Woolley & Wallis Auctioneers

THE COLLECTION OF JEAN LOUIS CHAMEROY

TUESDAY 24TH OCTOBER 2023

SPECIALIST DEPARTMENTS

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THE COLLECTION OF JEAN LOUIS CHAMEROY

TO BESOLDWITHOUTRESERVE

TUESDAY 24TH OCTOBER 2023

10.00AM

at our City Centre Salerooms, SP1 3SU

VIEWING AT CITY CENTRE SALEROOMS, SP1 3SU

Thursday 19th October 10.00am – 4.00pm

Friday 20th October 10.00am – 4.00pm

Saturday 21st October 10.00am – 1.00pm

Monday 23rd October 10.00am – 4.00pm

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BUYER’S PREMIUM

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CONDITION OF LOTS

Buyers are advised to obtain a full condition report prior to bidding, as descriptions do not necessarily list all faults.

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Some lots will require export or CITES licences in order to leave the UK or Europe, please refer to the department for guidance.

ILLUSTRATIONS

Front cover: Lot 190, 189, 187

Inside front cover: Lot 153

Page 1: Lot 204

Back cover: Lot 213

Catalogue £10.00 (£15.00 by post)

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

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

Samuel Hug FGA DGA 01722 424586 sh@woolleyandwallis.co.uk Megan Corbett mc@woolleyandwallis.co.uk

Beth Reardon br@woolleyandwallis.co.uk

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JEWELLERY NOTICES

Some lots are accompanied by gemmological certificates which give an opinion on some or all of the gemstones included in that particular lot. These certificates may have been obtained by Woolley and Wallis or supplied by vendors. It is important to note that the content of these certificates is not guaranteed by Woolley and 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 lifesized, and 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.

Pearls known and guaranteed to be cultured or natural are described as such in the cataloguing. Where the origin of a pearl is unknown and not guaranteed, it is described simply as a ‘pearl’, and it will be specified in the cataloguing as untested. Pearls described in this way are guaranteed to be pearls and not simulants, but their origin is not guaranteed as either natural or cultured. Items described as ‘seed pearls’ have also not been tested and cannot be guaranteed as natural pearls.

Any dispute as to the authenticity of a lot, including signatures, age and condition, and as to the treatment of gemstones including pearls, synthetic diamonds and HPHT enhanced diamonds, must be brought to the attention of Woolley and Wallis within two weeks of the sale date. Woolley and Wallis do not guarantee the working order of mechanical movements at the point of sale and beyond.

COLLECTION OF LOTS BY APPOINTMENT

CITES REGULATIONS

Please note that lots marked λ may be subject to CITES Regulations when exported.

VAT

Please note that lots marked † are subject to VATon the hammer price.

The CITES Regulations may be found at www.defra.gov.uk/ahvla­en/imports­exports/cites/

ARTISTS’S RESALE RIGHTS / DROIT DE SUITE

Lots marked Φ are potentially subject to a levy.

THE COLLECTION OF JEAN LOUIS CHAMEROY (1946-2020) CONNOISSEUR AND GENTLEMAN

Jean Louis was born in Troyes, the magnificent mediaeval town in the Grand Est, France, in 1946. His chic mother was a very beautiful woman and the young Jean Louis loved seeing her dressed for dinner adorned with sparkling jewellery. This ignited his fascination with beauty inspiring his own particular style and evolving into a powerful influence in his future collection.

He moved to London in the Swinging Sixties and embarked upon his love affair with England, eventually becoming a British Citizen. He had many friends from the worlds of theatre and ballet, including the dancer Rudolf Nureyev, all of whom fed his interest in glamour and style. He soon discovered the antique jewellery markets of the Kings Road and Portobello Road and began dealing ­ keeping as many of the best items that he could afford. As his client base grew he travelled extensively to Europe and the United States, seeing customers and exhibiting at Antique Fairs and shows. Apart from the antique jewellery, he collected architectural items, cameos, paintings, fans, boxes, handbags, all kinds of delightful bibelots and objets de vertu.

A legendary collector and dealer of immaculate taste, his discerning and eclectic jewellery collection ranges from marvellous examples of fine French eighteenth century jewellery through to stylish Art Deco, from tiaras of cut steel to magnificent mourning rings. Each piece meticulously chosen. An always elegant figure, he was well known in antique jewellery circles for his exquisite taste (and ferocious bargaining skills.)

His sense of fun and style are sorely missed but his beloved pieces live on to be appreciated by the fortunate buyers of these fastidiously selected items. This auction presents a unique opportunity to acquire pieces from a very special man and his lifetime’s work and passion for beauty.

Olivia Collings

2 A large collection of cut steel jewels, late 18th/early 19th century, comprising: three necklaces, one composed of oval links connected by two rows of chain, length 47cm, another a choker on a black velvet ribbon; six pairs of earrings, including one set with simulant pearls, longest 6.5cm each, all with hook fittings; a chatelaine; a belt, length 60cm; a bracelet composed of four plaques connected by string; three bracelets on ribbon; five slides; a set of three matching panels accented with pink glass beads and velvet, one with a buckle fitting; four brooches; the side panel of a tiara; two bracelet clasps; the central section of a choker necklace; two pairs of buttons and two heart­shaped motifs £200-300

1 A collection of jewellery boxes, the 70 boxes dating from the 19th to mid 20th century £200-300

3 A collection of cut steel buttons, 18th/19th century, comprising: 49 cut steel shirt buttons of various designs, including three matching groups of twelve, largest 3.3cm diameter £200-300

5 A collection of cut steel buttons, 18th/early 19th century, comprising: 54 cut steel shirt buttons of various designs, including matching groups of eighteen, nine and ten, largest 3.7cm diameter £200-300

4 A suite of cut steel jewels, 19th century, comprising: a hair ornament, length 11cm; a pair of earrings of floral tassel design, length 6.8cm each, hook fittings; a necklace of floral design suspending a pendant, length 48cm; a bangle, inner circumference 17.3cm; and a pair of bracelets, length 17cm each £200-300

6 A collection of cut steel buttons and a pair of cufflinks 18th/19th century, comprising: 54 cut steel shirt buttons of various designs, including matching groups of eleven and fourteen, largest 3.7cm diameter; together with a pair of cufflinks £200-300

7 A large collection of cut steel jewellery, late 18th/19th century, comprising: three necklaces, including one ribbon choker; a pair of pendent earrings, hook fittings; a gilt metal clip; a pendant; a navette­shaped plaque enclosing a bouquet of flowers to a pink and green ribbon, fitted case; and fifteen bracelets £200-300

λ 8 A collection of cut steel hair ornaments, 19th century, comprising: ten hair ornaments; including seven with tortoiseshell comb fittings, each of various designs in cut steel, largest measuring 15.8 x 9.8cm, two tortoiseshell fittings broken £200-300

λ 9 A group of cut steel brooches, buttons and slides, 18th/19th century, comprising: ten brooches, of varying designs including a lizard and a cross entwined by a snake, largest 11 x 5cm; a buckle, 18th century; a pair of slides of palmette design; two panels; and a set of four small buttons, each set with cut steel £200-300

λ 10 A suite of cut steel jewels, 19th century, comprising: a pair of hair ornaments with tortoiseshell fi tti ngs, length 9cm each; two necklaces, length of longest 37cm; a bangle, inner circumference 17.3cm; and a pair of earrings suspending a fringe of pendants, length 5.3cm, hook fittings, each of geometric design, set with faceted steel £200-300

Cf.: Anne Clifford, Cut Steel and Berlin Iron Jewellery, Bath, 1971, p.45, no.10, for a similar necklace with geometric pendants.

λ 11 A suite of cut steel jewels, 19th century, comprising: a pair of earrings designed as butterflies, length 3.6cm each; a hair ornament with tortoiseshell fittings, inner curve 10cm; a necklace, length 35cm; a matching bracelet, length 19.2cm; and two bangles, larger inner circumference 15.3cm; each composed of floral motifs in faceted steel £200-300

12 A suite of cut steel jewels, 19th century, comprising: a tiara of floral design, inner curve 21.5cm, height at front 4cm; a brooch, length 7.5cm; a necklace suspending a fringe of pendants, length 34cm; a pair of earrings, length 5.8cm each, hook fittings; and a bracelet, length 17cm £200-300

λ 13 A group of cut steel brooches and hair pins, 19th century, comprising: twelve hair pins and three brooches, each depicting insects including butterflies and bees in cut steel, largest brooch 7 x 6cm, longest hair pin 12cm, six hair pins with tortoiseshell fittings £200-300

λ 14 A group of cut steel brooches and hair pins, 18th/19th century, comprising: seven hair pins and three brooches, each depicting various floral motifs in cut steel, largest brooch 11.5 x 4.5cm, longest hair pin 12cm, six hair pins with tortoiseshell fittings, one broken £200-300

15 A group of coque de perle, mother of pearl and marcasite jewels, mid 18th century and later, comprising: a coque de perle and marcasite pendant, length 7.9cm; together with three coque de perle and marcasite brooches, later brooch fittings; a mother of pearl and marcasite choker, length 26cm, hoop fittings intended for a ribbon; a pair of coque de perle and marcasite earrings, later mounted as earrings with gilt metal surmounts, length 5.2cm each, composite; a simulant pearl and cut steel necklace of fringe design, length 39cm; a marcasite necklace clasp; a section of coque de perle linking in gilt metal, length 14cm; a and a collection of similar jewel components variously set with mother of pearl, marcasite and coque de perle £100-150

λ 16 A group of cut steel brooches and hair pins, 19th century, comprising: ten hair pins and two brooches, each depicting celestial motifs including crescent moons and stars in cut steel, largest brooch 5.2cm diameter, longest hair pin 11cm, seven hair pins with tortoiseshell fittings, one broken £200-300

17 A cut steel demi­parure, 19th century, comprising: a necklace, centring on a flower, to a necklace composed of articulated laurel leaf linking, set with faceted steel, length 43cm; and a floral hair pin, length 6.9cm £100-150

18 A collection of cut steel shoe buckles, 19th century, comprising: four pairs of buckles and one single buckle in cut steel, one ornamented with floral beads, longest 7.4 x 5.4cm; together with a silver buckle, 9 x 6cm £200-300

19 An enamel and marcasite parure, late 18th century, comprising: a necklace, a pair of earrings and a brooch, each set with oval sections of opaque blue enamel imitating turquoise, within borders of rose­cut marcasites, necklace length 27.5mm, with loops intended for a ribbon, pendant length 6.4cm, earrings 3.5cm each, late hook fittings; brooch 3.5 x 3.4cm, later brooch fitting, case £400-600

Provenance: Lady Margaret Drummond­Hay (née DouglasHamilton), daughter of the 13th Duke of Hamilton, who by repute wore this parure on the occasion of her wedding to Major James Drummond­Hay at Salisbury Cathedral in 1st February 1930, which was recorded on video by British Pathé. At the time of cataloguing, this video was available to view on YouTube.

20 A collection of paste shoe buckles and a pair of brooches, late 18th/early 19th century, comprising: two pairs of buckles set with colourless pastes; together with seven assorted buckles, variously set with colourless pastes, mounted in silver and base metal; largest 9.6 x 5.9cm; and a pair of brooches of bow design, set with colourless pastes, 4 x 5cm each £200-300

21 A collection of paste shoe buckles, late 18th/early 19th century, comprising: four pairs of buckles set with colourless pastes; together with four assorted buckles, variously set with colourless pastes, one additionally set with pink pastes, mounted in silver and base metal; largest 10.9 x 5.4cm £200-300

22 A collection of paste shoe buckles, late 18th/early 19th century, comprising: a pair of blue and colourless paste buckles; two pairs of blue paste buckles; a pair of violet and colourless paste buckles; and eight assorted buckles variously set with blue, violet, green and colourless pastes, mounted in silver and base metal; largest 8 x 7cm £200-300

23 A collection of paste shoe buckles, late 18th/early 19th century, comprising: three pairs of buckles set with colourless pastes; together with six assorted buckles, variously set with colourless pastes, mounted in silver and base metal; largest 9 x 6.3cm £200-300

24 A collec ti on of paste shoe buckles, brooches and a hair ornament, late 18th/early 19th century, comprising: two pairs of buckles set with colourless pastes; together with six assorted buckles, variously set with colourless pastes, mounted in silver and base metal; largest 9.5 4.9cm; together with three brooches and a hair ornament, each set with colourless pastes £200-300

25 A collec ti on of paste shoe buckles, 19th century, comprising: three pairs of buckles set with colourless pastes, mounted on black velvet; together with six assorted buckles, variously set with colourless pastes, mounted in silver and base metal; longest 8.2cm £200-300

26 A collec ti on of paste shoe buckles, late 18th/early 19th century, comprising: three pairs of buckles set with colourless pastes; together with ten assorted buckles, variously set with colourless pastes, mounted in silver and base metal; largest 5 x 7.3cm 9.6 x 5.9cm, two later adapted as brooches £200-300

