety catch, stamped Sterling Denmark, with maker’s mark, 1.3cm wide, 19cm long £100-150 45. A silver and amber foliate pendant by Georg Jensen, design no. 89, c1982, the open-work foliate frame set with three amber cabochons and flower head terminations, stamped 925 S Denmark and GJLtd, London import marks for London 1982 and with maker’s mark, 5.7cm wide £100-150

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46. A silver necklace and bracelet suite by Georg Jensen, designs no. 40 & 43 by Henry Pilstrup, c1984, designed as a line of barrel-form links with oval-link connections, toggle clasps, both stamped 925 Denmark and GJLtd, London import marks for 1984 and with maker’s mark, necklace 42cm long, bracelet 19.3cm long £150-250 Henry Pilstrup (1890-1967) was Georg Jensen’s first ever apprentice, joining the company in 1904. He remained there for for 53 years, becoming foreman of the workshop. Some of his designs, including cufflinks design no. 64 are still in production today. 47. A silver and lapis lazuli foliate pendant by Georg Jensen, design no. 40, c1985, the large oval lapis lazuli cabochon set within foliate silver frame, with further lapis lazuli cabochons forming the stamens of flowers, suspending a further lapis lazuli-set beaded bud-form silver drop, on oval-link silver chain with toggle clasp, stamped 925 S Denmark and GJLtd, London import marks for 1985 and with maker’s mark, pendant 10.8cm high, chain 94cm long £600-800 48. A silver heart-shaped pendant by Georg Jensen, design no. 702, c1981, the open-work heartshaped pendant with domed boss centre, suspending an oval connection and pear-shaped silver drop, stamped 925 S Denmark and with maker’s mark, the chain stamped GJLtd and with London import marks for 1981, pendant 9cm high, each chain 51cm long £400-600 49. A silver and amethyst foliate pendant by Georg Jensen, design no. 50, post-1945, the oval amethyst cabochon in closed-back setting within wirework beaded foliate frame, on silver chain with toggle £100-200 clasp, stamped 925 S Denmark, with maker’s mark, pendant 2cm high, chain 46cm long 50. A silver and pink chalcedony ‘blossom’ bracelet by Georg Jensen, design no.12, c1976, designed as alternating flower head links and pink chaldedony cabochons, with box clasp and safety catch, stamped 925 S Denmark, with London import marks for 1976 and with maker’s mark, 19cm long £300-400 51. A silver necklace and bracelet set by Georg Jensen, design no. 101 & 102 by Jørgen Jensen, post1945, each formed with fluted open-centred circular links, alternately-set between domed boss connections, the bracelet and necklace connect to form a longer necklace, the necklace stamped Sterling Denmark, 37.5cm long, the bracelet stamped Sterling Denmark, 18.5cm long, both with maker’s mark £800-1,200 Jørgen Jensen (1895-1966) was Georg Jensen’s second son, who followed his father by becoming a metalsmith. He worked as a member of the Georg Jensen firm from 1917 to 1923. From 1923-1936 he operated his own workshop in Stockholm. He rejoined the Jensen firm in 1936 and worked as a designer there until 1962.

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52. A circular silver bird brooch by Georg Jensen, design no. 70, undated, post-1930, of openwork design and depicting a dove amongst a foliate circular frame, the dove motif designed by Christian MohlHansen, stamped 925 Sterling Denmark and initialed GI, 6cm wide £200-300 The same model is illustrated: KARLIN,E.Z., Jewelry & Metalwork in the Arts & Crafts Tradition (1993), p215 53. A silver necklace by Georg Jensen, design no. 59, c1945-1951, each pair of stylised leaf-form links alternately-set between oval domed bosses, with box clasp and safety catch, stamped Sterling Denmark, with maker’s mark Georg Jensen & Wendel A/S, 47cm long. See lot 57 for a matching bracelet. £600-800 In 1924 the young Danish art dealer Frederick Lunning opened Georg Jensen’s first ever American store on West 57th Street, New York. World War II created critical problems, thus limiting the production and export of Jensen items. Lunning was forced to establish a separate company and stock the New York store with American-made jewellery that resembled the Danish pieces; these were marked ‘George Jensen Inc. USA’. The limited number of pieces produced for the American market by the smithy in Denmark from 1945-1951 are marked ‘Georg Jensen & Wendel A/S’. 54. A silver brooch set by Georg Jensen, design no. 100 & 100A, c1945-1951, formed as large and small blossoming tulips connected by two extension chains, each stamped Sterling Denmark and with maker’s mark for Georg Jensen & Wendel A/S, 4.5 & 3.5cm wide £200-300 For a similar brooch, see DRUCKER, J., Georg Jensen: A Tradition of Splendid Silver, p.125 55. A silver foliate necklace by Georg Jensen, design no. 20, c1933-1944, each flowerhead link alternately-set between domed silver bosses within beaded border, with box clasp and safety catch, stamped 925 Sterling Denmark, with maker’s mark, each link 2cm high, 43cm long £600-800 56. A silver locket brooch for Georg Jensen Inc U.S.A., design no. 100X6, c1940-1950, the upper section formed as two tulips, suspending a silver locket pendant applied with confirming foliate decoration, £100-150 with company mark and stamped Sterling, 6.8cm high 57. A silver bracelet by Georg Jensen, design no. 53, c1945-1951, designed as pairs of scroll-form links alternately-set with silver domed oval boss links, box clasp with safety catch, stamped Sterling Denmark and with maker’s mark for Georg Jensen & Wendel A/S, 20cm long. See lot 53 for a matching necklace. £200-300 58. A silver and lapis lazuli bracelet by Georg Jensen, design no. 10, c.1933, each link set with an oval lapis lazuli cabochon within beaded scroll frame, with oval-link connections, box clasp with safety catch, stamped 830 S Denmark and with maker’s mark, 19.5cm long £300-400 59. A silver and carnelian-set dove bracelet by Georg Jensen, design no. 14, undated but post-1930, the dove motif designed by Christian Mohl-Hansen, the bracelet formed with alternating dove plaques and three-stone carnelian foliate plaque links, with box clasp and safety catch, stamped 925 Sterling Denmark, 18cm long £300-400 Christian Mohl-Hansen trained as a painter at the Royal Academy of Fine Arts. In 1925, he received a gold medal at the Paris Exhibition for his textile designs. Mohl-Hansen created this famous dove design for Georg Jensen in 1906 and it has been incorporated into a variety of their jewellery pieces. 60. A silver and amethyst bracelet by Georg Jensen, design no.18, c1933-1944, designed as alternating flower heads and scrolling links set with amethyst cabochons, stamped 925 Sterling Denmark and with maker’s mark, 19cm long £200-300 61. A silver and moonstone foliate brooch by Georg Jensen, design no. 104, c1933-1944, of floral spray-design and set with a moonstone cabochon, stamped 925 Sterling Denmark, with maker’s mark, £150-200 6.7cm high 62. A silver, labradorite and moonstone foliate brooch by Georg Jensen, design no. 92, c1933-1944, the upper arc-form section set with a central oval labradorite cabochon and eight moonstones with bead and scroll decoration, suspending a further labradorite and beaded silver bud-form drop, stamped 925 Sterling Denmark, with maker’s mark, 6.5cm high £600-800 Literature: Illustrated DRUCKER, J., Georg Jensen: A Tradition of Splendid Silver, p. 133 63. A silver foliate brooch by Georg Jensen, design no. 210, c1933-1944, designed as entwined double tulip blossoms, stamped 925 S Sterling and with maker’s mark, 3.8cm high £150-200

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64. A coral and silver bracelet by Georg Jensen, design no. 63, c1933-1944, formed with oval coral cabochons rubover-set with double rows of silver flower head connections, stamped 925 Sterling Denmark and with maker’s mark, 20cm long £300-400 65. An amazonite and silver foliate bracelet by Georg Jensen, design no. 34, c1933, the two openwork foliate links with beaded and scroll decoration, alternately set with pairs of amazonite cabochons within scallop border and oval connections, stamped 830S Denmark and with maker’s mark, 20cm long £300-400 66. A silver foliate bracelet by Georg Jensen, design no. 5, c1933-1944, each link with quartered foliate decoration centred with a silver boss, with oval domed box clasp with safety catch, stamped 925 Sterling Denmark, with maker’s mark, 18cm long £200-300 67. A silver floral bracelet by Georg Jensen, design no. 43A, c1933-1944, each rose head link alternately-set between oval bar links, with oval bar-link extensions and toggle clasp, stamped 925 S and Sterling Denmark, with marker’s mark, 50.5cm long £200-300 68. An amazonite and silver ring by Georg Jensen, design no. 18, undated but post-1930, the oval amazonite cabochon set within an openwork foliate silver mount, signed 925 Sterling Denmark and initialed £100-200 GI, size Q 69. A silver plaque pendant by Georg Jensen, design no. 96, c1933-1944, depicting a rooster with leaf spray within square frame, on oval-link silver chain with toggle clasp, stamped 925 S Sterling Denmark, with maker’s mark, pendant 4cm high, each chain 35cm long £150-200 70. A silver foliate necklace by Georg Jensen, design no. 10, undated, post-1930, each scrolling foliate link alternately-set between four petal flower head links, stamped 925 Sterling Denmark, engraved GJ, £600-800 69cm long 71. A silver foliate bracelet by Georg Jensen, design no. 45, c1933-1944, the small circular links designed as roses with oval-link connections, box clasp with safety catch, stamped 925 Sterling Denmark £100-150 and with maker’s mark, links 1cm high, 19.5cm long 72. A silver foliate bracelet by Georg Jensen, design no. 57B, c1933-1944, designed as a row of foliate links with domed circular boss centres, with two-row oval connection links, stamped 925 Sterling Denmark and with maker’s mark, links 1.4cm wide, 19cm long £200-300 73. A silver foliate bracelet by Georg Jensen, design no. 46, c1933-1944, each foliate link is ruboverset with a half pearl, with two-row oval-link connections, box clasp with safety catch, stamped 925 Sterling Denmark and with maker’s mark, 18.5cm long £200-300 74. A Danish gem-set silver brooch by Knud Georg Jensen, c1908-1915, of foliate form, set with a large amber cabochon and two smaller moonstone cabochns, stamped 826S and with maker’s mark, 11cm wide £100-150

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75. A silver and labradorite brooch by Georg Jensen, design no. 145, c1911-1933, the oval labradorite cabochon within silver pellet border, stamped 830 S Denmark and engraved GJ, 3.7cm wide £100-200 76. A silver and green agate brooch by Georg Jensen, design no. 157, c1915-1930, the oval green agate cabochon set within a beaded wirework and scallop-edged frame, set with six further green agate cabochons, stamped GI 830 S, with maker’s mark, 4.3cm wide £200-300 77. A silver and gem-set brooch by Georg Jensen, design no. 93, c1915-1930, the brooch set with an oval green agate cabochon within wirework surround, set with a further four moonstone cabochons, stamped 830 Denmark, with inscription to reverse reading ‘N.F.f.O.o.G. 27-29/6 1935’, 3.3cm wide £150-250 78. A silver and gem-set foliate brooch by Georg Jensen, design no. 162, c1915-1930, the foliate upper section set with moonstone cabochons and suspending two green agate-set foliate drops, stamped 830 Denmark and with maker’s mark, 7.5cm high £400-600 Literature: Illustrated DRUCKER, J., Georg Jensen: A Tradition of Splendid Silver, p. 90 79. An openwork circular silver brooch by Georg Jensen, design no. 3, c1915-1930, the labradorite cabochon within beaded surround and in open-work frame set with heart-shaped palmettes, stamped 830 and with maker’s mark, 5.3cm wide £200-300 80. A silver and lapis lazuli foliate pendant by Georg Jensen, design no. 28, c1915-1927, of stylised leaf and blossom spray design, set with six lapis lazuli cabochons and suspending a further lapis lazuli drop, on silver oval-link chain with toggle clasp, stamped 28 and 830 Denmark, with maker’s mark, pendant £600-800 7.8cm high, chain approx. 54cm long 81. A pair of silver and moonstone drop earrings by Georg Jensen, design no. 8, c1920-1930, the upper flower head sections suspend a moonstone cabochon within beaded border, with screwback fittings, stamped 830, Denmark and with maker’s initials, 3.7cm high £100-150 82. A silver and amazonite foliate brooch by Georg Jensen, design no. 193, c1915-1930, of leaf form and with flower head centre section set with an amazonite cabochon, suspending a further oval amazonite cabochon drop, stamped Denmark and with maker’s mark, 5cm high £200-300 83. A silver and moonstone foliate brooch by Georg Jensen, design no. 30, c1915-1930, the oval moonstone cabochon in open-back setting within beaded foliate frame, stamped 830 Denmark and with maker’s mark, 3cm wide £100-150 84. A silver and hematite brooch by Georg Jensen, design no. 132, c1915-1930, the silver foliate upper section suspending three polished hematite drops, stamped 830 and with maker’s mark, 5.5cm high £400-600 85. A silver and lapis lazuli flower head pendant by Georg Jensen, design no. 24, c1915-1930, the silver flower head within beaded frame, the suspension set with a lapis lazuli cabochon, on fetter link silver chain with toggle clasp, stamped 830 Copenhagen, with maker’s mark, pendant 3cm high, chain 60cm long £200-300 86. A silver and moonstone foliate pendant by Georg Jensen, design no. 45, c1915-1930, the circular moonstone cabochon set within wirework beaded foliate frame, on fetter-link silver chain with toggle clasp, £200-300 stamped Denmark and 830, with maker’s mark, 2.2cm high, chain 48cm long 87. A silver and lapis lazuli bracelet by Georg Jensen, design no. 24, c1915-1927, the dove motif designed by Christian Mohl-Hansen, the bracelet formed with alternating dove plaques and three-stone lapis lazuli foliate plaque links, with box clasp set with a lapis lazuli cabochon and with safety catch, stamped 830, with Romanian import marks for 1969 and with maker’s mark, 19cm long £400-600

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88. A gem-set silver ring by Georg Jensen, design no. 15, c1909-1915, vertically set with an amber and two green agate cabochons within wirework frame, with bead decoration to the bifurcated shoulders, stamped 830S and with maker’s mark, size O £100-200 89. An opal-set silver foliate pendant by Georg Jensen, design no. 5, c1909-1914, of leaf spray design, the open-work centre section with five rubover-set opals and suspending three further opal drops, on silver chain with double hook fasteners, stamped 826 S G.I., signed and with maker’s mark, pendant 7.5cm high, chain 43cm long £800-1,200 Literature: Illustrated in DRUKER, J., Georg Jensen: A Tradition of Splendid Silver, p. 112 90. A silver, amber, malachite and coral pendant by Georg Jensen, design no. 21, c1915-1927, the silver foliate frame set with two malachite cabocons and a central amber cabochon, suspending from a coral-set flower head on silver fetter-link chain with toggle clasp, stamped GI, 830S Copenhagen, with maker’s mark, lower pedant 3.3cm high, chain 42cm long £400-600 Literature: Illustrated DRUCKER, J., Georg Jensen: a Tradition of Splendid Silver, p. 78 91. A silver and green agate brooch by Georg Jensen, design no. 17, c1909-1914, the silver foliate upper section suspending a further foliate drop setion set with a green agate cabochon, stamped 830S and with maker’s mark, 4cm high £200-300 92. A silver and coral pentafoil brooch by Georg Jensen, design no. 12, c1909-1914, the coral cabochon set within a beaded entwined pentafoil frame, stamped 826 S, G.I., signed and with maker’s mark, 4cm wide £200-300 93. A silver and garnet cruciform pendant by Georg Jensen, design no. 29, c1915-1927, the Celtic Cross-inspired pendant set with five garnet cabochons, stamped Denmark and 830, with maker’s mark, 5.2cm high £400-600 94. A silver, coral and mother-of-pearl foliate pendant by Georg Jensen, c1915-1927, the silver foliate frame with an oval mother-of-pearl plaque and three coral cabochons, on fetter-link silver chain, stamped £400-600 Copenhagen GI830S, with maker’s mark, pendant 6.7cm high, chain 56cm long Literature: Illustrated DRUCKER, J., Georg Jensen: A Tradition of Splendid Silver, p. 162 95. A silver and amber pendant by Georg Jensen, design no. 46, c1909-1914, set with an oval dark brown amber cabochon, with chain-link swags suspending a large amber ead drop within silver cage-work frame, stamped 826 S, G.I., signed and with maker’s mark, 10.8cm long £600-800 Literature: Illustrated DRUCKER, J., Georg Jensen: A Tradition of Splendid Silver, p. 70 96. A pair of amber bead and green agate silver earrings by Georg Jensen, design no. 11, c19091915, the upper sections set with a green agate cabochon and suspending silver and amber bead drops of acanthus bud form, with a further silver bead drop, screwback fittings, stamped 830 and initialed GI, 6.2cm high £100-150 97. A pair of garnet and silver foliate earrings by Georg Jensen, design no. 23, c1915-1930, the flower head upper sections suspend leaf-form drops overlapping garnet cabochons, post fittings, stamped 830 Denmark and with maker’s mark, 4.3cm high £100-150