27 A collection of gilt metal and paste buckles, 18th/19th century, comprising: a pair of gilt metal and cut steel buckles; a buckle set with orange pastes; a foliate gilt metal buckle set with variously coloured pastes; two buckles set with clusters of orange and green pastes, centring on hooks modelled as snakes; two pairs of gilt metal shoe buckles, including one pair mounted on leather; a gilt metal and enamel buckle; and a large gilt and blackened metal belt buckle, 9 x 8.2cm £200-300

λ 28 A collection of paste jewels, 19th century, comprising: four brooches of floral spray design, set with circular­cut pastes, longest 7cm; a buckle brooch of foliate scroll design, length 6cm; an oval buckle and a pair of rectangular shoe buckles, 5.5 x 4.6cm each; a hair ornament of floral spray design set with circular­cut and cushion­shaped pastes, 7.1 x 8.3cm including comb fitting; a paste and simulant pearl ornament, length 6.6cm; a tortoiseshell and paste comb, length 9.9cm; a paste link bracelet, length 16cm, rivet broken; a black ribbon choker with quatrefoil motifs set with paste stones; and a paste necklace motif and pair of bar links for a necklace £200-300

29 A collection of enamel and paste buckles, late 19th/early 20th century, comprising: three Art Nouveau buckles of floral design, applied with basse­taille enamel, largest 10.1 x 5.6cm; together with an Edwardian buckle designed as a pierced plaque set with colourless pastes; a fine buckle modelled as leaves of convolvulus set with colourless pastes; a buckle of palmette design set with violet and colourless pastes; and a rectangular buckle set with colourless pastes, largest 9.7 x 4.4cm £1,500­2,000

30 A rare topaz shoe buckle, 18th century, set with foiled topaz, mounted in silver, measuring 7.2 x 5.6cm £300-500

31 A collec ti on of paste shoe buckles, 19th century, comprising: one pair and one set of four buckles, together with three addi ti onal buckles, each set with colourless pastes, mounted in silver and base metal; largest 6.4 x 4.6cm £200-300

32 A group of buttons, 18th­ early 20th century, comprising: two pairs and two groups of three matching buttons set with faceted colourless pastes, largest 2.9cm diameter; a button set with orange and colourless pastes adapted as a brooch, 3.6cm diameter; a set of eight buttons set with coloured mother of pearl mosaics depicting floral sprays on a black ground, mounted in gilt metal, diameters 2.4cm each; and three additional paste buttons £50-100

33 A collection of paste jewels, late 18th­20th century, comprising: fifteen brooches, including an opaline and colourless paste brooch, later brooch fittings; a brooch set with a large foilbacked yellow paste, and a brooch designed as a bouquet of flowers set with cushion­shaped pastes, mounted in silver, largest measuring 5.8 x 5cm, some with later brooch fittings; a purple paste, amethyst and gilt filigree demi­parure of earrings and a bangle; a pink and colourless paste necklace; a blue and colourless paste pendant mounted on a blue velvet ribbon; and four bracelets, longest 18.5cm £100-150

34 A group of paste jewels, 19th century and later, comprising: a pair of earrings, set with circular­ cut colourless pastes and square yellow pastes, length 4.2cm each, post fittings; two pairs of paste slides, one pair marked ‘Made in France’; a pair of shoe buckles set with colourless pastes; and a buckle set with rose­cut pastes in foiled settings £200-300

35 A collection of buttons, 19th/20th century, comprising: a group of Art Nouveau moulded glass buttons; a pair of openwork buttons set with yellow, pink and red pastes; a pair of mother of pearl buttons with gold and silver Rococo­inspired decorations; a pair of Satsuma ware buttons; and a pair of paste buttons simulating diamonds and malachite, largest 3.8cm diameter £100-200

36 Five paste hair ornaments and a pair of paste buttons, 19th century, comprising:

fi ve hair ornaments modelled as wheat sheaves, set with colourless pastes, length 8.2cm, some damages and defi ciencies, replacement fittings; and a pair of buttons of fleur de lis design set with colourless pastes, on a blue glass ground, diameter 3.8cm each £200-300

37 A group of paste jewels, late 18th century, the four brooches each designed as flower heads, each set with variously cut pastes in foil­backed settings, mounted in silver, largest 6.8cm diameter, later brooch fittings £200-300

λ 38 A collection of tortoiseshell hair ornaments, 19th century, comprising: two hair combs, largest 15.9 x 12.7cm; a tiara, measuring 19.5 x 6.6cm, three pairs of hair pins and one single hairpin, topped with a design of roses, mounted in silver, length 12.7cm, French patent mark, partially broken £200-300

λ 39 A collection of tortoiseshell hair ornaments, 19th century, comprising: a headband of meander design, fastened by a later elastic cord; three haircomb tops; a hair pin, and nine hair combs including one pair, variously designed and accented with gold and silver piqué work, largest 16 x 9.5cm £200-300

λ 40 A collection of tortoiseshell hair ornaments, 19th century, comprising: three large finely carved hair combs in blonde tortoiseshell, largest 18.5 x 16cm, partially broken; two smaller hair combs; a hair pin modelled as a flower; and a pair of hair pins set with circular pastes; one broken £200-300

λ 41 A pair of tortoiseshell hair ornaments, 19th century, comprising: two large hair combs, the tops pierced with abstract foliate patterns, each 28.5 x 27cm £200-300

λ 42 A collection of hair ornaments, 19th century, comprising: seven tiaras in gilt metal and paste, two with tortoiseshell comb fittings, largest inner curve 17.6cm, some areas of damage; together with a bag of gilt metal tiara components £200-300

Cf.: Henri Vever, French Jewelry of the 19th Century, English edition translated by Katherine Purcell, London, 2001 (originally Paris, 1906­8), p.125, for a selection of comparable hair ornaments dating from the First Empire.

43 A group of seven charms and a stick pin, 19th century, comprising: five mother of pearl charms including a lute, a bag, two wicker baskets, a boot and a wagon, longest 3.2cm; together with a jasper vinaigrette pendant; and a mother of pearl and turquoise stick pin designed as a dragoon’s helmet, length 8.3cm £50-100

44 A collection of Jasperware and enamel plaques, 18th/19th century, comprising: a framed jasperware cameo of Medusa in a gilt frame, 8.3 x 6.4cm; two smaller Wedgwood jasperware roundels depicting Venus and Cupid, and Cupid respectively, each 5.1cm diameter, each stamped Wedgwood; a smaller cut­cornered jasperware plaque depicting a dog and two hearts pierced by an arrow atop an altar, 3.6 x 1.9cm; a pair of jasperware box covers depicting mythological scenes; largest 9.6 x 5.1cm; a plaster cameo of a Bacchante, 6.0 x 6.7cm; a pair of enamel plaques depicting pastoral scenes, each 6.6 x 3.8cm; and three smaller enamel plaques with Chinoiserie scenes, each 3.8 x 2.1cm £50-100

45 Two picture frames and an Art Nouveau leather case, late 19th/early 20th century, comprising: an oval picture frame of scrolled design, set with rose­cut garnets, mounted in gilt metal, length 7cm; an oval double­sided picture frame mounted in gold, length 5.9cm; and an Art Nouveau leather case of Japanese inspiration, capped with gilt metal foliate scrollwork, 17.7 x 12.0 x 2.7cm, indistinct stamped gilt signature, possibly Mappin & Webb £200-300

46 A group of paste and gilt metal jewels, 19th century, comprising: eight gilt metal fancy link bracelets and necklaces, longest 98cm, clasps deficient; two gilt metal hat pins set with green pastes; a pair of gilt metal shoe buckles; a blue glass and marcasite bracelet, some panels of blue glass detached; and a pair of gilt metal and simulant pearl earrings, length 5.3cm each, a pair of paste and gilt metal earrings, length 6cm each; and a pink paste butterfly brooch, length 4.4cm £100-150

47 A collection of Victorian hair work jewels, mid 19th century, comprising: a floral brooch, length 9.4cm; four bracelets; three necklaces; a gold bangle, inner circumference 17.5cm, gross weight 45 grams; a brooch modelled as a knot; a pair of pendent earrings, length 8.1cm each, hook fittings; and two cross pendants, one set with a hardstone cameo depicting a recumbent lion, longest length 5.2cm £200-300 Cf.: Charlotte Gere and Judy Rudoe, Jewellery in the Age of Queen Victoria: A Mirror to the World, British Museum Press, 2010, p. 1689, for similar examples of Victorian hairwork.

48 A collection of Victorian hair work jewels, mid 19th century, comprising: three necklaces, two suspending cross pendants, longest length 42cm, pendant length 9cm; three bracelets; a pair of pendent earrings, length 5cm each, hook fittings; and a brooch of bow design suspending a tassel, measuring 5 x 6.7cm £200-300

49 A collection of Victorian hair work jewels, mid 19th century, comprising: two brooches, larger measuring 4.5 x 2.7cm; a pair of button studs; a stick pin; three bracelets; two Albert chains; a locket; three oval glazed locket compartments, backs and bail fittings deficient; a long guard necklace accented by links in black and white enamel, length 116cm; and two mechanical pencils £200-300

λ 50 Two tortoiseshell piqué boxes, late 19th/early 20th century, comprising: a cigarette case of rectangular outline, of Japanese inspiration, inlaid with gold and silver with a design of grapevines across brickwork, opening via an amethyst pushpiece to reveal a plain interior, 8.7 x 7.6 x 1.5cm; and a box of circular section inlaid with gold stars, 6.0 x 6.0 x 3.3cm £200-300

51 Three pocket watches and an Albert chain, early 20th century, comprising: one pocket watch, the silvered dial with subsidiary seconds dial, to a blackened and gilt metal case and blackened metal chain, the reverse initialled MJD, 6.5cm including pendant hoop, signed JC Vickery, case stamped JC Vickery; a mother of pearl pocket watch with white enamel dial, 6.1cm including pendant hoop; and a pocket watch in blackened metal with a gilt metal face, length 6.5cm including pendant hoop; together with a gold and silver Albert chain, 13cm including pendant £400-600

λ 52 A rare Berlin iron necklace, circa 1825, and a collection of jewel components, 18th and 19th century, comprising: a Berlin iron work necklace designed as openwork leaves, length approximately 28cm, incomplete, central motif detached, clasp deficient; an 18th century carnelian and marcasite brooch, length 3.2cm, brooch fitting later; a navette­shaped miniature on ivory depicting a lady in a pink shawl, within a frame applied with blue and white enamel, length 5.6cm including later pendant chain fitting; an openwork oval plaque designed as a Neoclassical trophy, set with rose­cut diamonds, mounted in silver, length 3.5cm; a jewel component designed as a pansy, set with rose­cut diamonds and a ruby, the leaves applied with green enamel, length 2.2cm; a glass cameo depicting a putto; a jet bracelet, clasp broken; a paste hair pin and brooch, brooch pin deficient; a pair of enamelled panels and a mother of pearl panel, each depicting flowers; a pair of rose quartz finials; a black lava fob seal carved with a woman leaning on a pillar; two paste buttons and two small paste brooches; two seed pearl and diamond links, pearls untested £200-300

Cf.: Ginny Redington Dawes and Olivia Collings, Georgian Jewellery: 1744-1830, Antique Collector’s Club, 2007, p.62, for an illustration of a similar Berlin iron choker necklace.

53 A group of hardstone and paste jewels, comprising: a carnelian and gilt metal bracelet, strung on elastic; a green hardstone bead bracelet, length 17.5cm; a pair of carnelian earrings, 1.1cm diameter each, screw fittings; a pair of aventurine glass earrings, length 4.7cm each, hook fittings; a pair of opaque blue glass drop earrings and a pair of purple paste drop earrings; length of longest 4.2cm; and a copal resin heart pendant, length 3.5cm £100-150

54 A collection of seven hardstone brooches, early­mid 19th century, the seven brooches including one set with a panel of malachite within a gold cannetille border, circa 1830, 5.3 x 2.6cm; one set with a large oval agate within a gold mount in the Archaeological Revival style, circa 1870, 5.9 x 4.7cm, later pin; a brooch set with a white chalcedony applied with a cut paper image of Athena in chariot pulled by owls in a gold mount with a glazed cover, 2.9 x 3.4cm, and four additional brooches set with sections of agate, some pins later added £200-300

55 A group of hardstone jewels, 19th century, comprising: two Scottish hardstone brooches, composed of various polished sections of agate and jasper, diameters 2.8 and 5.4cm respectively; a circular brooch inlaid with sections of agate in closed­back settings, within a border of half pearls, 4.5cm diameter, pearls untested, possibly a conversion from a panel on a snuff box; a pair of malachite 'top and drop' earrings, length 5.7cm, hook fittings, one earring with lower section detached; and a malachite ring, size L½ £600-800

λ 56 A collection of clasps, 19th century, comprising: sixteen clasps, including two set with colourless pastes; five clasps set with coral; one set with carnelian cabochons; one plain gold barrel clasp; four set with pearls; two in gold with designs of pansies in enamel; and one formed from a striped onyx bead, clasps variously set in gold and gilt metal; together with a late 18th century lozenge­shaped pearl, enamel and paste brooch, 4.0 x 1.5cm; two enamel and pearl jewel components, one with a dedicatory inscription; a synthetic ruby within a border of pearls; and a demi­lune shaped locket in a border of pearls, backing deficient; all pearls untested, variously mounted in gold, silver and gilt metal £100-200

57 A group of gem­set jewels, 18th and 19th century and later, comprising: two circular clusters set with variously­cut chrysoberyls, length of longest 2.5cm including later hook fitting, smaller with back setting deficient; a jewel component designed as a foliate spray mounted with chrysoberyl and pink pastes, mounted in silver, length 2.7cm; an amethyst and citrine thistle pendant, length 2.2cm, stamped 9ct; a circular bombé brooch set with purple pastes, 3.7cm diameter, case; and a large brooch set with circular­cut pastes, measuring 10.2 x 9.6cm, case £100-150

58 Five perfume bottles and a hardstone charm pendant, 19th century, comprising: a faceted glass bottle, capped in gold, length 12.4cm; a moulded white glass bottle capped in gold with scrolled engravings, length 8.3cm; a faceted glass bottle capped with bicoloured gold, engraved with foliate designs and set with turquoise cabochons, length 7.2cm; a white glass bottle of circular outline in gilt metal cagework, length 10.7cm including chain; and an enamelled scent bottle of Indian inspiration, mounted in gilt metal, 7.8cm including chain; together with a small hardstone charm pendant, modelled as an urn, mounted in gold, length 4.1cm £600-800

59 A collection of six charms, 19th century, comprising: four scent bottles, one in gold, one in gold and turquoise, one with a central glazed compartment containing hairwork within a coiled wire border; one in enamelled ceramic, indistinct assay mark, largest scent bottle 4.3cm; a carved wood pendant opening via a screw thread to a plain interior compartment; and a gold stick pin depicting a rose in blue enamel, length 4.5cm £300-500

60 Four hardstone pendants, first half 19th century, comprising: two jasper scent bottles, mounted in gilt metal, lengths 3.5cm and 3.3cm; a carnelian scent bottle mounted in gold, length 2.9cm; and a carnelian pendant, the carnelian carved as a scallop shell, mounted in gold, to a base metal hoop, length 5.6cm £200-300

λ 61 A group of jewels, 19th century, comprising: two pairs of carved coral drop earrings, one designed as grape vines, hook fittings deficient; the other pair designed as pine cones, hook fittings, length 5.1cm each, one surmount detached; a foliate brooch in stamped goldwork, centring on a panel of white chalcedony applied with a flower set with a section of millefiori glass cane, the reverse with a locket compartment, 4.2 x 3.8cm; a glazed locket pendant within a border of coiled gold wire accented with stars, length 3.7cm including bail; a pendant set with agate and moss agate within a gold rope twist border, length 3.6cm including bail; a carnelian intaglio engraved with an eagle, in a mount cut from a fob seal; a pair of black and gilt glass stick pins, length 12cm each; a coral brooch designed as a feather, length 7cm; and a pair of gilt metal and simulant pearl earrings £200-300

62 A group of seven brooches, 18th/19th century, comprising: a brooch set with a cabochon rock crystal backed with matrix rock, within a foliate cannetille border in gold, measuring 4.2 x 3.8cm; a dendritic agate brooch; a varicoloured gold and amethyst brooch, a carnelian brooch, and a moss agate brooch, largest 3.2 x 1.4cm; two diamond brooches, each designed as a safety pin, set with circular­cut diamonds, mounted in silver and gold, lengths 4.3cm and 6.7cm respectively, longer brooch with unidentified assay mark, maker's mark FE; and a topaz and diamond brooch of elaborate ribbon bow design suspending a drop pendant, set with rose­cut diamonds and circularcut and pear­shaped topaz in closed­back settings, mounted in gold, length 5cm, later brooch fitting £200-300

63 Five hardstone brooches and a stick pin, early­mid 19th century, comprising: four chalcedony brooches and one fossilised coral brooch, largest 8.1 x 4.6cm; together with a carnelian stick pin, length 5.2cm £200-300

64 A lava bracelet, mid 19th century, carved in white lava, centring on a mask of Medusa, to shoulders carved with stylised lion heads, mounted in gold, inner circumference 15.3cm £400-600

Cf.: a bracelet of similar design in carved coral, from the collection of Anne Hull­Grundy in the collection of the British Museum, collection no.1978,1002.1124.

65 A collection of jewels, including a mourning brooch and a patch box, 19th century, comprising: a lozenge­shaped gold plaque centring on a carnelian and glass composite cameo of Apollo, within a filigree openwork border, circa 1810, 7.4 x 6.3cm; a gold necklace centring on a gold pendant with a painted sepia enamel portrait of Mars, to a later gold chain, length 40cm; a blue glass plaque with a scene of classical ruins in cut gold, within a border of pastes, 4.7 x 5.7cm, possibly composite, frame adapted from a shoe buckle; a wooden patch or toothpick case applied with the initial D beneath a viscount’s coronet, opening to reveal a mirror and a piece of paper with the gilt crowned monogram of Queen Victoria, 6.1 x 2.2 x 1.1cm; a mourning brooch of navette outline, centring on an enamelled urn inscribed ‘Grieve not she rests in peace’, on a ground of hairwork, length 3cm, likely later adapted from a mourning ring; and a foliate gold plaque set with green pastes, 7.0 x 4.0cm £200-300

66 An Art Nouveau silver, enamel and agate pendant, a carnelian bodkin case and a gold powder compact, 19th/20th century, the Art Nouveau pendant designed as a circular beaten silver case inset with sections of lace agate and decorated with silver flowers on a ground of violet enamel, secured by screws, enclosing dried flowers, French assay mark for silver, 5.7cm diameter; together with a bodkin holder, of cylindrical form, set with polished panels of carnelian in gilt metal mounts, measuring 10.6 x 2.2 x 2.2cm; and a gold powder compact, of circular outline, the lid opening to reveal a mirror, 6.5cm diameter £400-600

67 A gold bodkin case, France, 1798­1809, of tapering octagonal outline, engraved with panels of circular dots spaced by diagonal lines, within foliate scroll borders, opening to reveal a plain interior, the base engraved as a seal with the inscription ‘Silentium et Labor’ (silence and labour), length 11cm, French assay marks for 18ct gold, Paris, 1798-1809, gross weight 24 grams £400-600

68 A gold snuff box, France, 19th century, of curved cross section, the hinged lid and base with engine turned engraving, to borders and side panels of foliate scrollwork, opening to reveal a plain interior, 6.3 x 3.8 x 1.2cm, unidentified assay mark, French maker’s mark SL, gross weight 45 grams £600-800

69 A collection of vertu, late 19th/early 20th century, comprising: a purse, mounted in parcel gilt silver, one side with a design of flowers centring on a violin and a drum, the other side with scrolled decoration, opening to reveal compartments divided by pink moiré fabric, measuring 7.9 x 6.0cm, French assay mark for silver, French maker’s mark, fitted case; a folding knife mounted in gold, set with sections of polished malachite, length 8.5cm when folded, steel blade signed Richard (surname indistinct), possibly a later conversion; and a cigarette holder, composed of agate and mounted with gold caps of laurel wreath design, length 3.6cm £200-300

λ 70 Two bodkin cases, late 18th/early 19th century, comprising: one case of tapering octagonal section in gold, engraved with foliate scrolls within engine­turned borders, opening to reveal a plain interior, length 10.4cm, gross weight 29 grams; and a bodkin case of oval cross section, constructed from tortoiseshell applied with bands of floral decoration in lacquer, mounted in gold, length 10.4cm £300-500

71 A mother of pearl box, a gold and enamel bodkin case, and a hardstone box, early­ mid 19th century, comprising: a mother of pearl box modelled as a treasure chest, mounted in gilt metal, measuring 4.4 x 5.8 x 3.8cm; a bodkin case in three­coloured gold, applied with blue enamel, length 9.3cm, fitted case; and a box set with polished sections of agate, probably English, mounted in gilt metal, measuring 4.0 x 8.1 x 4.1cm £400-600

72 A collection of three hardstone fob seals, and six carnelian watch keys; late 18th/early 19th century, comprising: two fob seals set with carnelian, including one carved with a coat of arms, the crest depicting a lion; and another carved with a book reading ‘Une lettre adoucit les peines d’absence’ (a letter softens the pains of absence); and one set with a pale chalcedony carved with a bird, each mounted in gold, tallest 3.1cm; together with six carnelian and chalcedony watch keys, variously mounted in gold and gilt metal, largest 6.8 x 5.7cm £200-300

73 A collection of three fob seals and two pendants, early 19th century, comprising: two fob seals, each with designs of oak leaves and acorns in varicoloured gold, one set with a pale chalcedony engraved with the name ‘Harriet’, the other set with an amethyst engraved with an hourglass and the motto ‘Ainsi va ma vie’ (so goes my life), both suspended from a carved split gold hoop, length 4.4cm including hoop; an additional fob seal of floral design accented with turquoise cabochons, set with a citrined engraved with the initials ED, length 2.4cm; a watch key set with an oval citrine, length 5.1cm; and a pendant in carved gold set with two micromosaics depicting the Collosseum and the Pantheon, length 5cm

£600-800

74 A group of eight Georgian carnelian pendants, early 19th century, comprising: two pendants designed as a padlocks, the larger accented with half pearls and suspending a small gold heart and key, larger measuring 3.5 x 3.1cm, pearls untested; a carnelian scent bottle with a gold cap, suspended from a gold chain; a pendant modelled as a lyre in gold filigree, set with polished carnelian, one pendant designed as a flask, set with polished carnelian, the border of coiled rope work, the top with a hinged lid; a circular carnelian pendant with a glazed central compartment enclosing hairwork; an additional carnelian pendant with a central glazed compartment; and a pendant designed as a padlock set with polished carnelian and bordered with half pearls, largest 4.5cm

£200-300

75 A seed pearl pendant and earrings, Southern Italy, earlymid 19th century, comprising: a pendant, designed as a canopy of leaves suspending fruit, constructed from gold filigree threaded with seed pearls, suspending a pearl drop, length 6.8cm, pearls untested; and a pair of pendent earrings, mounted in gold, set with seed pearls, length 7.5cm each, hook and clip fittings £400-600

Cf.: Charlotte Gere and Judy Rudoe, Jewellery in the Age of Queen Victoria: A Mirror to the World, British Museum Press, 2010, p. 320, no. 276, for an image of similar jewels collected by the jeweller Castellani and displayed at the 1867 International Exhibition in Paris, now in the collection of the Victoria & Albert Museum, and Daniela Mascetti and Amanda Triossi, Earrings from Antiquity to the Present, London, 1990, p.64, for a similar pair of earrings dated to the late 18th century.

76 A pearl demi­parure, Southern Italy, early­mid 19th century, comprising: a necklace suspending a cross pendant, constructed in gold filigree and set with baroque pearls, largest 8.5mm, chain length approximately 80cm, pendant length 13cm, pearls untested, longchain possibly a later match; and a pair of pendant earrings set with pearls, length 9.2cm, hook fittings, pearls untested £600-800

Cf.: Charlotte Gere and Judy Rudoe, Jewellery in the Age of Queen Victoria: A Mirror to the World, British Museum Press, 2010, p. 320, no. 276.