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98. A silver and garnet foliate brooch by Georg Jensen, design no. 42, c1904-1908, the silver roundel set with two garnet cabochons, stamped 826S G.I. and with maker’s mark, 5cm wide £400-600 99. A silver and gem-set foliate pendant by Georg Jensen, design no. 4, c1904-1908, the foliate silver pendant set with an oval labradorite cabocon within a beaded border and two further opal cabochons, £600-800 silver chain with spring ring clasp, stamped 826S GI, pendant 4.8cm high, chain 20cm long 100. A large silver brooch converted from a buckle, design no. 14, c1904-1908, formed with two heartshaped palmette sections and set with a labradorite cabochon (cracked), stamped 826S G.I. and with maker’s mark, 9cm wide £400-600 101. A green agate and silver plaque bracelet by Georg Jensen, un-numbered design, c1904-1908, the rectangular openwork foliate links set with green agate cabochons, alternately set with smaller links with conforming decoration, box clasp with safety chain, the centre plaque engraved ‘Waldemar’, stamped 826S and with maker’s mark £600-800 102. A malachite and silver foliate brooch by Georg Jensen, design no. 14, c1904-1908, the upper plaque section with chased scroll decoration and set with a malachite cabochon, suspending five flat leafform plaques, stamped 826 S and with maker’s marks, 6cm wide, 6.5cm high £400-600 Literature: for a similar brooch, see Drucker, J., Georg Jensen: A Tradition of Splendid Silver’, p. 85 103. A set of six silver buttons by Georg Jensen, design no. 3, c1904-1908, each circular button with chased leaf decoration, each stamped 826 S and with maker’s mark, each 2.1cm wide £100-200 104. A silver, green agate and amber brooch by Georg Jensen, design no. 8, c1904-1908, the arched silver frame with decoration in the form of a garland and rubover-set with five green agate cabochons, suspending two amber drops (damaged), stamped 826 S and G.I., with maker’s mark, 7.5cm high £600-800 Literature: For a similar pendant, see DRUCKER, J., Georg Jensen: A Tradition of Splendid Silver, p. 124

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CHILD & CHILD 105. A polychrome enamel peacock pendant by Child & Child, c1905, the stylised peacock suspends a pale blue oval shaped sapphire in silver and gold, engraved decoration to reverse, maker’s mark, on fancylink neck chain, pendant 7cm high (including bale) chain 54cm long, fitted case by Child & Child £800-1,200 Accompanied by original purchase receipt from Didier Antiques, London dated 9th October 1996 106. An enamel and pearl wings pendant by Child & Child, c1905, decorated with green and blue enamel, set with a pearl in silver and gold and suspending two pearls on fine-link chain, on chain decorated with six baroque pearls, maker’s mark, 3.5cm wide, chain 42cm long, fitted case by Child & Child £600-800 Accompanied by report number 78175-62 dated 29 August 2018 from GCS, London stating that the cream pearls measure 10.3 x 9.5 x 6.8mm, 11.3 x 8.0 x 7.2mm and 10.7 x 8.7 x 7.9mm, and are natural saltwater with no indications of treatment 107. An Art Nouveau blue enamel and goshenite pendant by Child & Child, c1905, of openwork design, the crossed lattice frieze decorated with white enamel and suspending circular-cut goshenite drops, within blue enamel border suspending three pear-shaped goshenites, set in gold on fine-link gold neck chain, maker’s mark for Child & Child, pendant 6cm high, chain 50cm long, in fitted case by Child & Child £600-800 Accompanied by original purchase receipt from Didier Antiques, London dated 2 November 1998 108. A blue enamel wings pendant attributed to Child & Child, c1905, set with a cushion-shaped goshenite and suspending a seed pearl in yellow gold, blue counter enamel to reverse (damaged), on finelink gold chain, pendant 4.5cm high, chain 25cm long £400-600 109. A polychrome enamel dove brooch by Child & Child, c1905, of stylised form, suspending a seed pearl in silver and gold, maker’s mark for Child & Child, 3.3cm high, fitted case by Child & Child £400-600 Accompanied by original purchase receipt from Didier Antiques, London dated 9th October 1996 110. A blue enamel wings brooch by Child & Child, c1905, decorated with merging shades of blue enamel, with blue counter enamel in silver and gold, 11cm wide, fitted case by Child & Child £600-800 Accompanied by original purchase receipt from Didier Antiques, London dated 18th September 1997 111. A blue enamel butterfly tiepin by Child & Child, c1905, maker’s mark, 12mm wide, with a blue and green enamel necklace clasp by Child & Child set in silver and gold, maker’s mark, 2.6cm wide £200-300 Accompanied by original purchase receipt from Didier Antiques, London dated 24th November 1999 112. A composition locket by Child & Child, c1905, slide action and decorated with a silver pique work flower study, maker’s mark to gold loop, 3.8cm high £60-80 113. A heart-shaped openwork pendant by Child & Child, c1905, set with ten sapphires and a pear-shaped sapphire set to the articulated centre in silver and gold, maker’s mark, 5.4cm high, fitted case by Child & Child £600-800 114. A folded wings pendant by Child & Child, c1905, decorated with shaded blue and green enamel in silver and gold, engraved to reverse and with maker’s mark, 2.2cm high, Child & Child case £100-200 115. A polychrome enamel peacock brooch by Child & Child, c1905, suspending a baroque pearl in £600-800 silver and gold, 2.8cm high, maker’s mark to reverse, fitted case by Child & Child Accompanied by original purchase receipt from Didier Antiques, London dated 9th October 1996 116. A pair of sapphire and diamond earrings by Child & Child, c1905, the cushion-shaped sapphires each suspending rose-cut diamond-set cusp sections and suspending oval-shaped sapphire and diamond drops in silver and gold, 3cm high, sapphires approximately 2.00cts total, maker’s mark for Child & Child £600-800 Accompanied by original purchase receipt from Sheldon Shapiro & Co. Ltd, dated 25th February 1998 117. A silver flower brooch by Child & Child, c1905, the pair of flowers decorated with blue enamel petals, green enamel leaves and rose-cut diamonds to the centre in gold, rubbed maker’s mark for Child & Child, 3cm wide £200-300 Accompanied by original purchase receipt from Didier Antiques, London dated 18th September 1997

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118. A silver cylindrical box by Child & Child, c1903, the lid decorated with green plique-à-jour enamel depicting a stylised winged insect in two tone green enamel. Signed and engraved Child & Child London, silver marks for London 1903, 4cm high £200-300 Accompanied by original purchase receipt from Didier Antiques, London dated 8th December 1997 119. A leather heart-shaped photograph frame by Child & Child, c1900, the removable heart-shaped gilt centre-section with red guilloche enamel ground on heart-shaped aperture, signed to leather frame, frame 12cm, centre 9cm £600-800 Accompanied by original purchase receipt from Didier Antiques, London dated 20th October 2000 120. An amethyst, demantoid garnet and white sapphire Suffragette pendant by Child & Child, c1920, the centre ovalshaped amethyst set within a circular frame of circular-cut white sapphires and flowerhead clusters of demantoid garnets (one stone missing), suspending a further pear-shaped amethyst drop from a foliate link set with rose-cut diamonds, engraved 'A.K. Askwith from the Witton-le-Wear W.I. 1921, and with maker's mark, 7.3cm high, with fitted case by W Phillips £800-1,200 Accompanied by original purchase receipt from Sue Brown Antique Jewellery, 1-7 Davies Mews London dated 21st November 1998. 121. A green stone and blue enamel dove pendant by Child & Child, c1905, the stylised dove suspends a circular-cut citrine, mounted on an adjustable clasp terminating with oval green tourmaline finials in gold, maker’s mark, dove 40mm high, chain 60cm long £600-800 Accompanied by original purchase receipt from Anne Music, Stand 14 Bond Street Antique Centre dated 17th December 1997 122. A green enamel butterfly pendant by Child & Child, c1905, closed wing construction, set in silver and gold, maker’s mark, on Child & Child gold neck chain, pendant 3.3cm high, chain 36cm long £400-600 Literature: for a similar pendant see CARRUTHERS, C. & GREENSTED, M., Simplicity & Splendour, Arts & Crafts: Objects from the Cheltenham Collections, fig. 82 Accompanied by original purchase receipt from Didier Antiques, London dated 24th November 1996 123. A blue enamel wings pendant, c1905, set with a demantoid garnet and suspending a flowerhead pendant set with a demantoid garnet in silver and gold, maker’s mark, 3.5cm wide £400-600 Accompanied by original purchase receipt from Didier Antiques, London dated 2 November 1998 124. A blue enamel wings brooch by Child & Child, c1905, set with a heart-shaped opal and suspending a smaller heart-shaped £600-800 opal in silver and gold, maker’s mark, 4cm high, fitted case by Child & Child Accompanied by original purchase receipt from Didier Antiques, London dated 20th October 2000 125. A green enamel caduceus brooch by Child & Child, c1905, decorated with green and blue enamel, white paste and a seed pearl in silver and gold, maker’s mark for Child & Child, 3.5cm high, fitted case by Child & Child £600-800 Accompanied by original purchase receipt from Belle Epoque Antique Dealers, Dublin, Ireland dated 21st January 2001 126. A green enamel heart-shaped brooch by Child & Child, c1905, of openwork design within green enamel decorated frame in gold, maker’s mark for Child & Child, 2.5cm high, fitted case by Child & Child £200-300

127. A pair of late Victorian stained ivory cufflinks by Child & Child, c1905, each terminal designed as a heart, collet set with a green stained ivory panel, conjoined by belcher links, signed with maker’s mark, 1.5cm high £800-1,200 After a design by the Pre-Raphaelite painter and jewellery designer Sir Edward Burne-Jones, the design was originally produced for the artist’s own use and re-issued commercially during the 1880’s. The design reflects Burne-Jones’ preference for stained ivory over more valuable gem stones and features his favoured decorative heart motif. Literature: Jonas, S & Nissenson, M Cufflinks. Harry N. Abrams (1999). P.21 and Gere, C. Artists Jewellery. Antique Collectors Club (1989). Literature: For a similar pair of cufflinks, see GERE, C., & MUNN, G., Pre-Raphaelite to Arts and Crafts Jewellery, p.151 128. An emerald and diamond five-stone ring by Child & Child, c1900, alternately-set with emerald-cut emeralds and cushion-shaped diamonds in yellow gold, maker's mark, size N ½ £800-1,200 Accompanied by original purchase receipt from D.S. Lavender Antiques, 26 Conduit Street dated 1 October 2002 129. A polychrome enamel bracelet by Child & Child, c1905, comprising alternating green figure of eight links set with orange stones and blue enamel ribbons in silver and gold, 20cm long, makers mark, in fitted case by Child & Child £600-800

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130. Two silver gilt and blue enamel butterfly brooched by Child & Child, c1905, the wings finely engraved with veins and decorated with shaded blue enamel, maker’s mark to reverse, 2.7 and 3cm wide £400-600 Literature: for a similar brooch see CARRUTHERS, C. & GREENSTED, M., Simplicity & Splendour, Arts & Crafts: Objects from the Cheltenham Collections, fig. 82 Accompanied by a copy of the purchase receipt from Sarah Groombridge, London dated 16th November 1999 131. A silver gilt and blue enamel butterfly brooch by Child & Child, c1905, the wings finely engraved with veins and decorated with shaded blue enamel, maker’s mark to reverse, 4cm wide £400-600 Literature: for a similar brooch see CARRUTHERS, C. & GREENSTED, M., Simplicity & Splendour, Arts & Crafts: Objects from the Cheltenham Collections, fig. 82 Accompanied by a copy of the purchase receipt from Sarah Groombridge, London dated 16th November 1999 132. A silver gilt and blue enamel butterfly brooch by Child & Child, c1905, the wings finely engraved with veins and decorated with shaded blue enamel, maker’s mark to reverse, 6.5cm wide £600-800 Literature: for a similar brooch see CARRUTHERS, C. & GREENSTED, M., Simplicity & Splendour, Arts & Crafts: Objects from the Cheltenham Collections, fig. 82 Accompanied by original purchase receipt from Sarah Groombridge, London dated 16th November 1999 133. A silver gilt and blue enamel butterfly brooch by Child & Child, c1905, the wings finely engraved with veins and decorated with shaded blue enamel (fine hairline cracks) the body set with demantoid garnets, maker’s mark to reverse, 6cm wide, fitted Child & Child case £1,500-2,000 Literature: for a similar brooch see CARRUTHERS, C. & GREENSTED, M., Simplicity & Splendour, Arts & Crafts: Objects from the Cheltenham Collections, fig. 82 Accompanied by original purchase receipt from Tadema Gallery dated 23rd December 1997

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RAMSDEN & CARR ‘Dr Shannon’s thirty-three lots by Omar Ramsden and Alwyn Carr span the early period of the twenty-year partnership to later works solely made by Ramsden in the 1930s. One of the earliest and most unusual pieces in Anne’s collection is the silver tabernacle pendant (lot 161) from 1905. Silver doors open to reveal three kneeling saints in coloured enamels. Carr is known to have carried out much of the enamel work during the early years of the partnership. The pendant bears similarities to the silver, enamel and amethyst Mermaid Pendant of 1905 in the Wilson Museum, Cheltenham, the design of both silver chains reflecting the influences of peasant sources. Medieval themes as exemplified in the silver figure playing a stringed instrument (lot 165) are also familiar in the art and jewellery of this period. In 1914 Ramsden and Carr held their Christmas Exhibition at St. Dunstan’s; the jewellery listed is made of gold, silver and platinum, but the stones are primarily semi-precious; a practice evident in Anne’s collection and distinctive to Arts and Crafts jewellery. It reflected the feeling amongst many that too great a display of diamonds and precious gems was ostentatious. Enamel, moonstone, chrysoprase, amethyst and carnelians were favoured for decorative effect. The ‘Anne’ bracelet (lot 166) is characteristic, using chrysoprase in gold, it exemplifies the height of the Arts and Crafts movement, when such jewellery was fashionable. My own researches into the personal lives of Ramsden and Carr led to meeting Anne and John Shannon. It was a most exciting day when they first showed me these fascinating pieces.’ Helen Ashton, Author of ‘In Search of Ramsden & Carr’

134. An Arts & Crafts silver pendant by Ramsden & Carr, of scrolling openwork design set with an oval green tourmaline cabochon with three elongated drops on a silver twisted link chain, London hallmarks for 1905, maker’s mark, pendant 4.5cm high, chain 50cm long £400-600 135. An Arts & Crafts silver pendant attributed to Ramsden & Carr, c1905, the wreath design centred with a pear-shaped mother of pearl and suspends three elongated silver drops on silver twisted-link £300-400 necklace, pendant 6cm high, chain 40cm long 136. An Arts & Crafts silver crucifix pendant by Omar Ramsden, London hallmarks for 1924, maker’s mark, pendant 5.5cm high, chain 54cm long £400-600 Accompanied by original purchase receipt from Sheldon Shapiro & Co. Ltd. dated 7th June 2003 137. An Arts & Crafts silver pendant by Alwyn Carr, c1920, of naturalistic design and set with a turquoise cabochon, suspending an elongated silver drop, on twisted link silver chain, maker’s mark to reverse, pendant 7cm, chain 42cm, case £400-600 Accompanied by original purchase receipt from Didier Antiques dated 20th November 1995 138. An Arts & Crafts silver gilt and enamel pendant by Omar Ramsden, the silver gilt figure on a horse and kneeling attendant in a quatrefoil surround with stylised waves to the border, on blue and red enamel ground, engraved to the reverse ELLEN MAYNARD LEWIS MAYORESS 1922-23 and OMAR RAMSDEN ME FECIT, on a silver gilt bead necklace (not attributed) pendant 4.5cm, chain 56cm long £800-1,200 139. An Edwardian Arts & Crafts silver spoon by Ramsden & Carr, London 1909, spot hammered figshaped bowl , the terminal with trailing pierced fruiting vines, 16.5cm long, 45g, together with a small silver circular gilt-lined pot by Ramsden & Carr, embossed with a Tudor rose to the detachable cover, with maker’s £200-300 mark and Birmingham marks for 1907, 2.3cm wide 140. An Arts & Crafts copper and silver circular brooch by Omar Ramsden, embossed to depict and anchor, the beaded surround bezel-set with three carnelian cabochons and bearing the motto DIEU TE GARDE meaning God Keep You, the reverse engraved ‘I was wrought for Joyce Pickering by command of Mabel Thomas June MCMXIX’ (1919) ‘Omar Ramsden Me Fecit’ 5.3cm diameter £400-600 141. An Arts & Crafts silver belt buckle by Ramsden & Carr, the shield-shaped centre section mounted with an enamel monogram E*C*R, linked to two Oblong embossed side sections each set with a rough turquoise, London hallmarks for 1901, maker’s mark to reverse of each component, 12.2cm wide, in original fitted box with plaque E*C*R Dec.11.1902 £800-1,200 Accompanied by original purchase receipt from Borsdorf Fine Art, Germany, dated 22nd January 2006

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142. An Arts and Crafts silver and enamel pendant by Ramsden & Carr, centred with a red enamel heart beneath a Tudor rose and within silver thistle border, on silver twisted link chain, engraved to reverse ‘A.M.B.L from E.E.A 21 VI 1905’, maker’s mark, pendant 5.8cm high, chain 48cm long £600-800 143. An Arts & Crafts silver pendant by Ramsden & Carr, c1905, the rectangular plaque with red enamel ground and decorated twisted floral motifs, suspending three elongated silver drops, on silver chain (possibly later), blue counter enamel, pendant 6.5cm long, chain 48cm long, Didier case £600-800 Accompanied by original purchase receipt from Van Den Bosch dated 9th June 1998 144. An Arts and Crafts silver and enamel pendant attributed to Ramsden & Carr, c1905, the dropshaped pendant with red enamel ground decorated with silver tendrils and a tudor rose, suspending three elongated silver drops, on silver twisted link chain, pendant 7cm, chain 44cm, case £600-800 145. An Arts & Crafts silver and enamel pendant attributed to Ramsden & Carr, c1905, the scroll design on red enamel ground suspending three elongated silver drops with moonstone finials, on a silver fetter£600-800 link chain, pendant 6.5cm high, chain 42cm long A similar example is illustrated: KARLIN,E.Z., Jewelry & Metalwork in the Arts & Crafts Tradition (1993), p32 146. An Arts & Crafts circular silver and enamel pendant attributed to Ramsden & Carr, c1905, the intertwining three leaf clovers surmounted on red enamel ground within silver wreath border set with garnet cabochons, suspending three elongated silver drops with garnet finials, 6cm high £600-800 147. An Arts & Crafts silver and enamel pendant attributed to Ramsden & Carr, c1905, the circular pendant with red enamel ground (cracked), decorated with tendrils and three flowerheads each set with a garnet cabochon, suspending three elongated silver drops, on twisted link silver chain, pendant 6cm high, chain 50cm long £600-800

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148. An Arts & Crafts silver pendant by Ramsden & Carr, the blue enamel inverted heart within silver scroll surround, suspending sphere drops, engraved to reverse St. Dunstan’s Studio May 16 1905, London hallmarks for 1904, maker’s mark, pendant 4.7cm long, 42cm long £800-1,200 Accompanied by original purchase receipt from Bonhams dated 1st November 2011 149. An Arts & Crafts silver and amethyst necklace, c1925, the pear-shaped amethyst set with within floral motif decorated plaques, suspending three heart shaped amethysts and an amethyst cabochon joined on fine-link silver chains suspending elongated silver drops, on fancy-link silver chain, possibly attributed to Ramsden & Carr, 42cm long, Didier case £600-800 Accompanied by original purchase receipt from Didier Antiques dated 17th November 2000 150. An Arts & Crafts silver wreath pendant, c1925, set with clusters of fire opals on silver chain, possibly attributed to Ramsden & Carr, pendant 5cm high, chain 60cm long £200-300 151. An Arts & Crafts silver necklace by Ramsden & Carr, designed as two intertwined silver sea monsters with a central green enamel plaque, on silver twisted-link chain and a shield-shaped silver and enamel back section, London hallmarks for 1904, maker’s mark (repeated on back section), pendant 3.8cm high, chain 44cm long £800-1,200 Accompanied by original purchase receipt from Woolley & Wallis dated 25th April 2002 152. An Arts & Crafts silver and enamel pendant by Ramsden & Carr, the naturalistic centrepiece decorated with blue enamel beneath floral motif with three silver spheres beneath, suspended from twisted silver links and a blue enamel and silver plaque, on twisted-link silver chain suspending two silver three dimensional shield-shaped sections, engraved to reverse ‘NOEL FROM ERNEST 23.XI.1904’, London hallmarks for 1904 and maker’s mark, pendant 9.5cm long, chain 46cm long £1,200-1,500 Accompanied by original purchase receipt from Dec. Arts of Chester dated 23rd August 2001 153. An Arts & Crafts silver and enamel pendant by Ramsden & Carr, the heart-shaped green plaque within silver scroll border suspending two silver spheres and an elongated silver drop, on twisted-link silver chain, London hallmarks for 1905, maker’s mark, pendant 7.5cm long, chain 45cm long, Didier case £800-1,200

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154. A pair of Arts & Crafts chrysoprase earrings attributed to Omar Ramsden, c1925, set with six graduated cabochons in silver beaded mounts, 6cm high, original fitted Omar Ramsden case £600-800 Accompanied by original purchase receipt from John Jesse dated 16th January 1997 155. An Arts & Crafts silver pendant attributed to Omar Ramsden, c1925, set with three carnelian cabochons in scrolling trefoil formation, suspending a kite-shape carnelian drop and two oval drops, on an oval-link silver chain with double back section, pendant 7.5cm long, chain 62cm long, original fitted Omar Ramsden case £600-800 Accompanied by original purchase receipt from Bonhams dated 16th May 2002 156. An Arts & Crafts gem-set gold pendant attributed to Omar Ramsden, c1925, set with zircons, hessonite garnets and sapphires in gold wirework surround, suspended from oval-link gold neck chain (one stone in chain missing), pendant 8cm long, chain 46cm long, original fitted Omar Ramsden case £1,000-1,500 Accompanied by original purchase receipt from Bonhams dated 7th June 2011 157. A pair of Arts & Crafts citrine earrings attributed to Omar Ramsden, c1925, of scroll chandelier design set with vari-shaped citrines in silver, later gold screw fittings, 5.5cm long, original fitted Omar Ramsden case £400-600 158. An Arts & Crafts chrysoprase pendant attributed to Omar Ramsden, c1925, the hexafoil cluster of chrysoprase cabochons set within silver wirework frame, with a cabochon chrysoprase set above, on finelink silver neck chain, pendant 5.7cm high, chain 50cm long £300-400 Accompanied by original purchase receipt from Bonhams dated 23rd November 2004

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159. An Arts & Crafts silver and enamel brooch by Ramsden & Carr, the circular plaque embossed in silver depicting a galleon in full sail sea-green enamelled waves and translucent blue enamel sky, engraved to reverse ‘GOOD LUCK 2nd SEPTEMBER 1924 WITH ALL WYNN’S LOVE, OMAR RAMSDEN ME FECIT’, 4.4cm wide, fitted case £1,000-1,500 Accompanied by original purchase receipt from Didier Antiques dated 8th June 2007 160. An Arts & Crafts silver and enamel pendant by Ramsden & Carr, the elongated plaque with central aperture mounted with a polychrome enamel plaque of a female saint in profile with golden halo, her hands raised in supplication, the silver frame with scrolling detail, the sides of the frame with silver sleeves to suspend the silver oval-link chain with silver cusp drops, enamel top section and curb-link necklace, polychrome counter enamel, London hallmarks for 1905, maker’s mark, pendant 11cm, chain 48cm long £1,000-1,500 Literature: for a similar pendant see CARRUTHERS, C. & GREENSTED, M., Simplicity & Splendour, Arts & Crafts: Objects from the Cheltenham Collections, fig. 90 Accompanied by original purchase receipt from Woolley & Wallis dated 29th April 2010 161. An Arts & Crafts silver tabernacle pendant by Ramsden & Carr, the rectangular silver plaque with double front door embossed with the figures of Medieval troubadours and hinged opening revealing a polychrome enamel plaque of three kneeling saints with golden haloes on blue enamel; the frame set with a kite-shaped peridot with an emerald-cut peridot below, suspending three silver sphere drops, on fancy silver wirework necklace, London hallmarks for 1905, maker’s mark, pendant 7cm high, chain 70cm long £1,000-1,500 Accompanied by original purchase receipt from Didier Antiques dated 5th June 2009 162. An Arts & Crafts silver and enamel pendant by Ramsden & Carr, the elongated pendant with central aperture mounted with a polychrome enamelled plaque of a kneeling figure in profile, her hands raised in supplication, with flowers and grass to the background, the sides of the frame with silver cylindrical sleeves to suspend an oval-link chain with elongated cusp drops, enamel upper section and fetter link necklace, London hallmarks for 1905, maker’s mark, pendant 11cm high, chain 47cm long, case £1,000-1,500 Literature: for a similar pendant see CARRUTHERS, C. & GREENSTED, M., Simplicity & Splendour, Arts & Crafts: Objects from the Cheltenham Collections, fig. 90 Accompanied by original purchase receipt from Tadema Gallery dated 6th November 1996 163. A gold ring by Omar Ramsden, centred with a half pearl within intertwined embossed seahorses, engraved to interior ‘14 July 1933’ and ‘OMAR RAMSDEN ME FECIT’, London hallmarks for 1933, maker’s mark, size M £1,500-2,000 Accompanied by original purchase receipt from Sotheby’s dated 18th December 2008 164. A lozenge-shaped white gold ring by Omar Ramsden, c1925, set with an emerald cabochon and two diamonds within white gold lozenge border held on the outstretched arms of two winged deities, their legs extending to form the architectural-style hoop with scroll embossed back, polished inner plate engraved ‘OMAR RAMSDEN ME FECIT’, size N £1,500-2,000 Accompanied by original purchase receipt from John Jesse dated 19th February 1997

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165. An Arts and Crafts Medieval-inspired pendant by Omar Ramsden, the silver kneeling maiden playing a stringed instrument against naturalistic backdrop, with a musical score set underneath, the reverse engraved with the inscription ‘I WAS WROUGHT BY COMMAND OF JOHN DE SEYFRIED FOR ALMA HIS WIFE A.D.MCMXXVIII (1928)’, signed ‘OMAR RAMSDEN ME FECIT’, pendant 7.7cm high, chain 81cm long, fitted Wartski case £3,000-5,000 Accompanied by original purchase receipt from Wartski dated 24th June 1997

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166. A gold bracelet by Omar Ramsden, composed of four uniform square plaques, each set with four conical chrysoprase cabochons in beaded borders, each plaque separated by a Gothic script letter spelling out the name ANNE, the clasp embossed with the head of a ram in fluted frame, London hallmarks for 1931, maker’s mark and engraved ‘OMAR RAMSDEN ME FECIT MCMXXXI’, 19.5cm long, 65.5g £2,000-3,000 Provenance: Originally made for Omar Ramsden’s wife, Anne Ramsden nee Downs Butcher

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167. A yellow gold necklace and earrings, the necklace formed with five graduated leaf-form links, textured to one side and polished to the other, and a pair of similar leaf-form gold earrings, the necklace 43cm £600-800 168. An Indian gem-set silver and gold pendant, the openwork closed crescent-form pendant is set with emeralds, rubies and rose-cut diamonds with a fringe of seed pearls, on a fine-link gold neck chain set with ruby and emerald beads and seed pearls, the pendant 4cm high, the chain 57cm £200-300 Accompanied by original purchase receipt from The Gem Palace, Jaipur dated 9th March 1998 169. Three similar yellow gold line bracelets, one with square-shaped sapphires separated with diamonds, another with rubies and diamonds and the other with emeralds and diamonds, each 19cm £600-800 170. An emerald and diamond pendant with matching three-stone ring, the pendant set with a pearshaped emerald set within a surround of round brilliant-cut diamonds and suspending from a tapered baguette-shaped diamond in yellow gold, with yellow gold box-link neck chain, 44cm, the ring with an ovalshaped emerald set with two round brilliant-cut diamonds in yellow gold, size S £400-600 171. An Edwardian diamond and cultured pearl set brooch, c1910, of pierced foliate form, centred with £300-400 a pearl and two larger old circular-cut terminal diamonds, set in platinum on gold, 5cm wide 172. A four-row cultured pearl necklace, the pearls measure approximately 5.0 - 5.5mm, with a natural pearl set centrepiece within a surround of two rows of old circular-cut diamonds in silver and gold, the diamonds weigh approximately 5.00cts, 43cm long, with additional pearls and a jewellery screwdriver, £1,500-2,000 case by Harvey & Gore Accompanied by original purchase receipt from Harvey & Gore dated 23rd October 1991 173. A diamond and cultured pearl set gold bracelet, formed as lines of small circular-cut diamonds within borders of slightly graduated cultured pearls and joined with three diamond-set figure of eight articulated gold links including the clasp, 20.5cm, with box £400-600 174. A diamond-set line bracelet, the round brilliant-cut diamonds are set in yellow gold claw mounts, the diamonds weigh approximately 7.00cts in total, 18.5cm £2,000-3,000 175. A pair of ruby and diamond stud earrings, the circular-cut rubies are set within a surround of small circular-cut diamonds in yellow gold £200-300 176. An amethyst five-stone half-hoop ring, the graduated oval-shaped amethysts are set in yellow gold £100-200 with rose-cut diamonds, size Q 177. A pair of diamond cluster earstuds, each stud centred with a circular-cut diamond within the surround of ten smaller circular-cut diamonds in white gold £200-300

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178. A horse themed brooch by Elizabeth Gage, the gold shield-shaped plaque with two symmetrical textured horses and scrolls, surmounted with a Romano-British bronze figure of a horse c200-300AD, set with a pear-shaped pink tourmaline and suspending a cultured pearl, signed with monogram, maker’s initials and GAGE, 18ct gold marks for London 1994, 8cm high, Elizabeth Gage box £1,500-2,000 Accompanied by original purchase receipt from Elizabeth Gage dated 17th December 1994 179. A three colour gold open bangle by Cartier, the striated bangle with diamond-set ‘C’ terminals, signed Cartier 750, 761597, model no. 60077326, 32g £1,000-1,500 Accompanied by original purchase receipt from Cartier dated 27th May 1992 180. A pair of 18ct yellow gold earrings by Elizabeth Gage, the pear-shaped plaques with granulated decoration within applied scrolling tendrils, signed with monogram, maker’s initials and GAGE, London marks for 1993, 3cm high, Elizabeth Gage box £600-800 Accompanied by original purchase receipt from Elizabeth Gage dated 18th September 1995 181. An 18ct yellow and white gold Templar ring by Elizabeth Gage, applied with knot motifs and each separated by a pair of round brilliant-cut diamonds, twisted rope borders, signed with monogram, maker’s initials and GAGE, size S (approximately), Elizabeth Gage box £400-600 Accompanied by original purchase receipt from Elizabeth Gage dated 21st October 2009 182. A diamond-set gold foliate ring by Schlumberger for Tiffany, the bifurcated yellow gold ring mounted with two white gold leaves each pavé-set with small diamonds, signed TIFFANY & CO., SCHLUMBERGER, 750, size I ½, with ring box marked for ‘Tiffany & Co., designed by Schlumberger’ £600-800 Accompanied by original purchase receipt from Tiffany & Co. dated 27th October 1996 183. An emerald and diamond-set yellow gold full circle eternity ring by Cartier, alternately set with rows of three round brilliant-cut diamonds and four square-shaped emeralds separated with fluted bars, size L, with Cartier box £400-600 184. A leaf-design pendant and cultured pearl necklace by Cartier, the pendant formed with ten carved green chalcedony stylised leaves within side borders of round brilliant-cut diamonds and suspending a cultured pearl tassel set with further diamonds, suspended from a cabochon sapphire and diamond-set circular link to the single row of cultured pearls, yellow and white gold mounts, signed Cartier, inventory no. B5664, further Cartier signature and 1990, white gold ball clasp, 47cm £800-1,200 Accompanied by original purchase receipt from Cartier dated 27th May 1992 185. An 18ct yellow gold open wide ring by Cartier, the falcon head terminals each set with a pearshaped emerald eye, London marks for 1989 and maker’s mark JC, inventory no. R7513 and 52, size approximately M, Cartier box £500-700 186. A three-colour gold ring with C terminals by Cartier, the striated ring with diamond-set terminals, signed Cartier and numbered B5539750, size N £300-400 187. A cultured pearl and gold bracelet by Tiffany, each link designed as three twisted rope collets each set with a pearl, 19.2cm (maximum), 60g £1,500-2,000 Accompanied by original purchase receipt from Tiffany & Co. dated 14th November 1992 188. A pair of diamond-set three-colour gold hoop earrings by Cartier, c1990, the triple hoops signed Cartier 750, numbered 785492 and model no.B8200 and with French control marks, 1.5cm wide £600-800 Accompanied by original purchase receipt from Cartier dated 27th May 1992