77 An amethyst seal and three agate fob seals, early­mid 19th century, comprising: a fob seal pendant designed as a gavel, the head set with amethyst carved with an intaglio of an eye, the handle of faceted violet paste, mounted in gold, length 2.6cm; and three fob seals in carved grey agate, two engraved with a coat of arms bearing the motto ‘Nos Nostraque Deo’ (we and ours to God), mounted in gold, largest 4.2cm £200-300

78 Two hardstone fob seals, early 19th century, one set with a carnelian seal depicting a coat of arms surmounted by a squirrel, to a gold mount designed as fleur de lis motifs spaced by twisted columns, carnelian 2.8 x 2.1cm; and a white chalcedony seal engraved with a crest of a squirrel above the initials BH, to a similar gold mount of neoclassical inspiration, chalcedony 2.8 x 1.9cm £400-600

79 Three fob seals and an eyeglass, first half 19th century, comprising: a gold fob seal designed as a writhing snake biting its own tail, set with a white chalcedony seal carved with a coat of arms; a gold fob seal designed as a lyre, set with turquoise cabochons, with a hinged compartment at its base; a gold fob seal of scroll design in varicoloured gold, set with a white chalcedony seal carved with the initials CC beneath a ducal coronet, the crest depicting a hunting dog, largest 4cm including bail; together with a cylindrical eyeglass in gold canneti lle set with turquoise cabochons, one end with an aperture, the other with a glass lens, length 3.1cm £200-300

80 A sapphire and diamond pocket watch, early 20th century, and two pendants, 19th century, the pocket watch engraved with a trefoil and set with circular­cut diamonds and a circular­cut sapphire, opening to reveal a black, white and gold enamelled face, length 4cm including suspension hoop, the interior signed Landon 1922 V/23, numbered 140449 and 449, Swiss and German assay marks for 14ct gold, minute hand deficient; together with an elongated guilloché enamel and rose­cut diamond pendant, length 6.7cm, end deficient; and a circular gold mourning locket pendant, the front reading ‘In Memory Of’, enclosing initials, the reverse with a glazed compartment, and inscribed ‘Mrs Sarah Fuller, died 13 Augt 1828 Aged 72’, length 3.4cm including bail £400-600

81 A gold chatelaine and four gold watch keys, early 19th century, comprising: a gold chatelaine, composed of engineturned panels in varicoloured gold, connected by chain linking, length 13.9cm, French recall mark for 1809, partial French maker’s mark; three watch keys of floral design, longest 4.5cm; and one of cutcornered rectangular outline with engine turned engraving, length 5.4cm, assay mark £300-500

82 A magnifying glass, a stick pin and a pair of earrings, mid 19th century, comprising: a folding magnifying glass, the handle in gold, each side applied with grisaille enamel depicting classical figures in profile, possibly Apollo and Demeter, the border of basse taille blue and white enamel, total length when open 11.2cm; a brooch designed as a bow with intricately engraved foliate motifs in bicoloured gold, set with turquoise cabochons, length 4.2cm; a stick pin, the head of openwork filigree centring on an enamelled pansy, length 7.7cm; and a pair of earrings designed as bouquets, set with half pearls, yellow pastes and amethysts, in varicoloured gold, length 2.3cm each, one post fitting deficient, pearls untested £600-800

83 Two sets of buttons and a pair of cufflinks, 19th/early 20th century, comprising: one set of five buttons, each composed of circular sections of mother of pearl centring on circular­cut diamonds and sapphires, 1.3cm diameter each; a set of six buttons, each set with polished agate, in gilt metal mounts, 1.4cm diameter each, fitted case; and a pair of mother of pearl and diamond cufflinks, each end of baton design, set with circular­cut diamonds and polished sections of mother of pearl, to chain connectors, each end 2.3cm, case stamped Collingwood Ltd

£400-600

84 A pair of Art Deco onyx and diamond cufflinks and a pair of collar studs, France, early 20th century, comprising: a pair of cufflinks, each end composed of a circular section of onyx set with a circular­cut diamond held in place by prongs set with rose­cut diamonds, mounted in gold, diameter of each end 1.3cm. French assay marks for 18ct gold; a pair of matching collar studs, diameter 1.0cm each, French patent marks; together with two additional collar studs set with onyx and diamonds

£600-800

85 Two pairs of gold cufflinks, early 20th century, comprising: a pair of cufflinks, the larger oval and smaller circular ends each with a grid design in bicoloured gold, to Sshaped connecting links, larger ends each 1.8 x 1.4cm, case; and a pair of cu ffl inks composed of circular ends with radiating designed in three­coloured gold, to chain connectors, diameter of each end 0.9cm, case

£400-600

86 Six wedding bands and a pair of earrings, 19th and early 20th century, comprising: two gold bands engraved with floral decoration, sizes K and N½, smaller ring with British hallmarks for 18ct gold, date 1828; a platinum ring engraved with laurel wreaths, size M; and an 18ct gold bicoloured ring, size M½, British hallmark; together with two plain gold wedding bands, sizes U½ and O, British hallmarks for 18 and 22ct gold respectively; and a pair of gold drop earrings, hook fittings, length 3cm each £400-600

87 A collection of three brooches and a hairwork charm, late 19th/early 20th century, comprising: a stickpin, the top with the badge of the Grenadier Guards, set with cushion­shaped diamonds, mounted in gold, length 7.7cm; a brooch designed as conjoined hoops set with circularcut diamonds and rubies, mounted in gold, length 2.2cm, dated 27.04.1905; a brooch of abstract geometric design set with blue and colourless pastes, length 3.8cm, stamped SCP, and a gold and hair work charm, modelled as a dragoon's helmet, composed of woven hairwork mounted in engraved gold, length 3.3cm £400-600

88 A paste cameo mourning ring, James Tassie, late 18th century, and a shell cameo brooch, mid 19th century, the brooch set with an oval cameo depicting the warrior Ajax, to a gilt metal mount, measuring 5.9 x 5.0cm, the ring set with a moulded cameo in blue and white glass depicting the Rev. James Fordyce (1720­1796), within a border of faceted black glass, to a plain gold mount, size T, dedicatory inscription 'Revd James Fordyce DD, Ob 10

Oct 1796 aet 76' £200-300

The Reverend James Fordyce was a Scottish Presbyterian minister and poet. A talented and engaging preacher and orator, he was the author of the influential text Sermons to Young Women The cameo portrait of Fordyce by James Tassie is recorded in the Tassie archive, no.14185.

89 A group of seed pearl and amethyst jewels, 19th century, comprising: a brooch, set with a cushion­shaped amethyst in a closed­back setting, within a border of pearls and seed pearls, 4.6cm, border and brooch fitting broken; an amethyst and seed pearl pendant, length 2.5cm; a pearl and seed pearl cross pendant, length 4cm, damaged; a pair of pearl tassel earrings, post fittings, tassels detached; and a pair of simulant pearl earrings, pearls and seed pearls untested £100-150

90 A diamond ‘Saint Esprit’ pin, 18th century, composite, designed as a bird swooping downwards, set with rose­cut diamonds and suspending a diamond pendant in its beak, to a surmount of ribbon bow design set with rose­cut diamonds, mounted as a pin, length 5.5cm and a pair of seed pearl and diamond earrings, each designed as a bow suspending an articulated line of leaves, set with seed pearls and circular­cut diamonds, mounted in silver, length 5.4cm each, stamped 925, pearls untested £400-600

91 A collection of four rings, first half 19th century, comprising: a ring set with an oval panel enamelled with a picture of a woman among roses, within a border of rose­cut diamonds, mounted in gold, size P, French import assay mark for gold; a ring set with an oval glass reverse intaglio depicting Antinous, mounted in gold, the interior inscribed ‘G. Aikin’, size U½; a ring set with half pearls around a glazed compartment of hairwork, mounted in gold, inscribed ‘WD 1808’, size Q, pearls untested; and a ring set with five half pearls, centring on an emerald, to foliate openwork shoulders, mounted in gold, size P½, pearls untested £400-600

92 A collection of three rings, 19th century, comprising: a ring set with an oval amethyst within a border of circular­cut chrysoberyls, mounted in gold in closedback settings, size O; an elongated plaque ring set with opaline glass over a patterned foil background, to a border of cushionshaped colourless paste stones, mounted in gold, size O; and a ring of navette design set with variously cut pink topazes and rose­cut marcasites, mounted in silver and gold, size P½, indistinct assay mark £400-600

93 Six gold wedding bands, each of plain design, sizes J-U, British hallmarks for 22ct gold, combined gross weight 51 grams £1,000-1,500

94 Two Georgian paste cameo rings, second half 18th century, comprising: a ring of marquise­shaped outline, set with a paste cameo portrait of a young boy in profile, possibly a young Prince Ernest Augustus, Duke of Cumberland, later King of Hanover (1771­1851), on a red foiled ground, behind glass, mounted in gold, front measuring 3.5 x 1.9cm, size R½, cameo signed BROWN; and a ring of oval outline, depicting the soldier and poli ti cian Sir Eyre Coote (1726­ 1783), recorded in the William Tassie archives, no. 14166, in a coat and sash, on a black ground, behind glass, mounted in gold, front measuring 3.1 x 2.4cm, size U £400-600

λ 95 An ivory portrait miniature, late 18th century, of oval outline, set with an ivory miniature depicting a young man, to a gilt metal frame with glazing to the front and reverse, measuring 4.4 x 3.8cm £200-300

96 Longines and Universal, two gentleman's gold wristwatches, the Longines with a signed gold dial with baton numerals, manual movement, on a hinged gold bangle strap, case width 29mm; the Universal with signed black dial, dot hour markers, manual movement in a circular gold case on black leather band, case width 28mm, length 22cm £600-800

97 Gruen, an early 20th century gold fob watch, signed cream dial with blued steel hands and Roman numerals, subsidiary seconds dial and outer minute track, in polished gold case inscribed ARR to reverse, case width 4.3cm, on a platinum and gold long chain, length 146cm, gross weight 82g £1,000-1,500

98 Longines, a gold wristwatch early 20th century, converted from a fob watch, signed dial with blackened hands and Arabic numerals, manual movement in plain polished gold case, later converted with gold lugs on a black leather band and gold deployant clasp, case width 48mm, length 17cm £1,000-1,500

99 Chopard, a white gold and diamond wristwatch, plain black dial quartered with square diamonds, silvered hands, manual movement, white gold case numbered 97253 and 2043 1, on a black leather band, case width 25mm, length 22cm £400-600

100 A Retro gold and diamond cuff bracelet, France, mid 20th century, designed as two feathers in gold, their curled plumes set with brilliant­cut diamonds, their quills each set to the front with a line of channel­set diamonds, inner circumference 15.7cm, French assay marks for 18ct gold and platinum, French maker’s mark CF with bell, one diamond deficient £2,000-3,000

101 Ebel, a Discovery Divers wristwatch, circa 2000, quartz movement, cream dial applied with gilt Roman numeral hour markers, gilt outer minute track, date aperture at 3, luminous baton hands, centre seconds, brushed tonneau form 18ct gold case, back secured by 8 screws, numbered 368 883913, leather bracelet with gold deployant clasp, case width 38mm £800-1,200

102 Tiffany & Co, a gold wristwatch, early 20th century, composite, signed dial with Roman numerals and blackened hands, manual movement, elaborate scrolled gold case with enamel decoration, numbered 32720, import marks for 1924, on black leather band with an 18ct gold deployant clasp, case width 2.6cm, inner circumference 16cm, clasp signed Cartier £600-800

103 A spinning hardstone and gold fob seal, early 19th century, the three vacant matrixes in carnelian, chalcedony and moss agate, each within a stylised acanthus leaf border, the mount formed from intertwined gold serpents, with central spring enabling the fobs to spin and be fixed into position, the moss agate plaque with a hinge, opening to reveal a vacant compartment, unidentified assay mark, length 5.5cm £400-600

104 An enamel and diamond bonbonnière, late 18th/early 19th century, designed as a masked harlequin in enamel to a gold mount, accented with rose­cut diamond eyes, the base with a hinged lidded compartment set with moss agate, measuring 3.4 x 3.3 x 2.1cm £600-800

105 An amethyst, chalcedony and enamel vinaigrette, first half 19th century, of rectangular section with carved floral borders in gold, the lid set with an inverted cushion­shaped amethyst, the interior compartment with a hinged openwork cover designed as pansies, applied with multicoloured enamel, the base set with a white chalcedony, measuring 2.8 x 2.3 x 1.5cm £800-1,200

λ 106 A rose quartz, demantoid garnet and tortoiseshell parasol/walking stick handle, late 19th/early 20th century, the handle of tortoiseshell, one end capped with a band of gold festoons on a ground of green guilloché enamel and a pommel of carved rose quartz inset with circular­cut demantoid garnets, length 32.1cm, Cyrillic assay mark, fitted case stamped Jo Vickery, Regent Street £800-1,200

107 A George III gold and bloodstone snuff box, late 18th/early 19th century, of the hinged box of circular outline and flattened shape, composed of carved bloodstone mounted in engraved gold, centring on a scroll motif set with a cabochon ruby, measuring 4.4 x 4.3 x 2.5cm £600-800

108 A Rococo bloodstone and gold bodkin case, mid 18th century, the cylindrical polished stone mounted à cage in the Rococo style with putti and mythical creatures among abstract scrollwork, with a twisted rope border at the junction of box and lid, opening to reveal an inner gold­lined compartment, length 12.3cm £200-300

109 Fabergé, an aventurine quartz, ruby and diamond scent bottle pendant, workmaster Michael Perchin, late 19th century, designed as a handled amphora in carved aventurine quartz, mounted in gold with laurel festoons crossed with X­shaped motifs set with rose­cut diamonds, the hinged lid accented with additional rose­cut diamonds and cabochon rubies, opening to reveal a gold stopper, the vase's hoop handles connected to a gold chain suspension, length 9.8cm including chain, Russian 56 zolotnik assay mark with workmaster's mark MП and faint additional mark, scratched inventory number 2565 £800-1,200

Cf.: two scent bottles in the Royal Collection trust by Perchin for Fabergé, RCIN 40221, designed in aventurine quartz in the Chinese taste, probably purchased by Queen Alexandra c.1904, and RCIN 40220, for a smoky quartz scent bottle designed as a lyre, the guilloché enamel, rose diamond and pearl lid of a comparable silhouette to the present bottle.