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189. An Egyptian Revival brooch and earrings, c1900, the faïence scarab between blue plique-à-jour enamel wings set with pearls, with matching stylised palmette plique-à-jour earrings, pendant 4.5cm high, earrings 3cm long (excluding silver hooks) £150-200 Accompanied by original purchase receipt from Linda Morgan, New York dated 22nd September 1997 190. A silver and tourmaline brooch by Murrle Bennett & Co, c1905, of abstract design and hammered silver effect and set with two oval-shaped green tourmaline, maker’s mark to reverse, 3.7cm wide £150-250 Accompanied by original purchase receipt from Woolley & Wallis dated 25th April 2002 191. A heart-shaped silver brooch by Edgar Simpson, c1903 embossed with a stylised tree set with two chrysoprase cabochons within ropetwist border, signed ES to reverse, 3.5cm wide £200-300 Illustrated: KARLIN,E.Z., Jewelry & Metalwork in the Arts & Crafts Tradition (1993), p92 Accompanied by original purchase receipt from Tadema Gallery dated 23rd December 1997 192. An Arts & Crafts silver brooch by Nelson Dawson, c1900, the centre enamelled with two-colour green heart and tendril motif in silver frame with embossed silver flowers, scratched ND to reverse, 3.5cm wide £200-300 Accompanied by original purchase receipt from Tadema Gallery dated 10th December 1997 193. An Arts & Crafts silver and gem-set brooch, c1900, possibly attributed to The Artificers Guild, set with a central blister pearl within foliate surround set with rubies and emeralds, 3.4cm wide, fitted case by Tadema Gallery £100-200 Accompanied by original purchase receipt from Tadema Gallery dated 24th August 2005 194. An Art Nouveau silver and enamel brooch, c1900, the nymph’s head set within blue plique-à-jour enamel flower surround, stamped 900 to reverse with a lyre, 3.3cm wide £200-300 Accompanied by original purchase receipt from Linda Morgan, New York dated 27th September 1997 195. An Arts & Crafts silver and gem-set ring and earrings, c1920, the navette-shaped ring set with two peridots and an amethyst within silver foliate surround, the conforming earrings each set with graduated amethysts, in silver, ring size T ½, earrings 5cm long £100-150 Accompanied by original purchase receipt from Tadema Gallery dated 10th December 1997. 196. A late 19th century gold enamel and diamond pendant, in the manner of Riker Bros, depicting flowers on green enamel with a winged nymph extending from the central tulip, set with diamonds and suspending a pearl, on fine-link gold neck chain set with a diamond, pendant 4.3cm long, chain 44cm long £400-600 197. A gold rose petal brooch, with pink guilloche enamel decoration to both sides, set with a circular old-cut diamond in a silver rub-over collet, obscure mark but possibly an Austrian import mark, 2.5cm wide £200-300 198. A silver, garnet and enamel ring by George Hunt, c1930, the silver dome decorated with a circular-cut garnet within graduated blue and black enamel border, millegrain border in silver, maker’s mark, size S ½, case £150-250 Accompanied by original purchase receipt from Van Den Bosch dated 18th February 1998 199. An opal three stone ring, possibly attributed to Edward Spencer, c1905, mounted with three oval opals in gold vine tendrils and grape cluster frame, size M £400-600 Accompanied by original purchase receipt from Tadema Gallery dated 20th November 1998

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200. A naturalistic gold pendant, by The Artificer’s Guild, c1905, the centrepiece set with an oval opal in a frame of pearls, emeralds and garnets with matching gem-set pear-shaped drops in a stylised vine leaf surround with emerald trefoil suspension in gold, on modern gold chain, pendant 7cm high, chain 54cm long £800-1,200 Literature: The Artificer’s Guild Archive; in the collection of Goldsmiths’ Hall where a detailed drawing is annotated Accompanied by original purchase receipt from Tadema Gallery dated 21st November 1997 201. An Arts & Crafts silver and enamel pendant, c1900, mounted with an elongated plaque depicting a maiden seated on the shoreline, within foliate silver surround decorated with moonstones, on plain silver chain, pendant 4.1cm long, chain 42cm long £400-600 Accompanied by original purchase receipt from Sheldon Shapiro & Co. Ltd. dated 9th June 1999 202. An Arts & Crafts silver necklace attributed to Arthur and Georgie Gaskin, c1900, the rectangular silver plaque set with an oval blister pearl within foliate border set with rectangular chrysoprase and small pearls, suspending a blister pearl drop on a fine-link chain separated with similar silver foliate plaques and £600-800 clasp, pendant 6cm long, chain 42cm long Accompanied by original purchase receipt from Sheldon Shapiro & Co. Ltd. dated 20th May 2001 203. An Arts & Crafts silver necklace in the manner of Bernard Instone, c1920, the silver wirework necklace interspaced with four navette-shaped sections, each set with oval-shaped citrines in foliate silver frames, suspending a conforming drop-shaped pendant set with three oval-shaped citrines, pendant 5.7cm long, chain 66cm long £400-600 Accompanied by original purchase receipt from Victor Arwas Gallery dated 11th January 2003 204. An Arts & Crafts silver brooch by Arthur and Georgie Gaskin, set with an oval moonstone cabochon within foliate surround set with further moonstones and pearls and suspending a matching moonstone drop in silver, signed with monogram to reverse, 6.2cm high £600-800 A similar example is illustrated: KARLIN,E.Z., Jewelry & Metalwork in the Arts & Crafts Tradition (1993), p65

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205. A silver and enamel pendant attributed to Jessie M King, for Liberty, c1900, enamelled in blue and green on an embossed frame, decorated with flowerheads and similarly enamelled quatrefoil finials, with a baroque pearl drop, green counter enamel, on fine-link silver chain, pendant 6.5cm wide, chain 43cm long £400-600 Literature: for a similar pendant, see ARWAS, V., Art Nouveau in Britain: From Mackintosh to Liberty, The Birth of a Style, p.22 A similar example is illustrated: KARLIN,E.Z., Jewelry & Metalwork in the Arts & Crafts Tradition (1993), p140 Accompanied by original purchase receipt from Didier Antiques dated 9th June 1998 206. A gold and gem-set necklace, designed by Archibald Knox for Liberty & Co, c1900, designed as a series of three gold polised openwork sections studded with turquoise matrix cabochons on a gold chain necklace interspaced with eight baroque pearls, 47cm long £800-1,200 Literature: Liberty Jewellery Sketchbook, p 207, model no. 8008. Accompanied by original purchase receipt from Tadema Gallery dated 1st September 207. A gold brooch designed by Archibald Knox for Liberty & Co, c1900, of polished strapwork form set with sapphires and diamonds, 3.8cm wide £600-900 Literature: Liberty Jewellery Sketchbook p6 no 1153 A similar example is illustrated: MARTIN, S. A., Archibald Knox, (1995), p126 Accompanied by original purchase receipt from Tadema Gallery dated 23rd December 1997 208. An Arts & Crafts pearl and gold ring, attributed to Henry Wilson, c1900, designed as a kneeling angelic figure above two pearls with seed pearls and entwined openwork gold shoulders on reeded gold hoop, size S £1,200-1,500 Literature: Volume of Wilson’s own jewellery design (V&A Dept of Prints & Drawings E669) A similar example is illustrated: KARLIN,E.Z., Jewelry & Metalwork in the Arts & Crafts Tradition (1993), p102 Accompanied by original purchase receipt from Tadema Gallery dated 11th June 2008 209. A silver and enamel necklace and pendant attributed to Henry Wilson, c1900, the necklace composed of a series of part-enamelled and part-rope pattern oval beads, with a modern bolt-ring clasp, suspending an enamel locket pendant decorated to both sides with floral sprays on blue enamelled fields within green enamel border decorated with chequerboard motifs, set with emerald and ruby cabochons, chain 64cm long, pendant 4.5cm high £1,000-1,500 Illustrated: KARLIN,E.Z., Jewelry & Metalwork in the Arts & Crafts Tradition (1993), p101 Accompanied by original purchase receipt from John Jesse dated 11th December 1997

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DORRIE NOSSITER

210. An Arts & Crafts silver brooch attributed to Dorrie Nossiter, c1930, set with a cluster of moonstones, native-cut sapphires, zircons and pearls with matching polished bead fringe, openwork silver frame and clip, 7.2cm high, fitted Dorrie Nossiter case £800-1,200 Accompanied by original purchase receipt from Tadema Gallery dated 7th December 2005 211. An Arts & Crafts silver gem-set brooch attributed to Dorrie Nossiter, c1930, set with a central heart-shaped aquamarine weighing approximately 8.00cts, set beneath a diamond-set bow within border of zircons, emeralds, amethysts and pearls, with a kite-shaped aquamarine and a fringe of cultured pearls, 5.5cm high £800-1,200 212. A pair of silver, blue zircon and ruby cluster ear studs attributed to Dorrie Nossiter, c1930, each £600-800 set with seven blue zircons and six rubies in silver, 2.1cm wide, fitted case Literature: Schiffer N.N., Silver Jewelry Designs, (1996), p101 A similar example is illustrated: KARLIN,E.Z., Jewelry & Metalwork in the Arts & Crafts Tradition (1993), p85 Accompanied by original purchase receipt from Tadema Gallery dated 18th February 2006 213. An Arts & Crafts three row green calcite bead necklace attributed to Dorrie Nossiter, c1930, the silver clasp set with two oval jade cabochons in scrolling frame with pear-shaped jade cabochons, pale blue zircons and blister pearls, 67cm long £200-300

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214. An Arts & Crafts Scottish gold pendant by James Cromar Watt, c1905, decorated with blue and iridescent white enamel with a stylized thistle set with an amethyst cabochon, on fancy-link neck chain, signed to reverse with initials, pendant 7cm long, chain 42cm long, fitted case by Tadema £1,000-1,500 Accompanied by original purchase receipt from Tadema Gallery dated 11th September 1999 215. An Arts & Crafts silver enamel and turquoise brooch attributed to C.R.Ashbee for The Guild of Handicraft, c1900, the four petal flower decorated with translucent blue enamel set with a central turquoise cabochon matrix in beaded border, suspending three lines of silver chain with turquoise finials, silver tendril decoration, 7.2cm high £800-1,200 For a similar brooch, see The Studio, Issue 18 (1899): 124 For a similar pendant see ARWAS, V., Art Nouveau in Britain: From Mackintosh to Liberty, The Birth of a Style, p.147 Accompanied by original purchase receipt from Tadema Gallery dated 10th December 1997 216. A silver and enamel gem-set pendant by George Hunt, c1933, the centrepiece decorated with polychrome enamel depicting a pannier of flowers on blue enamel ground within pierced silver foliate frame decorated with yellow enamel and moonstones, a further border of seed pearls and suspending three moonstone cabochons, on silver fetter-link chain, signed to reverse, pendant 6cm, chain 60cm, fitted case by Tadema £1,000-2,000 For a similar piece by George Hunt, see George Edwards Hunt, The Silent World of an Arts & Crafts Jeweller: A Touring Exhibition, November – December 2006 (Bonhams, 2006), p.34, fig. 69 Literature: The Antique Collector, (February, 1990), p54-58 Illustrated: Britain Between The Wars 1918-1939: Microcosm Of An Age, The Fine Art Society, (2004), p72 cat no 94 Accompanied by original purchase receipt from Tadema Gallery dated 18th November 2006 217. An Arts & Crafts rectangular silver and enamel brooch attributed to Ernestine Mills, c1910, depicting a pair of swooping swallows on a purple and blue enamel ground, 6.4cm high £300-400 Accompanied by original purchase receipt from Didier Antiques, London dated 20th October 2000

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218. ‘Guepes’ no.1650, a Lalique black glass pendant designed by René Lalique, the moulded glass depicting stylised wasps bearing two apertures for the black silk cord, engraved R Lalique to reverse, the pendant 5.6cm long £600-800 Accompanied by original purchase receipt from Tadema Gallery dated 13th June 2008 219. An Art Nouveau opal and enamel ring by René Lalique, c1900, the solid white opal cabochon set within yellow gold rubover setting above an inner hoop decorated with twin opalescent white enamel flowerheads, signed LALIQUE, with French control marks, size M £1,500-2,000 Accompanied by original purchase receipt from Epoque Fine Jewels, Belgium dated 14th November 2003 220. An Art Nouveau rectangular enamel plaque brooch, c1900, depicting three flowerheads in opalescent enamel on green plique-à-jour enamel ground, within rectangular frame (later) signed LALIQUE but not attributed, 5cm wide £1,000-1,500 Accompanied by original purchase receipt from S.J. Shrubsole, New York dated 23rd November 2004

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221. An Art Nouveau gem-set enamel gold brooch, c1900, centred with a navetteshaped white opal cabochon within intricately decorated floral surround including white enamel jasmine and intertwining enamel serpents grasping a diamond between their two jaws, their bodies decorated with pink enamel and suspending a diamond and baroque pearl drop in yellow gold, 5.5cm high £1,000-1,500 A similar brooch by Louis Zorra is illustrated: KARLIN,E.Z., MARKOWITZ, Y., Imperishable Beauty (2008), p68 Accompanied by original purchase receipt from A. Aardewerk, Netherlands dated 2nd April 2008 222. An Art Nouveau French gold brooch by Louis Aucoc, c1900, the design by Edmund Henri Becker, the central gold panel embossed with putti within an arched platinum frame set with rose-cut diamonds and decorated with pink enamelled flowers and green enamelled leaves, maker’s lozenge and French control marks, 5.5cm wide £2,000-3,000 Illustrated: KARLIN,E.Z., MARKOWITZ, Y., Imperishable Beauty (2008), p127 Accompanied by original purchase receipt from John Joseph (John’s Antiques) dated 10th June 2007 223. An Art Nouveau gold brooch attributed to Jean Baptiste Emile Dropsy, c1895, embossed with a maiden amongst irises, her hair decorated with diamonds, signed, 2.5cm wide, with a similar Art Nouveau silver brooch by Jean Baptiste Emile Dropsy, embossed with a maiden amongst flowers, signed, 2.5cm wide £300-400

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224. A Gothic Revival gold brooch in the manner of John Hardman & Co, the design in the manner of A. W. N. Pugin, c1860, of hexafoil shape with enamelled fleur-de-lys to the centre, in a finely engraved gold frame within a lobed border set with six green tourmaline cabochons, plain domed polished back and hinged pendant loop, 3.5cm wide, case £800-1,200 Literature: A similar brooch is illustrated in MUNN.G, GERE.C., Artists’ Jewellery, Pre-Raphaelite to Arts & Crafts, p.91 Accompanied by original purchase receipt from Tadema Gallery dated 21st November 1998 225. A Gothic Revival silver brooch pendant attributed to John Hardman & Co, the design in the manner of William Burges, c1875, of cruciform design and decorated with white and cream enamel (some repair to enamel) Tudor Rose motifs set with green tourmaline cabochons within laurel branches and an embossed floral centrepiece, 4.2cm wide £1,500-2,000 Literature: GERE.C., European and American Jewellery 1830-1914 p158, plate 152 Accompanied by original purchase receipt from Tadema Gallery dated 17th November 1999 226. An Arts & Crafts silver and gem-set necklace attributed to Edward Spencer and John Houghton Maurice Bonnor, for The Artificer’s Guild, c1900, the series of open work roundels with irregular rock crystal drops, suspended below a silver multi-gem-set pendant, the centre embossed in gold with the design of a figure crouching and holding a bow, necklace 38cm long, pendant 6.5cm long £600-800 Illustrated KARLINE, E.Z., Jewellery & Metalwork in the Arts & Crafts Tradition (1993), p95 Accompanied by original purchase receipt from Didier Antiques 25th February 1998 227. A silver brooch by John Paul Cooper, c1906, the oval turquoise cabochon set within two woodland birds, their beaks touching, with embossed leaves below, signed with monogram to reverse, 3.5cm high £200-300 Illustrated: J P Cooper Drawings, p55; 4/11/1906 Illustrated: KARLIN,E.Z., Jewelry & Metalwork in the Arts & Crafts Tradition (1993), p95 Accompanied by original purchase receipt from Tadema Gallery dated 23rd December 1997 228. A gem-set gold and enamel pendant attributed to John Paul Cooper, c1908, designed as a cluster of green enamelled flowerheads with beaded decoration, set below a pink ruby cabochon within a cluster of chrysoprase, yellow agates and rubies in ropetwist surround and suspending a turquoise matrix, on £800-1,200 modern fine-link gold chain, pendant 7cm long, chain 46cm long Literature: GERE.C., European & American Jewelry 1830 - 1914, III p 167 Accompanied by original purchase receipt from Tadema Gallery dated 23rd December 1997

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229. A long Swiss enamelled gold fancy link necklace, c1825, the oval-shaped links with two sections of white, blue and gold enamel foliate decoration and each spaced with a stylised Tudor rose link, 106cm £1,000-1,500 Accompanied by original purchase receipt from Anthea A.G. Antiques Ltd. dated 21st September 2007 230. A French gold dragon brooch pendant, c1900, of stylised form, perched on a platinum bar set with rose-cut diamonds and clutching a diamond in it’s jaws, a pearl set below, French control marks, detachable brooch fitting, 4.3cm wide £800-1,200 Accompanied by original purchase receipt from John Joseph (John’s Antiques) dated 2nd November 2006 231. An early 19th century turquoise-set gold mesh bracelet, c1825, the fine expanding mesh bracelet with heart-shaped clasp set with turquoise cabochons and with foliate cannetille decoration, the conforming terminals set with further turquoise cabochons, 18.5cm, fitted case £600-800 232. A French gold late 19th century gem-set bracelet, c1895, the openwork lozenge-shaped foliate links are alternately set with circular-cut rubies and diamonds, French control marks to the tongue, 19.5cm long, case by Aardewerk £1,000-1,500 Accompanied by original purchase receipt from A. Aardewerk, Belgium dated 2nd April 2008 233. A Victorian seed pearl-set yellow gold hinged bangle, set with a centre line of seed pearls within a border of smaller seed pearls, with vacant glazed locket compartment to the centre reverse, engraved to the interior ‘GIVEN BY HRH THE PRINCESS OF WALES 26 APRIL 77’, case by Garrard £400-600 Alexandra of Denmark was Princess of Wales from 1863-1901, the longest anyone has ever held that title. On the death of Queen Victoria in 1901, her husband Albert Edward became King Emperor Edward VII and Alexandra became Queen Empress. She was generally popular and known for greatly distrusting her nephew, German Emperor Wilhelm II 234. A late Victorian half-pearl mounted half hoop ring, five graduated half-pearls are set in gold, size Q, box by Didier £200-300

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235. A Victorian gold snake stick pin, c1880, the textured snake is coiled around a cushion-shaped diamond, 7.5cm high

£80-120

236. An enamel and gem-set gold portrait pendant, c1890, centred with an enamel oval plaque depicting the profile of a lady in the Renaissance-manner, signed with initials AG for Alfred Jean Garnier, within a shaped polychrome plique-à-jour enamel border, and with four old circular-cut diamonds suspending a natural pearl and smaller diamond, the frame signed AB & M £600-800 Alfred Jean Garnier (1848-1908) was a French enameller and pupil and collaborator of Paul Grandhomme, several of his works are exhibited at the Musée d’Orsay Accompanied by original purchase receipt from Didier Antiques dated 14th November 2003 237. A finely worked 19th century gold brooch in the style of Castellani, c1890, centred with a twisted rope design cruciform section set with five small pearls and with enamel decoration within further borders of red enamel within rope twist borders and within a surround of small turquoise cabochons (some missing), the reverse engraved ‘SOUVENIR VLSB JUNE 11/91’, 3.8cm wide, case by S.J. Phillips £600-800 Accompanied by original purchase receipt from S.J. Phillips Ltd. dated 4th July 2008 238. A gem-set gold portrait pendant mounted with an enamel Limoges-style portrait plaque on copper, c1890, by Robert Phillips of Cockspur Street, depicting the profile of a 16th century nobleman wearing a hat with enseigne and flowing red scarf, painted with the name Iohanes, probably the sitter, with blue enamel border and ornate openwork frame in the Renaissance-style and set with cabochon sapphires, pearls and rose-cut diamonds with black and white enamel openwork surround, the suspension loop in the form of a fleur-de-lys with conforming black and white enamel decoration and mounted to the reverse with a lozenge containing the Phillips of Cockspur Street trefoil mark. the pendant 6cm high (maximum), case by Hancocks. £1,000-2,000 The portrait miniature signed to the reverse A. Meyer who was strongly associated with the Limoges Revival and in fact claimed to have initiated it. Although he apparently produced enamels for more than one jewellery house, it is rare for a piece to combine his signature and the jewellery as in this piece. The glazed locket compartment to the reverse of the pendant removes to reveal Meyer’s signature. Alfred Meyer (1832-1904) worked with many of the finest Parisian jewellers of his time including Emile Froment-Meurice, Lucien Falize and Maison Vever. Another example of Alfred Meyer’s enamel work mounted by Robert Phillips in a gold and enamel frame exists with the subject of a reclining female nude in the Renaissance-style. Accompanied by original purchase receipt from T.Robert, Cromer dated 28th November 2004 239. A 19th century miniature portrait brooch by Tiffany, with a glazed painting of a lady in the 18th century-style, two colour gold foliate frame and £600-800 set with gemstones, engraved to the reverse ‘JR VAN A and JHAT OCTOBER 18TH 1887’, frame signed Tiffany & Co., 2cm wide 240. A facsimile of the Investiture Ring for the Prince of Wales, designed by Sir William Goscombe John in 1911, set with an amethyst cabochon clutched by two intertwined dragons in gold, size M, fitted case by Garrard £600-800 Presented to Sir William Goscombe John by Prince Edward, later King Edward VII, in thanks for his work designing his investiture regalia. The original Investiture ring, chaplet, verge and sword, are all on permanent loan to the National Museum of Wales. Provenance: the Estate of Sir William Goscombe John Illustrated in Goscombe John at The National Museum of Wales, (National Museum of Wales: 1979), pp. 45-6 GERE. C.F. & CULME. J., Garrard: Crown Jewellers for 150 Years, (Quartet: 1993), pp.136-7 Accompanied by original purchase receipt from Didier Antiques, London dated 21st November 1998 241. A gold, silvergilt and silver foliate brooch attributed to Fannière Frères, c1870, centred with a silver floral swag on plain gold ground within a shaped border with enamel decoration, lattice frame to the mount, the pin hoop stamped with an unidentified mark but probably a French manufacturing mark, 7cm wide, fitted case by Lavender £600-800 Literature: For similar brooch by Fannière Frères see VEVER, H., La Bijouterie Francais au XIXe siecle (1800-1900), volume II, Le Second Empire 1850-1870, page 201 Accompanied by original purchase receipt from D.S. Lavender Antiques, London dated 1st September 2000 242. An Italian micromosaic brooch with gold frame, c1880, depicting a dove in flight, carrying an olive branch and the words beneath ‘PAX’, fine twisted rope border, the pin with the mitre mark with cross above cross keys, 3.5cm widest £600-800 243. A coral-mounted gold pendant by Robert Phillips, c1870, the oval-shaped coral cabochon is mounted within concentric rows of fine wirework decoration, the conforming gold pendant loop mounted with the Phillips’ maker’s mark of a fleur-de-lys incorporating inverted Ps, locket compartment to reverse, 5cm high £600-800 Accompanied by original purchase receipt from Wimpole Antiques dated 3rd March 2006 244. A 19th century silver-gilt Medieval Revivalist ring, c1890, designed as a recumbent Crusader in armour with carnelian shield and £200-300 assorted arms, size N Accompanied by original purchase receipt from Tadema Gallery dated 12th March 1992 245. A gold circular Revivalist pendant by John Brogden, c1870, of circular form with a half-pearl star set circular coral cabochon within a £600-800 pellet border on matted ground and twisted rope design surround, conforming pendant loop, signed JB, 2.3cm wide Accompanied by original purchase receipt from Massada Antiques Ltd. dated 10th June 1998 246. A pair of 19th century Italian micromosaic drop earrings, c1870, the Revival earrings each centred with a micromosaic oval plaque depicting a beetle within fine twisted rope design borders, suspended from circular discs and three baton-shaped pendants below, with Papal £600-800 mitre and cross keys mark, obscure maker’s mark and two French control marks Accompanied by original purchase receipt from Trianon Antiques dated 3rd September 1998

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247. An Edwardian natural pearl and diamond-set necklace, the oval-shaped pearl suspends form a scroll surround of graduated circular-cut diamonds and a line of four articulated and graduated diamonds from the scroll and knife-edge upper sections all in silver and gold with a fine-link neck chain, 47cm, fitted case £1,000-1,500 Accompanied by report number 78178-17 dated 31st July 2018 from GCS, London stating that the light grey pearl measures 10.2 x 8.6 x 6.4mm approx. and is natural saltwater 248. A Late Victorian cultured pearl and diamond set gold hinged bangle, internal diameter 6.5cm. Cased by Watherston £200-300 Accompanied by original purchase receipt from Richard Ogden Ltd. dated 5th February 1990 249. A lozenge-shaped pendant by Fabergé, centred with a lozenge-shaped ruby on white guilloche enamel ground within a border of millegrain-set rose-cut diamonds, the suspension ring marked AT for workmaster Alfred Thielmann, 56 Zolotnik and a Kokoshnik, scratched inventory no. 84263, fine link platinum neck chain, the pendant 2.9cm high, the chain 426cm long £1,500-2,000 250. An Art Nouveau gold miniature egg pendant by Fabergé, applied with scrolling foliate decoration and three small sapphire stylised flowerheads, suspension ring marked 56 and КФ, 1.8cm high including suspension hoop £800-1,200 Accompanied by original purchase receipt from Asprey & Co, London dated 20th June 1986 251. An Edwardian natural pearl and diamond pendant with neck chain, the pearl is millegrain-set within a surround of circular-cut diamonds, with a platinum fine-link neck chain set with seed pearls, the chain 44cm £400-600 Accompanied by report number 78170-16 dated 31st July 2018 from GCS, London stating that the pearl measures 9.9 x 10.1 x 5.4mm approx. and is natural saltwater 252. A diamond and natural pearl-set shell-form brooch pendant, c1860, set with graduated circularcut diamonds overall in silver and gold and centred with an aubergine-coloured pearl, detachable gold brooch fitting and detachable pendant fitting with graduated diamonds to the pendant loop £2,000-3,000 Accompanied by report number 78170-15 dated 31st July 2018 from GCS, London stating that the grey pearl measures 10.8 x 9.0 x 6.6mm approx. and is natural saltwater Accompanied by original purchase receipt from John Joseph (John’s Antiques) dated 2nd November 2006 253. A pair of Victorian amethyst and diamond hinged bangles, each centred with a circular-cut amethyst within rows of graduated rose-cut diamonds in silver and gold, each with fitted case by S.J. Phillips £1,000-1,500 Accompanied by original purchase receipt from S.J. Phillips Ltd. dated 5th February 1990

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254. An early 20th century jade and diamond pendant, c1925, the tapered rectangular jade plaque pierced and carved with a bird and vine, suspending from a platinum pagoda-form pendant set with graduated circular-cut diamonds and suspending two further diamonds to each shoulder, on a fine-link platinum neck chain, the pendant 5.5cm high, the neck chain 44cm £2,000-3,000 Accompanied by original purchase receipt from John Joseph (John’s Antiques) dated 8th June 2001 255. An Art Deco style jade pendant, c1925, the oval-shaped plaque is pierced and carved with foliate decoration and mounted with two coral bars, set with small diamonds and black enamel and black onyx highlights, 6cm high, fitted case £800-1,200 256. An Art Deco platinum jabot pin by Lacloche Frères, c1925, the seated red glass Buddha playing a musical instrument beneath a halo-like pierced circular section millegrain-set with rose-cut diamonds, diamond-set fleur-de-lys section below and the detachable pin terminal with further rose-cut diamonds, with two French control marks and the Lacloche Chinese-style signature, 6.2cm, fitted case £1,500-2,000 Accompanied by original purchase receipt from Anthea A.G. Antiques Ltd dated 10th October 2002 257. A graduated opal bead necklace, the fifty-four beads graduate from 4.2 - 13.7mm, silver extension chain and clasp, with separate navette-shaped clasp set with three small diamonds, 51cm £800-1,200 Accompanied by original purchase receipt from Woolley & Wallis dated 19th April 2013 258. A pair of diamond, seed pearl and jade drop earrings, suspending from diamond-set white gold caps and a line of alternately-set circular-cut diamonds and seed pearls and with a black onyx bead top, 5cm high £200-300 259. An Art Deco gem-set open foliate bar brooch, c1925, centred with a sugarloaf emerald and millegrain-set with small circular-cut diamonds, cabochon sapphires and further emeralds, in platinum, the rectangular frame with black enamel decoration and with two square-shaped diamonds to each terminal, white gold pin, stamped with multiple marks including French control marks and initials ST, 5.5cm wide £2,000-3,000 Accompanied by original purchase receipt from A. Aardewerk, Belgium dated 2nd April 2008 260. An Art Deco coral ring, c1925, mounted with an oval-shaped coral cabochon in platinum with a border of triangular black onyx sections each separated with a small diamond, and fluted shank, unidentified obscure marks, size M £600-800 Accompanied by original purchase receipt from Matthew Foster dated 21st November 2009 261. A pair of Art Deco coral and diamond drop earrings, c1925, the drop-shaped corals suspend from a V section of small diamonds and a further diamond separating the two pairs of black enamel bars, in platinum, 5cm high £800-1,200 262. An opal-set ring, the oval-shaped solid black opal is set in white gold with scroll engraved shoulders, size Q ½, Tessier box £600-800

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263. An 18th century silver pectoral cross pendant, c1720-1750, probably Dutch or Flemish, mounted in silver and set with table-cut diamonds and suspended from a conforming diamond-set loop, 8.1cm high, fitted case by Harvey & Gore £400-600 Accompanied by original purchase receipt from Harvey & Gore dated 18th March 2002 264. A late George III flat garnet-set gold necklace with matching brooch and earrings, c1780, the necklace centred with three greaduated stylised pansies and further groups of three graduated pear-shaped and circular garnet links, the cruciform pendant set with graduated, circular and pear-shaped garnets, a pair of garnet-set drop earrings each set with a marquise-shaped circular-cut and pear-shaped garnets, fitted case by Lavender, and with an additional late George III flat garnet-set gold foliate brooch, with textured gold stems, case by S.J. Phillips, the necklace 48cm, the pendant 4cm, the earrings 4cm and the additional brooch 3.5cm high, closed back gold mounts £1,000-1,500 Accompanied by original purchase receipt from D.S. Lavender (Antiques) Ltd. dated 18th June 2004 265. A late Roman Empire-style garnet and gold ring, the oval cabochon garnet is set in a twisted rope mount between two shoulder pellets and double laurel border to the shank, size Q ½ £400-600 266. A pair of late Roman Empire-style gold earrings, of circular disc design centred with a circular cabochon garnet supporting a heart-shaped gold disc set with a lobed heart-shaped cabochon garnet, hinged wire hoop to the upper section, 5.5cm high £400-600 Provenance: Marc Rosenberg, Berlin. Collection: G F Reder, Lausanne, acquired from Herman Ball-Paul, Graupe Auction, 4 November 1929, Lot 56 267. An early 19th century citrine-mounted gold cannetille girondole-style demi-parure, c1825, the brooch centred with an oval-shaped citrine and suspending three detachable pendeloque citrines, and a pair of conforming citrine and yellow gold cannetille drop earrings, each suspending three oval-shaped £2,000-3,000 citrines, the brooch 3.5cm wide, the earrings 7.5cm long, original fitted case Accompanied by original purchase receipt from Beverley R. dated 14th December 2004