110 An Art Deco silver and enamel cigarette case, circa 1930, the hinged rectangular silver case applied with geometric designs in black, red and brown enamel, to the interior and exterior, measuring 8.1 x 7.3 x 0.8cm, unmarked £200-300

111 A fine gold chatelaine and pocket watch, France, 19th century, the chatelaine of intricate openwork design with floral decoration in three­coloured gold, splitting into three sections, chatelaine length 18cm, French assay marks for 18ct gold; suspending two amethyst fob seals in gold cannetille, accented with cabochons of opal and garnet, one garnet replaced with a circular ruby; a winding key, and a pocket watch, the white enamelled dial with Roman numeral indicators and winding key aperture, the case with floral designs in three­coloured gold, case width 4cm, interior numbered, pocket watch and fob seals of the period but possibly later added £600-800

112 Retailed by Hunt & Roskell, a Victorian garnet, cranberry glass and gold scent bottle, 19th century, the deep pinkish­red glass bottle incised in a grid pattern encased with gold cagework, to a gold base and an engraved gold lid with cabochon garnet push piece, measuring 9.7 x 4.1 x 3.0cm, original fitted case stamped Hunt & Roskell, late Storr & Mortimer £400-600

113 A gold and hardstone snuff box, 19th century, of elongated octagonal outline, of brown hardstone mounted in gold, opening via a hinge, measuring 8.9 x 4.3 x 2.6cm £200-300

114 A gold snuff box, 19th century, of oval outline with a hinged lid and undulating lip, intricately decorated with panels of engine turned engraving within borders of floral and foliate decoration, measuring 8.0 x 4.7 x 1.8cm, French import mark ET, gross weight 64 grams £1,000-1,500

115 An enamel necklace, 19th century, designed in the 18th century style as a collier en esclavage, composed of festoons of enamelled gold linking connected to oval portraits in painted enamels, suspending a similar pendant, length 38.5cm, length 9.8cm, clasp with French assay marks for 18ct gold, enamelled portraits and clasp possibly later added, fitted case with ducal coronet £1,000-1,500

116 A Victorian gold and lapis lazuli bracelet, mid 19th century, composed of lapis lazuli beads spaced by gold buckle motifs, length approximately 16cm £600-800

117 A lapis lazuli and diamond ring, France, 20th century, collet­set with brilliant­cut diamonds between two bands of polished lapis lazuli, mounted in gold, size U½, French assay mark for 18ct gold, French maker’s mark PM with scales £600-800

118 A gold and seed pearl demi­parure, early 19th century, comprising: a pendant, of oval outline, centring on a glazed compartment with elaborate foliate scrollwork in cut gold, possibly intended as the monogram ‘H’, to a blue foil backing, within a border of seed pearls and a floral surmount with a half­pearl bail fitting, mounted in gold and gilt metal and backed with mother of pearl, length 7.8cm pearls untested, brooch pin deficient; and a pair of earrings of similar design, length 4.9cm each, hook fittings with French import assay marks, fitted case stamped Marret & Jarry, Paris £800-1,200

119 A rare ‘Queen Anne’ paste necklace, mid 18th century, composed of oval rose­cut and squareshaped pale blue ‘aquamarine’ pastes in foiled gilt metal settings, suspending a similar pear­shaped pendant, the back with hoop fittings intended for a ribbon, length 37cm, length at front 5.8cm £800-1,200

120 A pair of paste earrings, 18th century, each composed of a circular­cut paste cluster suspending a similar pear­shaped drop, divided by a section of foliate scrolls set with cushion­shaped pastes, each mounted in silver in closed­back settings, length 4.7cm each, drops and central sections detachable, later hook fittings

£200-300

121 A paste brooch, circa 1800, designed as a butterfly, set with calibré­cut colourless pastes imitating diamonds, its eyes set with rose­cut black pastes, mounted in silver in closed­back foiled settings, wingspan 6.6cm, fitted case

£400-600

122 A fine topaz and diamond pendant, possibly Portugal, 18th century, of girandole design, composed of a circular openwork cluster above a floral spray, suspending three detachable pear­shaped pendants, set with circular­cut, calibré­cut, cushion­ and pear­shaped topaz and rose­cut diamonds, in foiled closed­back settings, mounted in silver, length 7cm £600-800

Cf.: a page of comparable girandole designs with floral elements in JH Pouget, Traité des Pierres Précieuses, France, 1762, cited by Diana Scarisbrick in Brilliant Impressions: An Exhibition of Antique Paste and Other Jewellery, SJ Phillips Ltd, 2010, p.26.

123 A rare ‘Queen Anne’ paste necklace, mid 18th century, composed of oval rose­cut pale blue ‘aquamarine’ pastes, claw­set in foiled gilt metal settings, suspending a similar pear­shaped pendant, connected by gilt metal chain links, the back with hoop fittings intended for a ribbon, length 26cm, length at front 6cm £800-1,200

124 A rare Georgian ‘Queen Anne’ paste necklace, mid 18th century, composed of pairs of pearshaped violet pastes, suspending a similar pendant set with circular­cut and pear­shaped pastes, in foiled gilt settings, each end culminating in a hoop intended for ribbon, length 31cm, length at front 7.7cm £800-1,200

Illustrated in Georgian Jewellery: 1714-1830, Ginny Redington Dawes and Olivia Collings, Antique Collectors’ Club, 2007, p.95.

125 A rare pair of ‘Coque de Perle’ earrings, circa 1760, each of girandole design, composed of ‘coque de perles’ in gold settings, length 6.6cm each, hook and clip fittings £400-600

‘Coque de Perle’ is the term given to filled composites of mother of pearl, consisting of a curved outer section taken from a spiral shell, backed with a flat section of mother of pearl and filled for stability and weight, designed to imitate large natural pearls. These rare earrings take the form of the girandole, a popular 18th century earring shape, which suspends three pendants.

Cf.: a pair of similar ‘coque de perle’ earrings in the collection of the MFA Boston, originally in the collection of Elizabeth Day­McCormick, accession no. 43.2122a­b .

126 A pink topaz and diamond demi­parure, 18th century, comprising: a pendant, of foliate scroll design, set with rose­cut diamonds and a cushion­shaped and pear­shaped pink topaz in foil­backed settings, mounted in gold, length 4.9cm; and a pair of earrings of similar design, length 3.6cm each, hook and clip fittings £1,000-1,500

127 A rare cut gold and enamel ring, late 18th century, of elongated oval outline, the central glazed panel containing sheet gold, cut in silhouette to depict the entwined initials LL beneath two flaming hearts on an altar, a festoon of flowers and two doves, on a blue guilloché enamel ground, within an engraved gold mount applied with green and white enamel, to a fluted band with shoulders modelled as acanthus leaves, size N½, front measuring 3.1 x 1.5cm £400-600

Cf.: Anna Beatriz­Chadour, Rings: Anna and Louis Koch Collection, Routledge, 1994, no. 995­998 for 18th century rings in a similar technique.

λ 128 An ivory, enamel and hairwork mourning ring, late 18th century, of cut­cornered rectangular outline, set with a glazed panel containing an ivory plaque initialled AW, within a cut gold border of laurel festoons surmounted by a ribbon bow, to a ground of woven hair, within an outer border of blue and white enamel, mounted in gold, size Q½, front measuring 2.5 x 1.7cm £500-700

129 A collection of three rare white enamel mourning rings, late 18th century, each applied with white enamel between millegrain borders, with dedicatory inscriptions in reserve, inscribed ‘LAURENTIUS BROCKETT B D OB24 JULY 1768 AET 43’; ‘WM STANHOPE ESQ OB 12 OCT 1783 AE 73’ and ‘TC FOUNTAYNE ARM OB 1 JAN 1780 AE 22’ respectively, each mounted in gold, sizes M½-P½, one with maker’s mark PE £600-800

130 A George III mourning ring, circa 1797, and two Victorian gold and elephant hair rings, late 19th century, comprising: a mourning ring, the wide band applied with black enamel, the dedicatory inscription ‘Philip Perring Esq Ob 7 July 1797 Aet 66’ in reserve, size Q, British hallmark for 18ct gold, date letter B for 1797, sponsor’s mark WH; and two gold rings mounted with strands of elephant hair, sizes K and P respectively £500-700

λ 131 An ivory and enamel sentimental ring, late 18th century, of cut­cornered rectangular outline, the glazed panel with a carved ivory scene depicting a man and woman holding hands over a burnt offering on an altar, while Cupid flies above, festooning the couple with a garland of flowers, to a blue glass ground, mounted in gold, size O, front measuring 2.6 x 1.6cm £500-700

Hugh Tait ed., The Art of the Jeweller: A Catalogue of the Anne Hull Grundy Gift to the British Museum, London, 1984, p.50, no.187­192, for rings intricately made in a similar technique, attributed to French origin, late 18th century.

132 An enamel and diamond mourning ring, circa 1793, of oval outline, centring on a glazed compartment containing a funerary urn in white enamel, decorated with festoons of rose­cut diamonds, to a deep blue guilloché enamel ground, within an outer border of blue and white enamel, mounted in gold, the reverse with a dedicatory inscription reading ‘Elizh Ann & Edwd Horn ob in 1792 & 1793’, size P, front measuring 2.9 x 1.8cm £400-600

λ 133 Two enamel and ivory sentimental rings, late 18th century, comprising: one ring of cut­cornered rectangular outline, the glazed compartment containing a putto placing a spray of flowers on an altar in ivory and gold wire, to a blue glass ground, mounted in low carat gold, size J½, front measuring 2.0 x 1.1cm, indistinct maker’s mark, stamped 6K; and a similar ring of oval outline, depicting a winged putto dropping a spray of flowers onto a pair of burning hearts atop an altar in carved ivory and gold, to a blue glass ground, mounted in gold, size O, front measuring 2.5 x 1.3cm £1,000-1,500

Cf.: Diana Scarisbrick, Jewellery from Renaissance to Art Deco: 1540-1940, Tokyo, 2003, p.94, and Hugh Tait ed., The Art of the Jeweller: A Catalogue of the Anne Hull Grundy Gift to the British Museum, London, 1984, p.50, no.187­192, for rings intricately made in a similar technique, attributed to French origin, late 18th century. Depictions of twinned flaming hearts on altars are a popular romantic symbol in 18th century sentimental jewels, often referred to as the ‘Altar of Love’.

134 An unusual pearl, paste and enamel mourning ring, circa 1802, centring on a glazed panel containing hairwork and the initials AW in seed pearls, within a border of half pearls, to wide tapering band applied with white enamel, between borders of cushion­shaped blue pastes continuing around the ring, the interior inscribed ‘Alice Worswick Obt 25 June 1802 At 70’, mounted in gold, size U½, case inscribed ‘1834 Agnes Maria Swarbreck, The gift of Grandmama Andrade’ £400-600

135 Two shell, pearl and hairwork mourning rings, late 18th century, comprising: a ring of oval outline, set with a section of white shell with an arrangement of knotted hair accented with gold wire and seed pearls beneath glass, to an outer border of cushion­shaped pastes, mounted in gold, size Q½, front measuring 3.5 x 1.9cm; and a ring of navette­shaped outline, the central glazed compartment with a cornucopia of hairwork accented with seed pearls, to a ground of pink conch shell inscribed ‘SOUVENIR’, mounted in gold with engraved decoration, size N, front measuring 3.6 x 2.0cm £500-700

λ 136 An ivory mourning ring, possibly American, circa 1789, of navette outline, set behind glass with an ivory miniature depicting a shepherdess in a pastoral scene with a basket and crook, to a gold mount with a stippled border and engraved decoration to the shoulders, the reverse with a dedicatory inscription ‘Hannah Grey 18 Jan 1789 AEt 5½’, size R, front measuring 3.4 x 1.9cm £200-300

Cf.: Diana Scarisbrick, Rings: Jewelry of Power, Love and Loyalty, London 2007, pg. 178 for a ring of similar design set with an ivory miniature, with comparable engraved decoration to the mount, from Baltimore, Maryland, and Martha Gandy Fales, Jewelry in America, 1600-1900, Antique Collectors’ Club, 1995, p.149, for a mourning brooch with similar decoration from Philadelphia, circa 1792.

λ 137 A Georgian mourning ring, circa 1789, designed as an oval glazed compartment containing a Neoclassical funerary urn initialled SC, accented with seed pearls and gold, on a ground of woven hairwork, the surround applied with black enamel, the dedicatory inscription ‘Samuell Chettle Died 15 Nov 1789

Aged 27’ in reserve, to a plain gold mount, size V £400-600

138 A Regency gold and enamel mourning ring, circa 1817, applied with a central band of black enamel, with the inscription ‘BARRETT MARCH ESQ OB SEP 1817 AE 72’, between bands of engraved floral motifs and outer bands of black enamel, mounted in gold, size O, British hallmarks for 18ct gold, date letter for 1817 £200-300

139 A George IV gold and enamel mourning ring, circa 1821, applied with two bands of black enamel, spaced by bands of engraved floral decoration, size R, British hallmarks for 18ct gold, date letter for 1821 £200-300

140 An enamel and gold memento mori ring, England, dated 1824, the gold band applied with a band of sinuous floral decoration concealing a skull in black enamel, the interior inscribed ‘102 P 23 Verse 27 Decr 1824’, size R½ £1,000-1,500

The inscription on this ring possibly references Psalm 102, verse 23, which reads ‘He hath broken my strength along the way; he hath shortened my days’. For a similar, 18th century example of this design, see an early 18th century ring in the British Museum by William Coles, collection no.AF.1549.

The use of skulls might seem macabre, but holds a deeper meaning; a symbol of mortality and a reminder of life's transience. This vanitas motif emphasises the fleeting nature of life, encouraging individuals to contemplate their own mortality. These pieces serve not only as an expression of grief and adherence to the mourning etiquette of the time, but also as a ‘memento mori’, a reminder of the inevitability of death.

141 A fine Georgian gold wedding band, circa 1820, the wide gold band intricately carved flowers and acanthus leaves, the interior initialled SS, size Q½ £200-300

142 A verre églomisé brooch and a pair of enamel earrings, 19th century, the brooch of oval outline, the centre with a glazed panel depicting a gold verre églomisé spray of roses, within a gold frame applied with quatrefoils of black enamel, measuring 4.2 x 4.9cm; together with a pair of gold drop earrings applied with black enamel, with engraved sprays of roses, anemones, lilies and convolvulus in reserve, length 6cm each, French assay marks for gold, Paris, 1819-38, fitted case £800-1,200

143 A fine enamel and diamond brooch, late 18th century, of octagonal outline, centring on a glazed compartment with a scene of Cupid accompanied by a heart in a row boat out at sea, the words ‘un entre mille’ (‘one in a thousand’) spelled in seed pearls in the deep blue enamel sky above, within outer borders of blue enamel and cushion­shaped diamonds, mounted in silver and gold, measuring 3.4 x 2.2cm £800-1,200

144 A George III gold and enamel mourning ring, circa 1790, of cut­cornered rectangular outline, centring on a glazed compartment with a funerary urn in black and white enamel, to a ground of woven hair, within an outer border of black and white enamel, mounted in gold, the reverse with dedicatory inscription ‘Helen Long, Obt Decr 1790 Aet’, size M½, front measuring 2.7 x 1.8cm £300-500

145 An enamel and diamond mourning ring, circa 1880, set with a cushion­shaped diamond in a square border, the setting and shoulders applied with black enamel, mounted in 18ct gold, the interior with commemorative inscription ‘Eliza Brown, Born 17th Nov 1813 died July 14th 1880’, size P, British hallmarks, date letter for 1880, sponsor’s mark EE £400-600

146 A pair of Stuart crystal cufflinks, 18th century, each composed of an oval faceted rock crystal over a panel of hairwork, in closed back settings mounted in gold, each end 1.3 x 1cm £200-300

147 A collection of three gold gimmel rings, 19th century, each splitting into two conjoined rings, two with inscriptions, reading ‘It’s a lifer’ and ‘EUGENE AUBRY, AMELIE VITET 1844’, respectively, sizes K½ to N £200-300

LOTS 148 – 151 AND 201

The 'Bague au Firmament', or 'Ring of Heaven' was designed to celebrate the news that Louis XVI and Marie Antoinette were expecting an heir, the dark blue glass, coloured by cobalt, representing a night sky dotted with diamond­set stars. The style grew in popularity and spread beyond its native France in the late 18th century and early 19th century, eventually incorporating floral and geometric motifs, and adapting to fit brooches and other jewels.

148 A diamond and blue glass ring, ‘bague au firmament’, late 18th century, of oval outline, centring on a blue glass panel set with a vertical line of three rose­cut diamonds, within an outer border of rose­cut diamonds, to shoulders engraved with foliate decoration, mounted in silver and gold, size R, front measuring 3.3 x 1.9cm £1,000-1,500

149 A diamond and blue glass ring, ‘bague au firmament’, late 18th century, of cut­cornered rectangular outline, centring on a blue glass panel set with a vertical line of circular­cut diamonds surrounded by smaller cushion­shaped diamonds, within an outer border of cushion­shaped diamonds, to plain shoulders, mounted in silver and gold, size L½, front measuring 2.5 x 1.6cm £1,000-1,500

150 A diamond and blue glass ring, ‘bague au firmament’, late 18th century, of oval outline, centring on a blue glass panel set with rose­cut diamonds, within an outer border of rose­cut diamonds, to shoulders engraved with foliate decoration, mounted in silver and gold, size N, front measuring 3.8 x 1.8cm £2,000-3,000

151 A George III diamond and blue glass mourning ring, late 18th century, of oval outline, centring on a funerary urn set with a pear­shaped diamond and smaller rose­cut diamonds, to a ground of blue glass over an engine­turned pattern, within an outer border of cushion­shaped diamonds, mounted in silver and gold, size L½, front measuring 3.0 x 1.9cm £1,000-1,500

Cf.: Ginny Redington Dawes and Olivia Collings, Georgian Jewellery: 1714-1830, Antique Collectors’ Club, 2007, p.162 for a similar example.

LOTS 152-155

The Georgian era witnessed a particular fascination with death and mourning. Jewellery served as a tangible representation of grief and remembrance, using thoughtful symbolism to beautifully encapsulate the mourning practices of the time and remind the wearer of the timeless emotions of loss, remembrance, and the transient nature of life. The mourning rings are a particular strength of Chameroy’s collection, revealing his passion for this fascinating area of jewellery history, and showcasing the broad range of symbolism employed in jewels from this period.

The birdcage in lot 152 represents the soul trapped in the earthly realm after death, signifying that death was a temporary state from which the soul would eventually be released, like a bird from a cage. The use of this poetic motif indicates the wearer’s belief in the afterlife and the hope for reunion with their dearly departed.

The willow tree in lot 153 has a peaceful and melancholic connotation, symbolising mourning, grief, and the transient nature of life. The slender branches dangling over a tombstone conveying a sense of serenity and acceptance. Black and white enamel was a crucial material used in Georgian mourning jewellery, the stark contrast between them symbolising the duality of life and death. Black enamel represented mourning, grief, and solemnity, while the white enamel signified purity, innocence, and the hope for an afterlife.

λ 152 An ivory, pearl and diamond mourning ring, late 18th century, of oval outline, centring on a glazed compartment set with an oval ivory miniature painted in sepia tones to depict a woman, leaning against a three­dimensional birdcage constructed from gold wire, set with rose­cut diamonds and a seed pearl, to an outer border of seed pearls and rose­cut diamonds, mounted in gold, size P, front measuring 2.5 x 1.4cm, later Dutch import duty mark, fitted case, pearls untested £600-800

λ 153 A superb pearl, enamel and diamond mourning ring, circa 1791, of oval outline, centring on a funerary monument composed of an ivory panel initialed ID, surmounted by a pearl, to a rose­cut diamond base, beneath a three­dimensional weeping willow set with rose­cut diamonds, on a blue enamel ground, covered by a glazed panel, to an outer border of cushion­shaped diamonds, the reverse with a glazed compartment containing hairwork, bordered by the dedicatory inscription ‘Ja.s Duberly Esq died 4 July 1791

Aged 64’, mounted in silver and gold, size Q½, front measuring 3.5 x 2.1cm, pearl untested £1,000-1,500

λ 154 A fine seed pearl, ivory and diamond mourning ring, circa 1792, of navette­shaped outline bordered with cushion­shaped diamonds, centring on a glazed compartment containing a funerary monument composed of a painted ivory panel, surmounted by a tiny urn set with a seed pearl, outlined with rose­cut diamonds, on a ground of woven hair, mounted in gold, the reverse with a dedicatory inscription ‘Maria Heathcote died 5 Jany 1792 Aged 85’, size O½, front measuring 3.1 x 2.0cm, fitted case £800-1,200

λ 155 A diamond and ivory mourning ring, circa 1792, of oblong outline, centring on a glazed panel containing a funerary monument in ivory bordered with rose­cut diamonds, painted with an urn and the initials JY, to a ground of hairwork, the outer border of black and white enamel, mounted in gold, the reverse with dedicatory inscription ‘James Young ob 25 Septr 1792 At 55’, size P, front measuring 3.1 x 1.7cm £800-1,200

156 A chrysoprase and ruby demi­parure, France, 1830s, comprising: a necklace, composed of links set with oval faceted chrysoprase, over stamped gold scroll motifs and spaced by links of ribbon bow design, set with cushion­shaped rubies and half pearls, length 42.5cm, French assay mark for gold, 1819-38, and later French import marks for 18ct gold, indistinct French maker’s mark SP; together with a pair of pendent ear clips of similar design, length 5.4cm each, later French import assay marks, clip fittings later added, pearls untested £800-1,200

157 A Victorian gold bangle, second half 19th century, the hinged bangle of fluted design, the front crossed with ‘X’ shaped ribbon motifs, inner circumference 17cm, gross weight 51 grams, case £1,500-2,000

158 A late 19th century seed pearl and ruby ring, late 19th century, composed of coiled gold wire and chain linking, centring on a cluster set with an oval ruby within a border of half pearls, size M½, pearls untested £200-300

159 A topaz parure, 1830s, comprising: a necklace, the front composed of gold cannetille links set with trios of circular­cut yellow topaz in foil­backed settings, the back composed of two elaborate twisted cannetille chains, to a yellow topaz clasp, length 40.5cm; a brooch of similar design, attaching to the necklace as a pendant, length 5.1cm, three pear-shaped topaz pendants detached; and a pair of pendent earrings of matching design, length 7.1cm each, later hook fittings, one earring broken, fitted case £3,000-4,000

160 A gold long guard chain, early 19th century, designed as a rope twist chain composed of stamped gold linking, to a barrel clasp in three­coloured gold decorated with a design of grape vines, length 94cm, gross weight 71 grams £2,000-3,000

161 A Regency amethyst and turquoise fob pendant, early 19th century, set with a rotating faceted amethyst, framed by a surmount of oak leaves, convolvulus and anemones in gold, accented with turquoise cabochons, the bail formed as a twisted branch, length 2.3cm £200-300

162 An impressive turquoise and diamond brooch, 1830s, designed as a ribbon tied in a bow, set with turquoise cabochons, the centre accented with rose­cut diamonds, mounted in gold, measuring 6.5 x 6.5cm, case stamped Harvey & Gore £2,000-3,000 Provenance: the collection of the late Michael Wellby, Sotheby’s London, 11th December 2012, lot 108.

163 A Victorian gold bangle, late 19th century, of hinged construction, designed in the Archaeological Revival style, the front decorated with gold wire and bead work, inner circumference 16.6cm, gross weight 46 grams, fitted case stamped West & Son, Dublin £1,500-2,000

164 A ruby and chrysoberyl brooch, mid 19th century, designed as a trophy bound by rope, set with circular­cut rubies and chrysoberyls, mounted in gold, length 4.4cm £400-600

165 A sapphire and diamond ring, mid 19th century, designed as a coiled snake in gold, its head set with a pear­shaped sapphire, its eyes set with rose­cut diamonds, size V½ £1,000-1,500 The sapphire, measuring approximately 7.9 x 4.6 x 3.1mm, is of Sri Lankan origin, with no evidence of heat treatment, according to a verbal report from GCS.

166 A Georgian mourning ring, circa 1825, composed of a central rotating band of engraved and repoussé floral decoration, between carved floral borders in gold, the interior with the dedicatory inscription 'Rear Admiral Miller, died 2 May 1825 Aged 75', size R½ £400-600

167 An unusual diamond, ruby and enamel ring, second half 19th century, the wide gold band with a hammered finish, centring on a snake biting its own tail, set with cushion­shaped diamonds, its eyes set with cabochon rubies, the interior with a spray of forget­me­nots in blue and green enamel, and the initials JR with a knot in deep blue enamel, size S, stamped 18, maker’s mark JW £800-1,200

168 A fine sapphire and diamond bracelet, 1830s, the clasp centring on a foil­backed octagonal sapphire, within a gold cannetille border set with cushion­shaped diamonds, to a bracelet composed of four rows of gold quatrefoil links, length 16.8cm, clasp tongue deficient, case £2,000-3,000

Accompanied by GCS report no. 5783­3001, stating that the sapphire measuring approximately 10.1 x 9.8mm is of Sri Lankan (Ceylon) origin, with no indications of heat treatment.

169 An amethyst and silver gilt tiara, France, circa 1819­1838, and a paste tiara, early 19th century, comprising: a tiara composed of graduated dog rose motifs in gilt silver, set with oval amethysts, inner curve 20.5cm, height at front 3.5cm, French assay mark for gilt silver, indistinct French maker’s mark; and a smaller gilt metal tiara of similar design set with violet pastes, inner curve 17.4cm, height at front 3.5cm, both with comb fittings deficient £200-300

Cf.: Henri Vever, French Jewelry of the 19th Century, English edition translated by Katherine Purcell, London, 2001 (originally Paris, 1906­8), p.157, for comparable hair ornaments dating from the Bourbon restoration (c.1814­1830).

170 A gold long guard chain, 1830s, of stamped linking in a rope twist arrangement, to a barrel clasp decorated with flowers in gold cannetille, length 146cm £2,000-3,000

171 A gold, onyx and enamel locket brooch, late 19th century, designed in the Archaeological Revival style, set with a banded onyx cabochon, within a band of gold rope twist and outer border of white enamel roundels with smaller onyx cabochons at the cardinal points, the reverse with a glazed compartment containing a lock of hair, suspending an onyx cabochon pendant, length 5.3cm £200-300

172 Alexis Falize, an extremely rare varicoloured gold ring, circa 1870, the central band with a scene of dogs hunting a large boar, in varicoloured gold on a blackened steel background inspired by Japanese shakudō, within plain gold borders, size T, French assay mark for 18ct gold, partial French maker’s mark for Alexis Falize, case £400-600

This intriguing ring embodies Western fascination with Japanese decorative arts in the latter half of the 19th century, following the country’s opening up to trade after centuries of sakoku, Japan’s policy of closed borders and self­sufficiency under the Tokugawa shogunate. In the world of jewellery, among the biggest exponents of Japanese art was Alexis Falize, who most famously adapted the Chinese and Japanese art of cloisonné enamel to jewellery to great acclaim in the late 1860s. Alongside his son Lucien, Falize was one of the most scholarly and technically sophisticated jewellers of his day, well­versed in decorative styles, metalwork and enamel techniques from across world history. The metalwork technique exhibited here is heavily influenced by Japanese shakudō and shibuichi - darkly patinated alloys of gold, silver and copper which appeared as details on Japanese armaments in the 19th century. Few if any other jewels in this style attributable to Falize are published, but these Japanese metalwork techniques were known to the firm, as demonstrated in their silversmithing, and a broader vogue for the style can be seen from their production in England and France in the late 1870s and 1880s, most notably for Tiffany & Co., who had purchased many of Falize’s cloisonné enamel jewels around the time Falize was exhibiting them at the Exposition Universelle in 1867. While the metalwork is certainly of Japanese inspiration, the choice and treatment of the subject matter, a boar hunt, is more rooted in European artistic traditions. Hunting scenes appear in two major commissions later carried out by Lucien Falize: a cuff bracelet enamelled and chased with a hunting scene from an illuminated medieval manuscript, commissioned by Gaston de Galard de Béarn, Prince de Viana, exhibited at the 1878 Exhibition Universelle, and also the inner boar hunting frieze of the Vase Sassanide produced during the firm’s collaboration with Bapst, first exhibited in 1889. Alexis Falize’s poinçon, AF with the symbol of a watch fusée chain hook, which appears on the present example, was registered in 1841 and appears on his jewels and his beautifully rendered design drawings up until his retirement in the mid­1870s, dating this ring to a particularly creative period in this family firm’s remarkable history.

Cf.: Katherine Purcell, Falize: a dynasty of jewelers, London, 1999, p.96 and 99, for examples of hunting scenes in commissions by Falize, p.212 for a pommel designed by Lucien Falize in Japanese­style inlaid metalwork, and p.202­6 for photographs of Falize’s cloisonné jewels of the late 1860s, bearing his maker’s mark.

Cf.: Charlotte Gere and Judy Rudoe, Jewellery in the Age of Queen Victoria: A Mirror to the World, British Museum Press, 2010, p.314, no.270 and 271, for shakudo­style jewels made in Britain in the 1880s, and p.315 no.272 for a selection of Tiffany & Co. jewels in a comparable style from the Hull Grundy collection in the British Museum.

173 A sardonyx cameo ring, early 19th century, set with an oval sardonyx cameo depicting a laureated Zeus in profile, to a fluted gold band of classical inspiration, size U, cameo 2.5 x 1.9cm £200-300

174 A fine banded agate cameo ring, early 19th century, set with an oval grey and white agate cameo of Athena in a helmet adorned with a snake and an owl, to a plain gold mount, size U, cameo 2.4 x 1.8cm £800-1,200

175 A hardstone cameo and diamond brooch, circa 1860, set with an oval ‘cameo habillé’ in banded agate depicting an African woman in profile, with a rose­cut diamond headband, earring and necklace, her hair held in a golden net, within an openwork gilt silver border, cameo 3.3 x 2.4cm, brooch 4.7 x 4cm, case £800-1,200

Cf.: Diana Scarisbrick, Jewellery from Renaissance to Art Deco, 1540-1940, Tokyo Metropolitan Teien Art Museum, Japan, 2003, p.148 no. 53 and 54, and Henri Vever, French Jewelry of the 19th Century, English edition translated by Katherine Purcell, London, 2001 (originally Paris, 1906­8), p.786 for comparable examples, also referred to as ‘commesso’ cameos.

176 A lava bracelet, 19th century, composed of elongated links of lava, variously carved with grape vines, laurel leaves and other foliate motifs, some with central panels depicting spiders, a beetle and a tortoise, mounted in gold, length 16.8cm £400-600

177 A Victorian gold, garnet and diamond bangle, mid 19th century, centring on a trefoil set with three cabochon garnets, accented with rose­cut diamonds, to a hinged gold bangle of ropetwist design, inner circumference 16.8cm, gross weight 26 grams, case £800-1,200

178 A Victorian gold and diamond bangle, circa 1880, the cuff of hinged design, the front set with a cushion­shaped diamond weighing approximately 0.30 carats, within a wire and beadwork border, the interior inscribed ‘This with a Watch Guard in memory of my Papa Edward Mayall 25 June 1880’, inner circumference 16.5cm, gross weight 32 grams, fitted case £1,000-1,500

179 A carved ruby, pearl and diamond choker, early 20th century, centring on a spray of carved rubies and circular­cut diamonds, within concentric oval borders of circular­cut diamonds, suspending a pearl pendant measuring approximately 8 x 7 x 6.5mm, to a six­row choker necklace strung with pearls measuring 4.2­2.9mm diameter, spaced by sections of ruby beads and diamond rondelles, the clasp of geometric design set with circular­cut and single­cut diamonds, length of choker 35cm, length of centre 4cm, clasp possibly later added £3,000-5,000

A verbal report stated that the pearls were natural saltwater.

180 A pearl and diamond brooch, late 19th century, designed as a rose bud, the bud composed of two baroque pearls, the leaves pavé­set with graduated cushion­shaped diamonds in silver and gold, length 5.4cm, pearls untested £800-1,200

181 A diamond brooch, early 20th century, modelled as a flaming grenade after the badge of Grenadier Guards, pavé­set with circular­cut diamonds, mounted in gold, length 4.2cm £600-800

182 A diamond brooch, late 19th century, the interlocking pear­shaped motifs set with graduated cushion­shaped diamonds connected with later added diamond tendrils and trefoil terminals, mounted in silver and gold, later brooch fitting, length 4.2cm £400-600

183 Garrard, a pearl and diamond brooch, circa 1900, designed as a ribbon wrapped in a figure of eight, set with cushion­shaped diamonds, enclosing two pearls, mounted in silver and gold, length 2.6cm, signed G&Co, pearls untested £400-600

184 An Art Nouveau diamond ring, France, circa 1900, of whiplash design, set with circular­cut and cushion­shaped diamonds, mounted in silver and gold, size M½, French assay mark for 18ct gold, case £2,000-3,000

Cf.: Henri Vever, French Jewelry of the 19th Century, English edition translated by Katherine Purcell, London, 2001 (originally Paris, 1906­8), p.1035, for a selection of comparable rings by Maison Péconnet.

185 A fine gold and turquoise parure, France, circa 1830, of seashell motif in gold cannetille, accented with turquoise cabochons, comprising: a tiara with gilt metal hair comb fitting, inner curve 18cm; a necklace, length 39cm; a bracelet, length 16.5cm; a pair of earrings, length 4.7cm each, hook and clip fittings; and a buckle/slide, length 4cm, earrings, buckle/slide, tiara and earrings with French regional petite guarantie assay marks for Mézières, Ardennes, 1819-1838, combined gross weight excluding hair comb 131 grams £3,000-5,000

186 A fine amethyst rivière, 1830s, designed as a line of graduated oval amethysts, to intricate floral borders and spacer links in three­coloured gold and cannetille, length 44cm, original fitted case £2,000-3,000

Cf.: Henri Vever, French Jewelry of the 19th Century, English edition translated by Katherine Purcell, London, 2001 (originally Paris, 1906­8), p.147, for a citrine parure similarly set in floral varicoloured gold

187 A Regency gem­set brooch, early 19th century, designed as a butterfly, set with amethyst, citrine and aquamarine, its head set with a rose­cut garnet, within beaded borders, mounted in gold, wingspan 4cm, case £800-1,200

188 Two George IV hardstone brooches, 1830s, each designed as a butterfly, one set with moss agate, within beaded borders, wingspan 3.1cm, later pendant and brooch fittings; and one set with agate and jasper, within floral borders of gold cannetille, wingspan 4.4cm £600-800

Cf.: Hugh Tait ed. The Art of the Jeweller: A Catalogue of the Anne Hull Grundy Gift to the British Museum, London, 1984, p.24, nos. 749 and 750, for similar butterfly brooches.

189 A fine ruby, emerald and diamond brooch, 1830s, designed as a butterfly in gold cannetille, set with step­cut, pear­ and cushion­shaped rubies, emeralds and diamonds, its body set with a line of half pearls, wingspan 4.1cm, fitted case stamped Good’s Cameo Corner, New Oxford St £2,000-3,000

190 A gold and citrine brooch, 1830s, designed as a butterfly, intricately decorated with floral motifs in varicoloured gold with beaded outer borders, each wing set with a foil­backed oval citrine, wingspan 7cm, brooch fitting stamped with French import assay mark 1864-93, case £800-1,200

Provenance: the collection of the late Michael Wellby, Sotheby’s, 11th December 2012, lot 55.

191 A ruby, emerald, pearl and diamond locket pendant necklace, circa 1830, designed as a heartshaped padlock in varicoloured gold, applied with flowers set with pear­ and cushion­shaped emeralds and rubies, cushion­shaped diamonds and half pearls, opening to reveal a small glazed compartment for hair, suspended from a rope chain to a barrel clasp applied with gold cannetille, pendant length 3.3cm, pearls untested, chain length 44cm, likely later matched with pendant, clasp possibly later added £1,000-1,500

Cf.: Hugh Tait ed., The Art of the Jeweller: A Catalogue of the Anne Hull Grundy Gift to the British Museum, London, 1984, p.151, no.526, for a heart­shaped locket of comparable design.

192 A very fine gold, ruby and diamond brooch, 1830s, naturalistically designed as a spray of wild strawberries, the leaves, stems and sepals in engraved matte varicoloured gold, the flowers and fruit in gold grainti set with cushion­shaped diamonds and oval rubies, measuring 5.7 x 5.8cm, brooch fitting detached £800-1,200

not illustrated lifesize

193 A pink topaz and diamond demi­parure, comprising: a pendant and a pair of earrings, each of elongated design, composed of sections of foliate scrollwork suspending three pendants, set with cushionshaped and rose­cut diamonds and oval, circular­cut and pear­shaped pink topaz, mounted in silver, pendant length 6.9cm, earrings 7.5cm each, later hook fittings, one with French assay marks for silver £600-800

194 A pink topaz necklace, 1830s, the front composed of articulated laurel leaf links, to a central motif suspending a detachable pendant/brooch, constructed from gold cannetille and set with pear­shaped, circular­cut, oval and cushion­shaped pink topazes in foil­backed settings, the back composed of two belcher link and one rope twist chains in stamped gold linking, to a similar pink topaz cluster clasp, necklace length 42cm, length at front including pendant 8.2cm, pendant with later brooch fittings, case stamped H. Knowles Brown Ltd £1,500-2,000

195 A pink topaz brooch, circa 1820, designed as a line of graduated oval pink topazes in foil­backed settings, suspending a similar detachable cross pendant, mounted in gold, measuring 9.6 x 5.4cm, case £2,000-3,000

Illustrated in Georgian Jewellery: 1714-1830, Ginny Redington Dawes and Olivia Collings, Antique Collectors’ Club, 2007, p.150.

196 A garnet necklace, possibly southern France, 1830s, composed of clusters of foil­backed rose­cut garnets, suspending a similar floral cluster of garnets from sections of knifewire, to a short back chain and garnet clasp, necklace length 39.5cm, pendant length 5cm £800-1,200

Cf.: Ginny Redington­Dawes with Olivia Collings, Georgian Jewellery 1714-1830, Antique Collectors’ Club, Suffolk, 2007, p.28, for a similar garnet fringe necklace made in Perpignan, circa 1830, and Michael CW Fieggan, Traditional French Jewellery, Vol 1: Regional Jewellery, 2021, p.104 no. 559 and 561, for comparable examples. Fieggan quotes historic correspondence stating that the garnets around this time were sourced in Syria and cut in the Jura region of Eastern France.

197 A pair of diamond brooches, late 18th century, each designed as a cornucopia, set with cushionshaped diamonds in open settings, mounted in gold and silver, 4.3 x 3.6cm, brooch fittings possibly later, tooled leather case £3,000-5,000

Illustrated in Georgian Jewellery: 1714-1830, Ginny Redington Dawes and Olivia Collings, Antique Collectors’ Club, 2007, p.96, listed as earrings.

198 A garnet brooch, possibly southern France, circa 1830, designed as a flower, set with table­cut garnets in foiled silver settings, diameter 3.5cm, later brooch and pendant fittings, case £400-600

Illustrated in Georgian Jewellery: 1714-1830, Ginny Redington Dawes and Olivia Collings, Antique Collectors’ Club, 2007, p.2, as part of a group shot of late 18th/early 19th century garnet jewels.

199 A ruby, pearl, rock crystal and paste brooch, 18th/early 19th century, designed as a bouquet tied with a ribbon, set with cushion­shaped rubies, rose­cut rock crystal and cushion­shaped green pastes, accented with half pearls, mounted in silver, length 7.9cm, later brooch fitting, pearls untested £600-800

200 A diamond and blue glass brooch, late 18th century, the oval blue glass plaque applied with a diamond posy, the central flower head mounted en tremblant, within an outer border of rose­cut diamonds in closed­back settings, a glazed locket compartment to the reverse, mounted in silver and gold, on a later gold chain, pendant length 7cm, chain length 58cm £4,000-6,000

201 A diamond brooch 'au firmament', late 18th century, the central diamond cluster on a blue glass plaque set with diamonds in star­shaped collets, within an elaborate scrolling surround of graduated old pear­shaped and cushion­shaped diamonds in closed­back silver settings, length 4.5cm, later brooch fitting, blue glass with hairline crack, case £2,000-3,000

Provenance: the collection of the late Michael Wellby, Sotheby's London, 11th December 2012, lot 29.

The 'Bague au Firmament', or 'Ring of Heaven' was designed to celebrate the news that Louis XVI and Marie

Antoinette were expecting an heir, the dark blue glass, coloured by cobalt, representing a night sky dotted with diamond­set stars. The style grew in popularity and spread beyond its native France in the late 18th century and early 19th century, eventually incorporating floral and geometric motifs, and adapting to fit brooches and other jewels.

202

A George III diamond brooch, circa 1800 and later, designed as a pansy between foliate sprays, set with pear­ and cushion­shaped diamonds, mounted in a combination of closed and open­backed settings in silver and gold, length 10.2cm, later detachable brooch fittings and pendant fittings to central pansy, fitted case stamped Wartski £2,000-3,000

203 A diamond brooch, circa 1840, naturalistically modelled as a thistle, set with cushion­shaped and rose­cut diamonds, mounted in silver and gold, length 3.5cm, fitted case stamped Halton & Slocombe £1,000-1,500

202 lifesize

203 lifesize

204

A fine emerald and diamond ring, 19th century, of saddle design, set with a geometric arrangement of step­cut emeralds and circular­ and rose­cut diamonds, to foliate shoulders and a fluted band, mounted in silver and gold, size T½, front measuring 2.9 x 1.9cm £1,500-2,000

205 A diamond lorgnette, early 20th century, the lorgnette of foliate openwork design, set with circularcut diamonds and glass lenses, opening via a spring mechanism, suspended from a platinum chain interspersed with spectacle­set circular­cut diamonds and floral links, lorgnette length 9.2cm, stamped Pat. Applied For, numbered 40023, chain length 93cm £2,000-3,000

206 A very fine Belle Époque diamond engagement ring, circa 1910, centring on a circular­cut diamond weighing approximately 0.55 carats, to an openwork mount with millegrain borders and scrolled shoulders, intricately set with circular­ and rose­cut diamonds, mounted in platinum, size P £600-800

207 An Art Deco diamond and synthetic sapphire ring, circa 1920, set with a pair of circular­cut diamonds within borders of calibré­cut synthetic sapphires, to an asymmetrical openwork mount with millegrain borders, accented with single­cut diamonds, mounted in gold, size M½ £600-800

208 An Art Deco sapphire and diamond brooch, circa 1920, of elongated oval outline, centring on a row of millegrain­set circular­cut diamonds, the largest weighing approximately 0.60 carats, among sections of calibré­cut sapphires and borders of circular­cut diamonds, mounted in platinum, length 8.5cm, original and attractive fitted case in blue leather with gold tooling, stamped Rowell & Son Ltd, Oxford £2,000-3,000

209 An Art Deco diamond and paste brooch, circa 1920, of panel design in platinum openwork, each end terminating in a palmette, set with circular­ and single­cut diamonds and calibré­cut green pastes, length 6.1cm, case stamped R. Crombecq, Anvers £2,000-3,000

210 A Belle Époque diamond and synthetic sapphire ring, early 20th century, the oval cluster with a scalloped outline, millegrain­set with a concentric arrangement of circular­cut diamonds outlined with two rows of calibré­cut synthetic sapphires, mounted in platinum, size M½ £1,000-1,500

211 An Art Deco diamond necklace, 1920s, the drop­shaped pendant of abstract foliate design, set with circular­cut and baguette diamonds, centring on a rectangular step­cut diamond weighing approximately 0.95 carats, to a chain spectacle­set with circular­cut diamonds with a later hook clasp, mounted in platinum, necklace length 44cm, pendant length 6.7cm, possibly originally a longer sautoir, adapted to a shorter length, fitted case £3,000-5,000

212 A fine Art Deco brooch, 1920s, designed as a tapering plaque pierced with abstract palmette motifs, set with circular­cut and single­cut diamonds, mounted in platinum with millegrained borders, length 6.2cm, case stamped Garrard £2,000-3,000

211 lifesize

212 lifesize

213 A fine and rare diamond brooch, possibly Portuguese, late 18th century, designed as a bow suspending an articulated pendant modelled as a lily, set with cushion­shaped, circular­, single­cut, and oval diamonds, mounted in silver and gold, measuring 5.2 x 5.0cm, later brooch pin, case stamped Harvey & Gore £3,000-5,000

Provenance: the collection of the late Michael Wellby, Sotheby’s London, 11th December 2012, lot 32.

Cf.: Brilliant Impressions: an exhibition of Antique Paste and Other Jewellery, Diana Scarisbrick and SJ Phillips, London, 2010, no. 138, p.104, for a Portuguese white beryl choker from the third quarter of the 18th century with an almost identical bow motif as its central element.

AUCTION INFORMATION

OPENING HOURS City Centre Salerooms

Monday to Friday 9am – 5pm

Old Sarum Galleries

Monday to Friday 9am – 5pm

VIEWING

All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.

REGISTERING WITH US

All first time buyers need to register with us. 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

You can register in person or by contacting the office on 01722 424500 or emailing id@woolleyandwallis.co.uk

You will be asked to show your documents or email copies.

PLEASE NOTE: Registering with our website, or any third party website, does not automatically register you to bid with us.

BIDDING AT AUCTION

See below for the different options for bidding. Please note that you may be asked to provide two forms of identification, even if you have bid with us before, in order that we are compliant with Money Laundering Regulations.

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.

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.

LIVE ONLINE BIDDING

Live online bidding is now available free of charge for most of our auctions via bid.woolleyandwallis.co.uk, enabling you to take part in the bidding from anywhere in the world live as it happens.

BUYER’S PREMIUM

The Buyer shall pay the hammer price together with a premium thereon of 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24% inclusive) thereafter.

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.

The colours printed in the catalogue are not necessarily true.

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 +44 (0)1582 493099 info@albanshipping.co.uk www.albanshipping.co.uk

Kimdan Ltd +44 (0)7973 389436 andy@kimdan.co.uk

Mailboxes +44 (0)1962 622133 mbewinchester@btconnect.com www.mbe.co.uk/winchester

Pack & Send +44 (0)1635 887237 newbury@packsend.co.uk www.packsend.co.uk/newbury

ZIXIS Fine Art Limited +44 (0)7873 981026 zixisfineart@163.com www.zixisfineart.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.

EXPORTING YOUR PROPERTY FROM THE UK

If you are exporting your property, import taxes, customs duties and other fees may apply at the country of destination. It is also your responsibility to ensure that your shipment can be lawfully imported to the destination country.

Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refund documentation (C88) for hand­carried exports.

In order to qualify for a VAT refund, your lots must be exported by a shipper and valid export documentation must be provided.

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 card­holder is not present.

Wire transfers should be sent to:

Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB.

Account no. 00957707

Sort code 30­97­41

IBAN no. GB20LOYD30974100957707

BIC code LOYDGB21063

Debit and Credit cards: Visa, Mastercard, Amex or Union Pay. Where practical, payment can be made and purchases collected during the auction.

We reserve the right to add storage charges to all lots 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 (Ω) 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 λ may be subject to CITES Regulations when exported.

The CITES Regulations may be found at www.defra.gov.uk/ahvlaen/imports­exports/cites/

ARTIST’S RESALE RIGHT / DROIT DE SUITE

Lots marked with a Φ 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, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally authorised to acquire the lot that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but will not be allowed to take physical possession of it. The auctioneers will re­offer the lot on behalf of the buyer in a future auction; or may accept instructions to dispose of it by some other legal means, at their discretion.

INFORMATION FOR BUYERS

OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS

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 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24%) 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 (Ω) 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.

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 pre­sale 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 reoffered at a future sale. Where in our opinion an item is 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 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24%) inclusive thereafter.

5. VALUE ADDED TAX

Value Added Tax on the hammer price is imposed by law on all items affixed with a † or Ω. 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.

(c) In line with new legislation we reserve the right to investigate and identify the source of any funds received by us. The completion of the sale of a Lot will be postponed or cancelled at our discretion if further time is needed for investigation, or if you are in breach of your warranties as a buyer, or if we consider the sale to be unlawful or in any way cause liabilities or be detrimental to either Woolley and Wallis or the Seller.

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 NON­PAYMENT 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 lay­out 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.

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.

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.

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

22. Prior written consent must be sought by the buyer or any other party for the use of any images, illustrations and written materials produced by or for Woolley & Wallis relating to a lot or sale, including the contents of a catalogue. Copyright for any of the aforementioned will remain the property of Woolley & Wallis, subject to the provisions of the Copyright, Designs and Patents Act 1988. Woolley & Wallis and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights to it.

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.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

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 2018 (DPA) and 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, 51­61 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;

• the­saleroom.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 the­saleroom.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 (the­saleroom.com’s payment provider);

• sage paywho 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

We may collect the following personal data about you:

• 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 government­issued 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.

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.

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.

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

• our professional advisors;

• the­saleroom.com;

• debt collection agencies;

• third parties who assist us with our marketing;

• our website and email management software provider.

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;

CONSENT

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.

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 life­threatening 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.

HOW LONG YOUR INFORMATION IS KEPT

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.

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 at: www.ico.org.uk

VALUATIONS

Valuations are a core part of our business and are usually carried out by a senior specialist or directors. Accuracy, speed and above all confidentiality are paramount.

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. 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.

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

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.

We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales.

Contact Amanda Lawrence +44 (0)1722 424500 | valuations@woolleyandwallis.co.uk

FREE AUCTION VALUATIONS

Free verbal valuations of items for sale are available by appointment. Please email valuations@woolleyandwallis.co.uk or call +44 (0)1722 424500

ABSENTEE BID FORM THE COLLECTION OF JEAN LOUIS CHAMEROY

TUESDAY 24TH OCTOBER 2023

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 Business 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

ID may be required even if you have bid with us before.

Lot Number Brief Decription Price Excluding in numerical buyer’s premium order & VAT

Signature

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR 2024 AUCTIONS

AUCTION CALENDAR 2023

SEPTEMBER

5th & 6th Old Masters, British & European Paintings

19th British and Continental Ceramics & Glass

20th & 21st Arts of Africa, Oceania and the Americas

OCTOBER

4th & 5th Furniture, Works of Art & Clocks

18th Design

24th Single Owner Collection of Jewellery

25th & 26th Fine Jewellery

31st Silver & Objects of Vertu (Day One)

NOVEMBER

1st Silver & Objects of Vertu (Day Two)

14th ­ 16th Asian Art, Chinese Paintings & Japanese Works of Art

28th Medals & Coins, Arms & Armour 29th British Art Pottery

DECEMBER

13th Modern British & 20th Century Art

Dates may be subject to change

+44 (0) 1722 424500

enquiries@woolleyandwallis.co.uk

51­61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk

*visit www.woolleyandwallis.co.uk/buying for additional charges on final hammer prices

A citrine and topaz gold flower brooch by Cartier

£20,000 – 30,000*

To be sold in our 25th & 26th October auction