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268. A carved hardstone cameo pendant in gold and enamel Revivalist frame by Froment-Meurice, c1870, the cameo depicting a female profile with hair tied up and within a white pellet border, in Neo-Renaissance openwork gold scroll frame set with small diamonds and blue enamel decoration, suspending a drop-shaped natural pearl, French control mark and obscure maker’s lozenze, possibly for Froment-Meurice, the conforming suspension loop and frame can be removed by the withdrawal of a baton, 6.5cm high (maximum), with original fitted case by Froment-Meurice, marked for 372 rue St Honoré which the firm occupied from 1856 through until the last decade of the century, the leather embossed with initials M.P., a sliding panel reveals a small compartment which probably originally contained a brooch fitting £800-1,200 Accompanied by original purchase receipt from Lydia Courteille Bijoux Anciens, Paris dated 3rd October 1998 269. A gold fob watch by Froment-Meurice, c1890, the dial decorated with blue and white concentric enamel and gold pellet decoration, the hands set with rose-cut diamonds, the two-colour gold bezel set with leaf decoration, the case-back decorated with a cherub carrying a sythe to represent time passing, turquoise and diamond decoration, signed and numbered 400 10, French control marks, 4.6cm high £600-800 Accompanied by original purchase receipt from Triannon Antiques, London dated 3rd September 1998 270. A silver and gold Gothic Revival necklace attributed to Froment-Meurice, c1850, the links formed from silver scrolls and gold cruciforms decorated with blue enamel, later gold clasp, French control marks, 39cm long £400-600 A similar example is illustrated in VEVER, H., Le Bijouterie Francaise au XIXe siècle (1800-1900) Vol I Consulat, Empire, Restauration, Louis-Philippe, p. 178 Accompanied by original purchase receipt from AR’THEM Louvre des Antiquaries, Paris dated 3rd October 1998 271. A gold Renaissance Revival bracelet attributed to Froment-Meurice, c1850, composed of doublescrolling heart-shaped sections with polished bead links, French control mark, 20cm long, 59g £1,000-1,500 Accompanied by original purchase receipt from Didier Antiques, London dated 25th February 1998 272. A mid 19th century silver and enamel Renaissance Revival brooch by Froment-Meurice, designed as a standing figure ‘Harmonie’ playing a cello flanked by two cherubs, the silver frame decorated with green guilloche enamel leaves, scrolls and birds of paradise, pearl finials and pendant drops, rubbed signature to reverse, French control marks, original fitted case £800-1,200 For a similar brooch see VEVER, H., Le Bijouterie Francaise au XIXe siècle (1800-1900) Vol I - Consulat, Empire, Restauration, Louis-Philippe, p. 158 Accompanied by original purchase receipt from Didier Antiques, London dated 17th June 1999 273. A silver and silver-gilt Renaissance Revival bracelet by Froment-Meurice, c1850, the central section designed as an oval plaque embossed with the figure of a maiden playing a lute, in an elaborate frame decorated with two figures holding either a hawk or a mirror with an angel above, profusely decorated with birds midst scrolls, coiling branches and the heads of angels on scrolling baton spacer bars, signed, 18.1cm long £1,000-1,500 Accompanied by original purchase receipt from Sheldon Shapiro & Co. Ltd, dated 23rd March 2001

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274. A gold ring by Castellani, c1865, the plain oval head engraved with a dancing girl, signed to the reverse with inverted Cs cartouche, size T, case £600-800 Provenance: Christie’s ‘Important Jewellery’, 6th December 2006, lot 148 Accompanied by original purchase receipt from Christie’s, King Street dated 6 December 2006 275. A gem-set gold Revivalist brooch by Castellani, c1865, the cruciform centre section set with rosecut diamonds and ruby within a Gothic inspired circular surround, each quarter with foliate pierced decoration, engraved to the reverse and signed with inverted Cs, 3.6cm wide, case by Harvey & Gore £800-1,200 Accompanied by original purchase receipt from Sue Brown Antique Jewellery, 1-7 Davies Mews London dated 25th February 1999 276. A gold portrait plaque bracelet by Castellani, c1860, six plaques chased with the profile of celebrated Medieval and later philosophers, artists, scientists, etc., one plaque with an owl to one side representing wisdom, the symbol of Athena, and the inverted Cs signature of Castellani, all with black enamel borders and joined with chain and vertical baton spacer bars, simple double-hook clasp, 21cm, case by S.J. Phillips £5,000-7,000 Provenance: Exhibited BARD Graduate Centre, New York, under their Classical revival Jewellery exhibition in 2004 and 2005 and later in Rome Accompanied by original purchase receipt from S.J. Phillips dated 4th September 1998 277. An archaeological-revival gold ‘millefiori’ brooch by Castellani, c1860, of circular bombé-form and decorated with a standing putto and four doves within an elaborate cluster of flowerheads, fine twisted rope design border, the reverse signed with inverted Cs cartouche, 3.4cm wide £1,000-1,500 For a similar millefiori example by Castellani but centred with a serpent, see MUNN, G., Castellani & Giuliano: Revivalist Jewellers of the 19th Century, page 50, with explanatory note that the design is by Michelangelo Caetrani, see also SOROS, S.W., WALKER, S., Castellani and Italian Archaeological Jewellery, page 41 for similar millefiori studs each centred with a ram’s mask and also a bracelet incorporating six millefiori discs Accompanied by original purchase receipt from John Joseph Antique Jewellery dated 16th May 2001 278. A circular micro-mosiac brooch by Castellani, c1865, depicting the Holy Dove with halo, on light blue ground, the gold brooch mount with triple fine twisted rope borders, signed to the reverse with applied inverted Cs cartouche, 2cm diameter £1,000-1,500 For similar Holy Dove earrings and pendant see SOROS, S.W., WALKER, S., Castellani and Italian Archaeological Jewellery, page 246

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279. A Gold Renaissance Revival brooch by Wiese, c1890, centred with a female mask wearing an elaborate headdress within a pierced foliate scroll mount, suspension loop, signed, 3.3cm wide, fitted case marked for Beaumont & cie of Lyons, box stamped with initials MG £1,000-1,500 Accompanied by original purchase receipt from Brigemont Manor, France dated 19th September 2005 280. A gold Gothic Revival ring by Wiese, c1885, designed as the head of a woman wearing a hat in the Medieval manner and within openwork scrolls, signed Wiese and with an obscure maker’s lozenge mark and French control mark to the fluted shank, size M £400-600 Accompanied by original purchase receipt from Sheldon Shapiro & Co. Ltd. dated 18th November 2000 281. A gold Renaissance Revival brooch by Wiese, c1885, centred with the profile of Joan of Arc amongst ornate scrolls, signed Wiese, 3.5cm wide, fitted case by Tadema £1,000-1,500 Accompanied by original purchase receipt from Tadema Gallery dated 10th September 2005 282. A gold Gothic Revival pendant and necklace by Wiese, c1890, the pendant centred with the head of a girl wearing a Medieval-style hat within openwork foliate and scroll surrounds, the chain necklace mounted with six openwork double-sided panel links depicting conforming heads and grotesque masks, one signed Wiese and with French control marks, the pendant 5.5cm, the chain 48cm, with S.J. Phillips box £5,000-10,000 Accompanied by original purchase receipt from S.J. Phillips Ltd. dated 18th August 2003 283. A gold open rectangular foliate-link bracelet by Falize, the nine links each joined with simple gold £1,500-2,000 ovals, simple split bar clasp, signed in script Falize of Paris, 19.5cm Accompanied by original purchase receipt from Tadema Gallery dated 1st September 284. A Revivalist gold pendant with enamel portrait, c1885, the portrait depicting the profile of a woman with elaborate headdress in the Renaissance-style, the foliate scroll frame with a fleur-de-lys to the upper and lower sections and with black and white enamel decoration, locket compartment to the reverse, on a fine link gold chain, in the style of Falize, 3.6cm high £600-800 Provenance: Sotheby’s ‘Fine Jewels’, 29th June 2004, lot 23 Accompanied by the original purchase receipt from Sotheby’s, New Bond Street dated 29th June 2004 285. An Art Nouveau brooch pendant by Falize, c1895, centred with an oval-shaped ruby within diamond surround and pierced gold foliate border, suspending a natural pearl and with plique a jour enamel stylised peacock feathers to the upper section and surmounted with a further natural pearl in a gold foliate cap, with further diamonds, two sapphires and an emerald, detachable brooch fitting, French control marks and the maker’s lozenge for Bapst et Falize, 6cm high £2,000-3,000 Accompanied by original purchase receipt from John Joseph Antique Jewellery dated 8th June 2001

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286. A carved hardstone cameo-mounted gold brooch by Giuliano, c1895, depicting a female figure in diaphanous drapery and carrying an incense burner with a gold brooch frame with twisted rope border and quartered with pellet trefoils, signed C & AG, 4.2cm high, fitted case signed A & A Giuliano, 115 Piccadilly £1,000-1,500 287. A carved coral cameo-mounted pendant in the style of Giuliano, c1895, the cameo depicting the head of a girl with fruiting vines to her flowing hair, the Renaissance-style gold frame with black and white pellet enamel decoration to the scrolls and set with seed pearls and small diamonds, suspension loop and glazed locket compartment to the reverse, 5cm high, case by Bloom £600-800 Accompanied by original purchase receipt from N.Bloom & Son, New Bond Street dated 14th June 1999 288. A small gold and enamel Tudor rose pendant by Giuliano, c1896, with red enamel decoration and engraved to the reverse ‘GREETINGS’, signed C & AG to the suspension hoop, 1.3cm wide £300-400 Accompanied by original purchase receipt from Hancocks & Co dated 20th September 1985 289. A Renaissance Revival gem-set and enamel lozenge-formed gold pendant by Giuliano, c1880, centred with an oval-shaped chrysoberyl cat’s-eye within a black enamel border and surround of cushionshaped diamonds, the pierced scroll mount with red enamel decoration and set with further diamonds, the reverse decorated with lines of black enamel, signed CG in applied cartouche with a gold neck chain formed with cylindrical bars of red enamel and white dots, separated with a seed pearl, unsigned, 7cm £4,000-6,000 high, the chain 42cm including plain extension chain, case by Didier Provenance: Christie’s ‘Important Jewellery’ 6th December 2006, lot 164 Accompanied by a copy of the original purchase invoice from Christie’s, King Street dated 6th December 2006 290. A lozenge-shaped moonstone-centred silver and gold brooch by Giuliano, c1875, within a gold and white enamel decorated mount within a scrolling border set with small diamonds, signed CG to the clasp, 3.7cm wide, with a fitted box signed C & A Giuliano, 115 Piccadilly, London £1,000-1,500 Accompanied by original purchase receipt from John Joseph Antique Jewellery dated 9th June 2000 291. A ruby, diamond and enamel gold brooch by Giuliano, c1895, of circular form and set with twelve cushion-shaped diamonds and two graduated oval-shaped ruby cabochons, with enamel-decorated central section, decorated with a further diamond, signed C & AG, 4.2cm high, original fitted case £1,500-2,000 Accompanied by original purchase receipt from S.J. Phillips dated 30th August 1994

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292. A garnet-set gold and enamel pendant and gold neck chain by Giuliano, c1896, the pendant with open scrolls decorated with white and black enamel, centred with a hessonite garnet and suspending a natural pearl and small diamond, the necklace formed with long twist links, decorated with white and black enamel and each separated with a seed pearl, with a plain gold twist link to each end, the pendant and neck chain both signed C & AG, the pendant 5.2cm high, the necklace 42cm, fitted case by Giuliano, 115 Piccadilly, London, the velvet base of the tooled Morocco case has been pressed with a foliate design to the lower corners ÂŁ5,000-10,000 Accompanied by original purchase receipt from Garrard dated 24th December 1993

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293. A coloured stone and enamel gold bracelet by Giuliano, c1896, the twelve quatrefoil foliate collets (including the clasp) are each decorated with black and white enamel and centred with faceted and cabochon gemstones, accompanied with a handwritten key explaining, to one side, that the twelve stones mentioned in the Bible, Revelations, chapter 21, verses 19-21 are Jasper, Sapphire, Chalcedony, Emerald, Sardonyx, Sard, Chrysolite, Beryl, Topaz, Chrysoprase, Jacinth and Amethyst, to the other side of the note an explanation that the twelve stones are symbolic of the Twelve Apostles: Peter, Andrew, James, John, Philip, Bartholomew, Matthew, Thomas, James the Lesser, Thaddeus, Simeon and Matthias, 19cm, the clasp signed with stamp C & AG, the tongue with partially obscure scratched inventory no. 432?, with fitted case for C & A Giuliano, 115 Piccadily, London ÂŁ3,000-4,000 In the building of Paradise in the Book of Revelation each of the gems also represent a virtue: Jasper, firmness and constancy; Sapphire, heavenly and beautiful thoughts; Chalcedony, ardent zeal; Emerald, suavity of manner; Sardonyx, variety of teaching; Sard, readiness for martyrdom; Chrysolite, restrained by no obsctacles; Beryl, goodness of mind at all times; Jacinth, calmness in all things and Amethyst, sobriety and temperance For a similar bracelet see MUNN, G., Castellani and Giuliano; Revivalist Jewellers of the 19th Century, pl.141 and 142 Accompanied by original purchase receipt from S.J. Phillips dated 30th August 1994

image not life size

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294. A Renaissance Revival gem-set pearl, gold and enamel necklace by Giuliano, c1896, the pendant and mounts applied with black and white piquĂŠ enamel and four sections with intricate scrolling gold enamel decoration, the pendant suspending a natural pearl, the necklace comprising six rows of pearls, signed C & AG in five places, the necklace 42cm, the pendant 6cm high (maximum), with fitted case (probably later) marked for C & A Giuliano, 115 Piccadilly, London ÂŁ5,000-10,000 For a similar necklace in the Indian taste see MUNN, G., Castellani & Giuliano; Revivalist Jewellers of the 19th Century, page 145 Accompanied by a valuation by S.J. Phillips dated 18th August 2003

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

295. A gold Etruscan Revival panel ‘Campana’ bracelet, attributed to Giacinto Melillo, c1870, designed as seven hinged square panels and two semi-circular terminal panels each finely decorated with granulation and wirework and applied florets, polychrome enamel decoration and centred with a pearl, ‘pin-and-slot’ type hinge, the reverse of each plaque decorated with a fine wirework foliate quatrefoil and centred with a circle, one of the terminal panels stamped TRIUNFO (triumph), 19.5cm, 99g £6,000-8,000 For similar bracelet see TAIT, H., The Art of the Jeweller; A catalogue of the Hull Grundy gift to the British Museum, page 245, pl.71 It is interesting to note that the British Museum example is signed with initials GM to one of the terminal plaques whereas lot 295 is marked TRIUNFO in a similar place SOROS, S.W., WALKER, S., Castellani and Italian Archaeological Jewellery, page 185, fig.7/8 When Castellani were entrusted with the confiscated Campana collection of Etruscan jewellery, they had the opportunity to make casts and study the original pieces in detail. This seven panel bracelet was one of the most popular adaptions. So faithfully created were the Castellani models, there was suspicion of some being introduced to the 6th century BC Campana collection Melillo could well have made this bracelet when he had taken over the management of the Castellani workshop in Napels in 1870 Accompanied by original purchase receipt from John Joseph (John’s Antiques) dated 12th June 2007

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296

297

296. A gold 'Helios'-inspired Revivalist brooch by Melillo, c.1870, in the form of the chariot of the Sun supported on a bar with lion's head terminals, a cupola-shaped ornament supporting two Victories holding palms and circlets hanging from the chariot, and supporting a tassel of many fine link chains mounted with pearls and enamel-set circles and leaf motifs, signed to the reverse GM in applied cartouche, 7.5cm high, modern fitted case by Lavender £2,000-3,000 For a similar brooch see MUNN, G., Castellani and Giuliano; Revivalist Jewellers of the 19th century, page 24 and for another example by Castellani see SOROS, S. and WALKER, S., Castellani and Italian Archaeological Jewellery in which a check list note no. 91 states that, translated from the Italian, 'Gold taken from a small tomb near Bolsena excavated 1861, restored and reworked Neo-Classical Castellani’. This brooch was almost certainly inspired by jewellery that was discovered from the Kul-Oba Scythian burial site from the 4th century B.C. and was excavated in 1830, see SOROS, S. and WALKER, S., Castellani and Italian Archaeological Jewellery, page 208, figures 810 and 811, and for a similar pair of 4th century B.C. Etruscan gold earrings, see SOROS, S. and WALKER, S., Castellani and Italian Archaeological Jewellery, p.54, fig 242. Accompanied by original purchase receipt from D.S. Lavender (Antiques) Ltd, dated 1st October 2002.

297. A pair of gold Etruscan Revival earrings attributed to Melillo, c1870, depicting putti riding doves, with large hoop attachments surmounted by later stud fittings, 3.5cm high £2,000-3,000 For a similar pair of earrings by Giacinto Melillo see WEBER SOROS, S. and WALKER, S., Castellani and Italian Archaeological Jewellery, page 318, fig.12-2. The pair of earrings exhibited in the Boston Museum of Fine Arts. For another similar pair see FALES, M., Jewellery in America, 1600-1900, p.348, pl.229 and Christie’s New York, (15 September 1983), lot 208 Accompanied by original purchase receipt from Greens of Cheltenham Ltd dated 11th June 2007

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JEWELLERS & DESIGNERS Charles Robert Ashbee (1863-1942) Lot 215 Architect designer, silversmith and jeweller, Ashbee was one of the most influential designers of the Arts and Crafts movement and founded the Guild of Handicraft. He attended Wellington and King's College, Cambridge and was apprenticed as an architect to G. F. Bodley in 1886 during which time he became interested in the philosophies of John Ruskin and William Morris. He lived at Toynbee Hall, a housing area for students located in the East End, and it was during this period that he created the Guild of Handicraft. The Guild moved out of London to Chipping Camden in 1902. Ashbee favoured the use of semi-precious stones and blue and red enamel. Some of his most recognisable pieces are peacock pendants and the amorphous butterfly/insect/flower (as in lot 215) which is almost Art Nouveau in style. Murrle Bennet & Co (founded 1884) Lot 190 The company was established in London by Ernst Murrle and J B Bennett in 1884 (as Siegele and Bennett) and were advertising as Murrle Bennett & Co by 1916. Their commercial designs drew from both the British Arts and Crafts movement and also the continental Art Nouveau movement of the time retailing products made both in Britain and Pforzheim. Its output has close links with the designs manufactured for retail by Liberty & Co. John Houghton Maurice Bonnor (1876-1917) Lot 226 Like many of the Arts and Crafts designers Bonnor was trained as an architectural draughtsman before being taught at the Central School of Art by Henry Wilson. Wilson would remain a lifelong friend and collaborative worker on fine jewellery with Bonnor at the Artificers Guild (from 1905). With his wife, Nancy Agar, he set up his own studio in 1907. For further information see WILSON M., John Houghton Maurice Bonner: A little known designer of the Arts and Crafts Movement, and The Journal of the Decorative Arts Society 1850-the Present, No 28 (2004), pp. 108-125. John Brogden (1820-1884) Lot 245 John Brogden took over the partnership Watherston and Brogden at Henrietta Street, Covent Garden in 1864 and operated under his own name until 1880. He then moved to the Grand Hotel Buildings at Charing Cross from 1881-1885. He was influenced by the work of Castellani and produced archeological revivalist jewellery, and famously in the Egyptian and Assyrian styles. Mrs Newman was his pupil and assistant and he worked with Robert Phillips. His Jewellery was known for its technical mastery in the granulated and filigree decoration required in the archaeological pieces that he specialised in. William Burges (1827-1881) Lot 225 The son of a civil engineer, Burges was articled to Edward Blore in 1844 before entering the office of Sir Matthew Digby Wyatt in 1849 – working on Wyatt’s Metalwork published in 1852. ‘Burges’s genius as a designer is expressed to perfection in his jewellery and metalwork’ is how John Mordaunt Crook describes Burges’s oeuvre. Burges’s use of antique artefacts lent itself to his eclectic beliefs and led to a thoroughly unique interpretation of historical design in the late nineteenth century. Both his metal ware and his rarer jewellery combines precious and semi-precious materials and is credited (by Mordaunt Crook) with the link between Pugin’s medievalism and the forthcoming Art Nouveau style. Like A.W.N Pugin his work was equally suited to a large scale commission, such as his earliest work St Fin Barre’s Cathedral (started in 1862), Cardiff Castle for the Marquess of Bute or for the small mount of an antique bottle, or piece of jewellery. Castellani Lots 274-278 The driving force behind the Castellanis was Fortunato Pio (1794-1865) who was twenty when he founded the Revivalist Jewellery firm in Rome. He was joined by his sons Alessandro and Augusto. Their Etruscan and Roman revival jewellery was so popular with the Grand Tour sentiment that their business expanded, with the help of Carlo Giuliano, to Paris and then to London. With many of the leading revivalist jewellers of the day, such as Giuliano and Melillo, the primary interest was academic in the research into design and construction. The commercial success followed with an international fascination with the stunningly beautifully made revivalist jewellery. Lots 105-133 Child & Child Child & Child was founded in 1880 at Seville Street in Belgravia by Walter Child (1840-1930) and his brother Harold (1848-1915). Walter also managed the other shop which their father, Edward, opened in 1871 at Brompton Road, Kensington. It wasn’t until they amalgamated at 35 Alfred Place West (now Thurloe Street) in South Kensington in 1891 that they began to make the jewellery for which they became best known, the Arts & Crafts enamel and silver pieces. Their clients include Royalty and they created jewellery from the designs of William Holman Hunt, Sir Edward in Lutyens and Sir Edward Burne-Jones. Their highly collectable pieces were often marked with a flower between two C’s and repeated on their boxes. It has been described as a sunflower, a daisy, but more commonly, a marigold. John Paul Cooper (1869-1933) Lots 227-228 John Paul Cooper also trained as an architect under J D Sedding for three years from 1888. After this and a period of travel with Henry Wilson and Alfred Powell to Europe and on the advice of Wilson he changed to making metal work and jewellery from 1897. He exhibited four pieces at the Arts and Crafts Society exhibition in 1899. From 1904 to 1907 he held the position of head of the Metalwork Department at the Birmingham School of Art – where he taught that an artist should only design what they can also make, a variation on the Arts and Crafts philosophy.

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Nelson Ethelred Dawson (1859-1941) and Edith Dawson (1862-1928) Lot 192 Nelson Dawson was foremost a watercolour artist but also a member of the Arts and Crafts movement. He moved from Lincolnshire to London and set up a workshop in Chelsea and then Chiswick marrying Edith Robinson in 1893. Dawson was a polymath painting watercolours whilst designing and making ceramics, plaster designs, jewellery and metalwork as well as teaching and writing. He was taught the art of enamelling by Alexander Fisher and in turn taught the art to his wife Edith Dawson. In 1901 he founded the Artificer’s Guild from his Chiswick workshop. Like the contemporary husband and wife craftsmen Nelson and Edith worked in close collaboration – together on pieces – with current research suggesting he often made the silver object with Edith providing the enamel decoration. Edith was born to a Quaker family in Croydon, London in 1862. In 1900 they are credited with exhibiting 125 pieces of jewellery at the Fine Art Society’s gallery on Bond Street but by 1914, and the outbreak of war, their craft business was floundering financially. With their training and dedication to watercolour painting both Edith and Nelson brought a painterly approach to enamel work – producing simple jewellery forms characteristically with panels of cottage garden flower stems in enamel. Their work was illustrated in The Studio a contemporary publication on design. Peter Carl Fabergé (1846-1920) Lots 249-250 Peter Carl Fabergé, the celebrated goldsmith to the Russian Imperial Court and creator of the objects of fantasy of which the most notable were the annual Imperial Easter Eggs. He was mainly influenced by the French 18th century style and specialised in varied enamelling techniques. Alexis Falize (1811-1898) Lots 283-285 Alexis Falize left School at 17 and joined the renowned Paris firm of jewellers Mellerio dits Meller in 1833. Although his work there was initially administrative his enthusiasm and talent was rewarded with jewellery design commissions. Having established his own workshop in 1841, he was joined by his son Lucien (1839-1897) in 1856 and the family enterprise flourished. They took enamelled jewels to new levels and continued to draw inspiration from past designs, but unlike most others, they were strongly influenced by the Japanese taste. They joined forced with Germain Bapst and enjoyed a long period of success. François-Desiré Froment-Meurice (1802-1855) Lots 268-273 François-Desiré Froment-Meurice was born into a family of Paris jewellers and took over the workshop in 1832. His success and fame was almost instant and exhibited in London and throughout Europe. His son, Emile, took over the family business on his death and Emile continued the Froment-Meurice reputation of powering the Neo-Gothic and Neo-Renaissance styles in 19th century jewellery. Lots 178, 180-181 Elizabeth Gage Elizabeth Gage is a contemporary jeweller producing fashionable and bold jewellery. Lauren Bacall was one of her many admirers and clients and some of her designs are included in the permanent jewellery collection of the Victoria and Albert Museum. Arthur Gaskin (1862-1928) and Georgina Cave Gaskin (1866-1934) Lots 202-204 Arthur Gaskin began his training at Birmingham School of Art. He married Georgie in 1894 and five years later they started the business designing and manufacturing silverwork and jewellery. In 1902 he became director at the Vittoria Street School for Jewellers and Silversmiths where he stayed until 1925. As a multi talented painter, illustrator and woodworker he joined the circle of Pre-Raphaelites. Initially Georgie created and designed the jewellery with Arthur doing the enamel, later due to their success it was down to their students to manufacture the Gaskin's designs. Many of their pieces include plant work and naturalistic themes with small semi-precious gem stones and later, from 1910-1915 more elaborate designs with enamel. Lot 204 is a typical example of the use of wirework, ropetwist decoration and cabochon moonstones. Lots 200, 226 Artificers Guild (founded in 1901) Founded in 1901 by Nelson Dawson the Guild was bought two years later by Montague Fordham in 1903. Previously Fordham held the post of first director at the Birmingham Guild and School of Handicrafts in the 1890s. He belived in the writings of William Morris and was a rural reformer strongly championing the crafts traditions so important to Morris and Charles Robert Ashbee at the contemporary Guild and School of Handicrafts (which moved to the Cotwolds town of Chipping Campden in 1902). Carlo Giuliano (1831-1895) Lots 286-294 Carlo Giuliano came to London to open, and manage, a shop for Castellani, the famous Revivalist Jewellers, in 1860. Carlo then progressed to his own shop at 115 Piccadilly in 1874 which he called ‘Art Jeweller’. He continued to make high quality Renaissance-inspired jewellery and excelled with enamel decoration. He was entrusted to make jewellery for Edward Burne-Jones and Charles Ricketts. His sons Carlo and Arthur took over the business in 1895. George Edward Hunt (1892-1960) Lots 198, 216 Born in September 1892 in Birmingham, winning a scholarship at the Margaret Street Art School where he was taught by Bernard Cuzner and Arthur Gaskin. He opened a retail shop for his jewellery in Birmingham with clients including the Duchess of Sutherland who purchased several enamels. He worked alone in his garden studio, following the Arts and Crafts ethos, and this coupled with his deafness from diptheria has created an aura of secrecy around his work. His work transcends the Art Deco modern style born between the world wars with jewellery sometimes large and bold in form but made with skill and precision by hand.

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Bernard Instone (1891-1987) Lots 11, 203 Born in Birmingham in 1891, at the age of 12 he gained a scholarship to study at the Central School of Art (1903). He went on to study from 1904-1912 at the Birmingham School of Jewellery where he met and studied under Arthur Gaskin. After this training he worked briefly in John Paul Cooper’s studio and in Germany for the Berlin Court jeweller Emil Lettre where his brother was already working as a silversmith. After his brother’s tragic death, and at the age of 22, he returned to England and to the Birmingham School of Jewellery where he both taught and produced his own work. In 1920 he set up Langstone Silverworks (the name an amalgamation of his mother and father’s names) whilst continuing to design for other jewellers, including work credited for Sibyl Dunlop. Lots 18-104 Georg Jensen (1866-1935) Although a distinguished silver designer in his own right – Jensen, like Arthur Lasenby Liberty in London, is more famous for his company – a platform where he promoted the designs of other designers and that would ultimately lead to a Jensen style. The internationally recognised silver design master Georg Jensen had a humble beginning, being born to a knife grinder in Raadvad in 1866. By the age of 14 he had begun training as a goldsmith in Copenhagen, After a brief flirtation with sculpture and fine art in the early 1890s and ceramic design at Bing & Grondahl, Jensen is credited with making his first piece of silver jewellery in 1899 but returned to the medium of silver for good in 1901. He opened a small smithy and shop in Copenhagen in 1904, expanding this business on a international scale with shops in Berlin (1909), London (1921) and New York (1924). Jessie Marion King (1875-1949) Lot 205 Jessie M. King was born in Bearsden near Glasgow to a minister in the Church of Scotland. She was brought up in a strictly religious house and discouraged from developing a career as an artist, she was employed to teach Art at St Margaret’s College Glasgow in 1891 and in 1892 she began studying at the Glasgow School of Art. It was here that she specialised in book illustration – beng made tutor of book decoration and design in 1899. She married the furniture designer E.A Taylor in 1908. Although the majority of her creative output was for book illustration and design she also received commissions for jewellery designs retailed by Liberty. Lot 205 is a classic example of her uniquely Scottish Art Nouveau floral design and the influence of the Glasgow Four artists including Charles Rennie Mackintosh. Archibald Knox (1864-1933) for Liberty & Co. Lots 206, 207 Born to Scottish parents on the Isle of Man, Archibald Knox was heavily influenced by Celtic traditional designs, entrelacs on cross and gravestones. This interest and development in a natural, sinous design would manifest itself in the continental european Art Nouveau style. Knox’s initial formal training was in the studio of M.H. Baillie Scott, another Manx architect-designer, who although closely associated with the British Arts and Crafts movement was appreciated across mainland Europe as well. In the 1890s he produced a series of designs for the Silver Studio where his work was noticed by Arthur Lasenby Liberty – the entrepeneur. Liberty recognised and appreciated his designs which he commissioned to be produced in silver and pewter on a commercial scale. In conjunction to the familiar tea sets, spoons or buttons, Knox also produced a series of one-off silver cups, picture frames and jewellery commissions. Although Arthur Lasenby Liberty allowed his designers a creative freedom – he did not allow them to sign their work and their work was usually advertised anonymously. René Lalique (1860-1945) Lots 218, 219 René Lalique is renowned as the innovator of Art Nouveau jewellery and as one of the greatest artist-jewellers ever known. Lalique began his career as the apprentice of Louis Aucoc, and then went on to design traditional jewellery for various names such as Boucheron and Cartier. In 1897 he was awarded the rosette of the Légion d’Honneur and in 1902 he opened his own gallery, by which time Lalique’s works were becoming internationally prized. With this success, Lalique had the freedom to be as expressive and innovative as he desired, thus we see his work taking on sculptural and energised forms; breaking the conventional boundaries and ideals of jewellery. Art Nouveau is synonymous with the natural world and was inspired by natural forms and structures, particularly the curved lines of plants and flowers. Lalique’s sensitive approach to naturalism can be seen in the opal ring, lot 219. Giacinto Melillo (1846-1915) Lot 205-207 Giacinto Melillo was a hugely talented goldsmith who managed the Castellani workshop in Naples when Alessandro Castellani returned to Rome in 1870. They often shared their archaeological inspiration for jewellery design. Lot 217 Ernestine Mills (1871-1959) Ernestine Mills was born in Hastings, Sussex to artistic parents her mother was an actress, her father a writer – both were active in the women’s suffrage movement. Her academic training came from the Slade School of Art, the South Kensington School of Art and learnt the art of enamelling from Alexander Fisher. In 1907 she joined the Women’s Social and Political Union, the suffrage movement and she designed jewellery in support of the movement. Dorrie Nossiter (1893-1977) Lots 210-213 Dorrie Nossiter was born in Aston near Birmingham where she studied at the Municipal School of Art, Birmingham between 1910 and 1914. Upon her father’s death and her mother’s re-marriage, she moved first to Parkstone, Dorset, with her mother and then upon marriage in 1922 to London. Her work is similar to that of her contemporaries, and friends, Sybil Dunlop and Amy Sandheim, (whom she exhibited with at the Walker Gallery Art by Four Women exhibition), jewel encrusted and often unmarked leading to confusion of attribution. Her work is transitional in style developing from the embers of the Arts and Crafts style to the modern Art Deco style of the 1930s.

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Robert Phillips (1810-1881) Lots 238, 243 The firm Phillips Brothers was founded by Robert Phillips and his brother Maquies in 1839, trading at 31 Cockspur Street just off Trafalgar Square. They moved to 23 Cockspur Street in 1862 and changed their name to Phillips Brothers and Son in 1865. They were the leading jeweller specialising in the revivalist style in London. The firm worked with Carlo Giuliano and they also knew Castellani. Lot 224 Augustus Welby Northmore Pugin (1812-1852) The English architect, designer and critic A.W.N Pugin was the focal point in the Gothic Revival, an artistic movement of the mid 19th Century. Pugin’s father was a French draughtsman who had fled the French Revolution and settled in London where A.W.N Pugin was born in 1812. His detailed work was equally suited for the grand scale, such as the Palace of Westminster or on an intricate piece of jewellery made of precious metals which were often enamelled or adorned with stones. Omar Ramsden (1873-1939) & Alwyn Carr (1872-1940) Lots 134-166 The duo met in Sheffield where they attended Art School. Both won a scholarships to the National Art Training School and spent summers taking courses at the Royal College of Art in London. They became business partners in 1982, Carr won first prize in a competition to design a mace for the City of Sheffield, this project became their first commission. Their work was very fine, and partially machine-made. As the business grew the pair hired many employees who took on manufacturing roles enabling Ramsden & Carr to take on more managerial roles. Carr went into the army in 1914 during World War I and when he returned Ramsden has formed a relationship with Mr and Mrs Downes-Butcher. This new allegiance caused the company to dissolve a year later. Ramsden continued to run the workshop through the 1930s. Carr continued to work alone until the 1920s. Ramsden's dramatic flair inspired the signature 'OMAR RAMSDEN ME FECIT' (Omar Ramsden made me) Ramsden married Annie Emily Berriffe, the widow of Mr. Downes-Butcher in 1927. The bracelet (lot 166) was made for her. Edgar Gilstrap Simpson (1891-1940) Lot 191 Working between 1896-1910 the simplistic style is reminiscent of C.R.Ashbee's designs, using wirework and enamel. He designed for Charles Horner and exhibited in the Vienna Secession exhibition in 1902. Familiar motifs within his work include marine animals and pieces such as cloak clasps, silver pendants, brooches and buttons. Lot 11 Mary Russell Thew (1876-1953) Born in Hillhead, Glasgow in 1876, Thew studied briefly at the Glasgow School of Art be-friending Jessie M. King and her husband Ernest Archibald Taylor. Originally she designed and made jewellery as a hobby but out of necessity caused by her husband’s death – she turned this hobby into a business. Her Jewellery is characterised by the simple use of wirework structures and semi-precious stones in keeping with the Arts and Crafts tradition – with Scottish subject matter provided by Celtic form and decoration similar to the Alexander Ritchie at Iona. Louis Comfort Tiffany (1848-1933) Lot 239 Louis Comfort Tiffany was the eldest son of Charles Louis Tiffany (1812-1902), who founded the New York jewellery shop. Louis Comfort was the leading exponent of Art Nouveau jewellery in America and excelled with his innovative designs in all areas of Decorative Arts. He was responsible for having Jean Schlumberger and Donald Clafin join the firm. James Cromar Watt (1862-1940) Lot 214 A Scottish architect, Cromar Watt was a keen botanist, traveller and collector of antiques and art. Mainly self-taught, from 1896, he took influence from Alexander Fisher and the Scottish enamel artist Phoebe Traquair. His interest in the history of enamelling led to him re-discoveing the art of grisaille, using granulated gold and enamelling over folis for added translucency. Jules Wièse (1818-1890) Lots 279-282 Jules Wièse was born in Berlin but moved to Paris in 1839 to join Froment-Meurice. In 1894 he received a medal at the Paris World Exhibition which lead to many future commissions. His Neo-Gothic and Neo-Renaissance influence was instantly recognisable and was often finely decorated with enamel. Jules’ son Louis (1852-1923) continued as a jeweller to explore the Renaissance, Gothic, religious and archaeological styles of his father. Henry Wilson (1864-1934) Lots 208, 209 Henry Wilson studied at the Kidderminster School of Art before being articled to the architect Edward James Shrewsbury. Later, he worked as the chief assistant to the architect John Dando Sedding and is credited with finishing several of the architect’s scheme’s following his death in 1899. Including the seminal Arts and Crafts building Holy Trinity Church, Sloane Square (designed by J.D. Sedding). Wilson specialised in sculpture, metal ware and jewellery design and his jewellery was exhibited at the Paris Exhibition of 1914. He held the post of President of the Arts and Crafts Exhibition Society from 1915 to 1922 and made Master of the Art Workers Guild in 1917. His style was individual and influenced by both the English Arts and Crafts movement and the continental Art Nouveau style – whilst the work at St Bartholomew’s Church, Brighton (from 1899) shows the influence of Byzantine art.

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Special Jewellery Notices Some lots are accompanied by gemmological certificates which give an opinion on some or all of the gem stones included in that particular lot. These certificates may have been obtained by Woolley & Wallis or supplied by vendors. It is important to note that the content of these certificates is not guaranteed by Woolley & Wallis and we cannot be held responsible for any disagreement over the content of certificates after the sale, or for a retrospective change in opinion by the providers of any of the certificates. Not all images are life-sized, weights and measurements in the catalogue are approximate only. It is common practice for coloured stones including jade to be treated to enhance their appearance. This includes jade that has been bleached (usually in acid), polymer/resin filled or dyed, or a combination of any of these treatments. Prospective buyers should presume that all coloured stones sold by Woolley and Wallis have been treated unless stated to the contrary in the catalogue description. Please contact the department for more information regarding enhancement and treatment of coloured stones, and for condition reports which are available on single item lots. Any dispute as to the authenticity of a lot, including signatures, age and condition, and as to the treatment of gem stones including pearls, synthetic diamonds and HTHP enhanced diamonds, must be brought to the attention of Woolley and Wallis within two weeks of the sale date. Saturday collections by appointment. 10.00am to 1.00pm

CITES REGULATIONS Please note that lots marked may be subject to CITES Regulations when exported. The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/

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JEWELLERY

Thursday 1st November 2018

A ruby and emerald Renaissance gimmel ring, late 16th century Estimate: £4,000 - £6,000

ENQUIRIES Charlotte Glyde | Tel:+44 (0)1722 424586 | cg@woolleyandwallis.co.uk

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Auction Information OPENING HOURS Monday to Friday 9am – 5.30pm and 10am to 1pm on Saturdays. VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues. BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered. REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales. To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address

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CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate.

PLEASE NOTE: Registering with the-saleroom.com or through our website does not automatically register you with us.

The colours printed in the catalogue are not necessarily true.

COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids. TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office. BUYER’S PREMIUM The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

SALE RESULTS These will be posted on our website shortly after the sale. PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area. Alban Shipping

01582 493 099 info@albanshipping.co.uk www.albanshipping.co.uk

Kimdan Ltd.

07973 389436 andy@kimdan.co.uk

Mailboxes

01264 360 333 info@mbeandover.co.uk www.mbe.co.uk/andover

Pack & Send

0845 465 0564 sales@packsend.co.uk www.packsend.co.uk

Please note that we cannot be held responsible for any damage or loss to items once they are in the hands of a carrier.

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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released. The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of 10,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present. Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction. Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

LOT SYMBOLS VAT Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega ( ) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price. CITES REGULATIONS Please note that lots marked may be subject to CITES Regulations when exported. The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/ ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a ‡ symbol are potentially subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of 1,000 and the maximum royalty payable on any single lot is the sterling equivalent of 10,000. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to 50,000 3% 50,000.01 - 200,000 1% 200,000.01 - 350,000 0.5% 350,000.01 - 500,000 0.25% In excess of 500,000 Up to a maximum levy of 10,000 FIREARMS Lots marked Ƒ in the catalogue are subject to the UK firearms/shotgun licencing regime, and may only be viewed and/or purchased by individuals with appropriate licences. Such lots are offered on an auctioneer’s permit, and must be collected prior to the expiry thereof. For further information, please contact Ned Cowell.

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The omega symbol ( ) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. 6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale). 7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. 8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment. 9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding. 10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax. 11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

12. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges.

TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers. 2. Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above. 3. Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility. 4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable. 5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue. 6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7. 7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve. . Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally. 8. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense. 9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request. 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it. 11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is

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unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate. 12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued. 13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking. 14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply. 15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal. 16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque 5 weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

CONDITIONS OF SALE Woolley & Wallis Salisbury Salerooms Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1. DEFINITIONS In these Conditions: (a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate; (b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents; (e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising. (g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or . Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position). 6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

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10. COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. 12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers. 13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’. (b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 15. FORGERIES Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below. Glossary Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserves the right, in forming their opinion, to consult and rely upon any expect or authority considered by them to be reliable. (a) Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. (b) Attributed to Edward Lear: In our opinion probably a work by the artist but less certainly as to authorship is expressed than in the preceding category. (c) Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction. (d) Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil. (e) Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. (f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date. (g) After Edward Lear: In our opinion a copy of a known work of the artist. (h) The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. (i) The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand. (j) Dimensions are given height before width. (k) Pictures are framed unless otherwise stated.

BOOK AUCTIONS If, on collation, any named item in this catalogue proves defective in text or illustration, the lot may be returned within 14 days of the sale with the defects stated in writing. This proviso shall not apply to defects stated in the catalogue or announced at the time of sale; nor to the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of text or illustration; nor to drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; nor to books not identified by title; nor to books sold not subject to return.

GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. 20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

21. English law applies to the interpretation of these Conditions.

Lots marked with a ‡ symbol are potentially subject to the levy.

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of 1,000 and the maximum royalty payable on any single lot is the sterling equivalent of 10,000. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to 50,000 3% 50,000.01 - 200,000 1% 200,000.01 - 350,000 0.5% 350,000.01 - 500,000 0.25% In excess of 500,000 Up to a maximum levy of 10,000

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PRIVACY NOTICE FOR CUSTOMERS WHAT THIS PRIVACY NOTICE DOES This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you. This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you. DATA CONTROLLER AND CONTACT DETAILS Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 1998 (DPA) and, once in force, the General Data Protection Regulation (GDPR). If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details: • By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51-61 Castle Street, Salisbury, SP1 3SU. • By email – privacyofficer@woolleyandwallis.co.uk • By telephone – +44 (0)1722 424599 HOW WE COLLECT YOUR PERSONAL DATA We collect your personal data from the following sources: From you when you: • interact with us before entering into a contract with us, for example when you express your interest in our Services; • instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions; • communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account; • in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below. From third parties such as: • other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you; • the-saleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on the-saleroom.com) of individuals who register for one of our auctions (please see thesaleroom.com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (the-saleroom.com’s payment provider); • sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided); • shipping companies whom you hire to collect items you purchased from us. THE CATEGORIES OF PERSONAL DATA WE COLLECT

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following: • to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services); • once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents. In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies. LEGITIMATE INTERESTS We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following: • to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance; • to deal with any concerns or feedback you may have in the performance of the Services; • for our internal business record keeping and processes; • to seek advice on our rights and obligations, including obtaining legal advice; • to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes; • to customise our website and marketing communications in line with your particular interests or preferences; • to collect money owed to us or our consignors; • to carry out background and credit checks in relation to bidders and buyers.

We may collect the following personal data about you:

In this respect we will provide your data to the following:

• your name and contact details including address, telephone and email address; • your image, as captured by CCTV, if you attend our premises; • personal identification documents, including copies of government-issued identification such as passport and driving license which are required to register bidders (or when we need to verify a seller’s details); • account details and other information relating to your transactions/dealings with us and your use of our Services; • payment details such as credit card and bank account details; • credit and payment history (where you open an account with us as a buyer or bidder); • information on your collecting preferences and aspirations, and your collections, acquisitions and disposals; and • other information that you provide to us, for example, when you have a comment/complaint, submit a question, take part in a survey or where you express an interest in receiving marketing material or request further information.

• our professional advisors; • the-saleroom.com; • debt collection agencies; • third parties who assist us with our marketing; • our website and email management software provider.

We may also process special categories of personal data, including information concerning your health and medical conditions (for example, disability), where relevant to the provision of our Services.

LEGAL OBLIGATIONS We may also process your Personal Data for our compliance with our legal obligations. In this respect, we may use your Personal Data for the following: • to meet our compliance and regulatory obligations, such as our tax reporting requirements or to carry out identity checks; • in order to assist with investigations (including criminal investigations) carried out by competent authorities; In this respect we will provide your data to the following: • external auditors; • the police and other competent authorities, including HMRC;

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CONSENT

HOW LONG YOUR INFORMATION IS KEPT

We may also process your Personal Data where we have your specific consent to do so (for example, where we have your agreement to include information about you (as a seller) in sale marketing materials) or where we have sought and obtained your consent to send you direct marketing by email, or for the use of cookies on our website. If you have given your consent and you wish to withdraw it, please contact us using the contact details set out above.

We will retain your personal data for as long as we are providing you with the Services referred to in any contractual document, and for as long as is required for legal, regulatory, fraud prevention and our legitimate business purposes after the termination of your account/agreement with us, or if your application for a particular Service is declined or abandoned.

Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services. SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons: • if it is necessary to protect your or another person’s vital interests (for example, where you have a life-threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention); • if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers); We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events). INTERNATIONAL TRANSFERS OF DATA We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company. We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey. PROFILING We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

In particular: • in relation to CCTV images taken when you attend our premises, we will retain these for a few months; • in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services; • we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive; • in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market. YOUR LEGAL RIGHTS Under the DPA you have the following rights: • to obtain access to, and copies of, the personal data that we hold about you; • to require that we cease processing your personal data if the processing is causing you damage or distress; • to require us not to send you marketing communications. • to require us to correct the personal data we hold about you if it is incorrect; • to require us to erase your personal data; • to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal); • to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller; • to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights. Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply. If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available

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INSURANCE VALUATIONS Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

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For valuations of an entire house contents an itemised bound valuation is produced and can be accompanied by photographs when required. In addition to providing an inventory, written valuations can prevent painful arguments with a loss adjuster in the event of a claim.

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Woolley & Wallis valuations are accepted by all leading insurance companies.

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PROBATE VALUATIONS We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

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Woolley & Wallis Unit 1B Castle Gate Business Park Old Sarum Salisbury SP4 6QX

Old Sarum Park

FREE AUCTION VALUATIONS Free verbal valuations of items for sale are available at our Castle Street salerooms. Please telephone the relevant specialist or call our office on 01722 424500.

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Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough.

Design & Production by Jamm Design Ltd. Tel. 020 7424 7830 www.jammdesign.co.uk

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WOO L LE Y & WA L LI S Each lot is subject to a Buyer’s Premium of 25% plus VAT

Absentee Bid Form

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Jewellery by Design

Brief Decription

Price Excluding buyer’s premium & VAT

31st October 2018 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. Billing Name (please print)

Address

Postcode Daytime telephone Email All accounts must be settled within 21 days. ID is required for all first time bidders.

Signature

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU • Tel: 01722 424500 Fax: 01722 424508

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www.woolleyandwallis.co.uk

Auction Calendar JEWELLERY 31st October 2018 – The Jewellery Collection of Dr. Anne Shannon 1st November 2018 – Fine Jewellery Marielle Whiting +44 (0) 1722 424595 • mw@woolleyandwallis.co.uk Jonathan Edwards (Consultant) +44 (0) 1722 424504 • je@woolleyandwallis.co.uk Charlotte Glyde +44 (0) 1722 424586 • cg@woolleyandwallis.co.uk FURNITURE, WORKS OF ART & CLOCKS 3rd October 2018 Mark Yuan-Richards +44 (0) 1722 411854 • myr@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 16th October 2018 – English & European Ceramics & Glass Clare Durham +44 (0) 1722 424507 • cd@woolleyandwallis.co.uk 20TH CENTURY DESIGN 17th October 2018 – Design 12th December 2018 – British Art Pottery Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk SILVER 30th October 2018 – Fine Silver & Objects of Vertu Rupert Slingsby +44 (0) 1722 424501 • rs@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lc@woolleyandwallis.co.uk ASIAN ART, CHINESE PAINTINGS & JAPANESE WORKS OF ART 13th & 14th November 2018 John Axford +44 (0) 1722 424506 • jea@woolleyandwallis.co.uk Freya Yuan-Richards +44 (0)1722 424589 fyr@woolleyandwallis.co.uk Alex Aguilar Doméracki +44 (0) 1722 424583 • aad@woolleyandwallis.co.uk MEDALS & COINS, ARMS & ARMOUR 21st November 2018 Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk PAINTINGS 4th December 2018 – Modern British & 20th Century Art Victor Fauvelle +44 (0) 1722 424503 • vf@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jb@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 20th February 2019 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk