We found 15862 price guide item(s) matching your search

Fillis Menegatti white metal pendant - set with a rectangular green glass intaglio suspended from a 'jewelled' bail, 11.2g.

A rare French intaglio fob - probably high carat gold, decorated with green and white enamel, the matrix engraved with a leaf and inscribed 'Je ne change qu'en mourant' (I change only in death), 5g.

A blue glass intaglio - carved with a classical scene, within a gilt frame and a pearl drop, 6.6g.

A hardstone intaglio ring, carved with a family crest, head dimensions 17.3 x 15.1mm, size L½, tested as 18ct gold, weight 11g

A lapis lazuli intaglio ring, carved with a family crest, head dimensions 13.8 x 13mm, size I, stamped '14K', weight 6.3g

Regency yellow metal seal, the chalcedony seal with intaglio carved family crest and motto, suspended from a Regency gold snake split-ring, together with another similar seal (2)

Victorian gold and bloodstone signet ring, the oval intaglio bezel with initials and Latin motto, ring size I.Good condition commensurate with age. The shank has been re-sized using a steel band that has been applied to the inside of the shank and presumably covered up any hallmarks, appears to 9ct. Intaglio and setting is in good condition. Weighs approximately 4.6 grams

Regency yellow metal seal, the chalcedony seal with intaglio carved heart and motto 'To be Exchanged, Not Sold'. 22mm

Victorian 18ct gold and intaglio carved carnelian signet ring, the oval seal with family crest and motto, in gold setting with a wide reeded gold band, inscribed 'From MB to RWB 29th Nov. 1903'. Hallmarked London 1874. Ring size approximately R-S.The carnelian intaglio is in very good condition, light surface scratches commensurate with age but no damage. A clear full set of hallmarks, no evidence of re-sizing. A very substantial ring, in good original condition. Weighs approximately 12.1 grams 

Large Regency yellow metal seal, the octagonal carnelian seal with finely carved intaglio armorial crest, 32mm.

Watercolour on ivory depicting of Oliver Cromwell, 19th century or earlier, oval, 9 x 8cm (a.f.) together with an 18th / 19th century seal fob with carved intaglio of Cromwell. (2). APHA Ref: KKZ9GZA6

Group of antique seals to include a Regency yellow metal seal with snake surmount and intaglio crest to the bloodstone seal, two gilt metal seals and a green hardstone seal (4)

Renaissance style gilt metal ring, the hardstone intaglio depicting a horse, cast setting, pierced shoulders on tapered shank, ring size M½.

Regency yellow metal seal, the carnelian seal with finely carved intaglio armorial crest, 30mm.

A GOOD GENTS SIGNET RING 18CT GOLD WITH INTAGLIO OF A BIRD size N 8 gms

Antique gold cased fob seal set with an amethyst with a lion intaglio

Marclihac no. 879, circa 1913-47Of tapering ovoid form, in colorless glass, the body molded with stylized lizards and foliate motifs, in intaglio relief, heightened with traces of sepia colored patina, inscribed R. LALIQUE and France. Height 13 1/8 inches.Small chip loss to foot rim; there are a few very tiny nicks to the top rim edge, not of great consequence; there are scratch marks to the underside, commensurate with age and handling; there are traces of sepia colored staining present, notably, at the center and lower area, othewise, the staining is no longer very evident and is presumably worn away; there is evidence of a thin film or residue on the interior side, which may either simply clean away or else may be mineral stainingSmall chip loss to foot rim; there are a few very tiny nicks to the top rim edge, not of great consequence; there are scratch marks to the underside, commensurate with age and handling; there are traces of sepia colored staining present, notably, at the center and lower area, othewise, the staining is no longer very evident and is presumably worn away; there is evidence of a thin film or residue on the interior side, which may either simply clean away or else may be mineral stainingAny condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

A 9ct gold Signet ring, the green stone with Intaglio in the form of a classical bust, 6.6gms, ring size V

A 9ct gold Signet ring, the green stone with intaglio in the form of a classical bust, 8.6gms, ring size T

A 9ct gold bar and oval link short Albert, with intaglio gilt metal scroll fob, and large heart shaped padlock clasp, chain length 18.5cm, total weight 37.1g.

A gold signet ring, testing as 20ct, with intaglio bloodstone cartouche, of a classical figure holding a laurel and thistle, ring size M/N, 5.4g, unmarked but testing 20ct.

A 15 Carat Gold Hardstone Intaglio Signet Ring, finger size N1/2; and A 9 Carat Gold Bloodstone Intaglio Signet Ring, finger size G15 carat gold - 3.9 grams. 9 carat gold - 3.6 grams.

Lowther Castle: A Christmas Card, Xmas 1922, printed with a vignette depicting Royal Lancer and Diligence and with crowned L and inscription A Merry Xmas and Happy New Year ... Yours very truly Lonsdale14.5cm by 8.5cmTwo Similar Christmas Cards, 1919 and 1923 A Set of Twenty-One Silver-Plate Livery Buttons, cast with the crest of LonsdaleA Brass Fob Seal, the finial as a pugilist, the matrix with intaglio crowned L5cm highA Wooden-Handled Seal, the matrix with crowned garter enclosing L8.5cm longA Dog Tag, inscribed LOWTHER MARKET OVERTONThree Ivorine Plaques, with bas-relief Lonsdale crestsA Book-Form Cigar Box, with white metal plaque inscribed TO LORD LONSDALE FROM LIONS NIPPY'S MAY 28.193325cm wideA Pottery Match Strike, appllied with an enamel Royal Navy white ensign 7.5cm high (qty)

A SELECTION OF MOSTLY WEDGWOOD AND WEDGWOOD & BENTLEY BLACK BASALT INTAGLIO DISCS AND SEALS VARIOUS DATES SECOND HALF 18TH CENTURY discs 4.5 x 4cm and smaller, seals 3 x 3cm and smaller TOGETHER WITH two variously coloured dry-bodied stoneware examples, many with impressed marks and three seal fobs (19)Provenance: From the estate of the late Geoffrey and Gina Oxborrow Condition Report: PLEASE NOTE: ALL LOTS ARE LOCATED AT SACKVILLE WEST STORAGE IN ANDOVER (SP10 3SA) AND ARE NOT AVAILABLE TO VIEW A small crack to white disc, please see additional images Some marks  ADDITIONAL IMAGES: Please 'Ask a Question' to request additional images for this lot.  Condition Report Disclaimer

A collection of antique jewellery to include two Georgian hardstone seal fobs, the smallest damaged, height approx 10mm, the other approx 22 x 10 x 13mm, along with a later yellow metal bloodstone fob possibly 9ct gold suspended from a 9ct gold graduated Albert link chain, length approx 23cm (chain end missing) total gross weight approx 14gms, along with a unmarked yellow metal carnelian intaglio, bloodstone/carnelian swivel 9ct gold fob a/f damaged, an unmarked yellow metal stick pin, weight approx 5.6gms possibly 18ct gold,  along with weighable bloodstone yellow metal seal ring, three damaged 9ct gold bar brooches with metal pins, one unmarked and 9ct gold stud, combined total gross weight approx 12.4gms, a diamond and 15ct gold stick pin, 2.1gms in original case, weighable chain, unmarked possibly 15ct gold, total weight approx 5.4gms and two Georgian metal cuffs with applied gloved hand, one with a dove details (1 bag) Further details: wear and tear damages commensurate with age 

A selection of silver items and miscellaneous items, the silver items include a ladies Sanders & Company London "0,935" stamped pocket watch, a George III silver mother of pearl handle pickle fork?, a silver St. John's Hospital blue enamelled brooch, pin badges, a W.Marples & Sons Hibernia brass spirit level cased and a 19th/20h century base metal intaglio seal watch fob, a/f

A Masonic fob, the round fob with Masonic red glass intaglio set in gold mount with Masonic symbols and stamped 9ct, 32mm long, 7.1g

Three fobs: including an unmarked rectangular chalcedony fob with Latin inscription, 24mm wide x 36mm long, 18.3g; an unmarked bloodstone intaglio fob, 21mm wide x 35mm long, 15.7g; and a gilt metal carnelian intaglio fob, 22mm long, 4.4g, (3)

A Stevens and Williams intaglio cased glass service, comprising ten glasses and nine finger bowls, each overlaid in yellow, orange, pink, purple, and green and intaglio carved floral band, unsigned, star cut foot, 17.8cm. high (glass), 12.5cm. diam. bowl (19)

A Chelsea porcelain miniature seal, circa 1770, in the form of a China man, one arm lacking, inscribed ‘Amoureux Carillon’ in red, gilt metal base with intaglio hardstone seal, 3cms.

A carved amethyst seal, of mushroom form, the base intaglio carved with a rose spray above the black letter initials ‘OS’, dimensions 28 x 21 x 23mm. £100-£150

A 17th century silver swivel seal matrix, the oval double sided swivel bezel bearing to one side the intaglio crest of a demi-eagle with wings expanded, to the reverse a coat of arms - argent on a chevron or between three boars heads; the swivel mount with C-scroll details, and circular hoop surmount, length 16.5mm, weight 9.1gm. £200-£300 --- Provenance: This seal was found by a metal detectorist in April 2019 in Thirkleby High and Low with Osgodby, Hambledon, North Yorkshire. It is recorded on the Portable Antiquities Scheme database, ref: DUR-C11504 and has been disclaimed as Treasure, ref: 2019-T524. The Bethell family of Rise, in Holderness, East Yorkshire, bear a coat of arms comprising a chevron between three boars head, and the crest of a demi-eagle or eagle coped between two wings. The Bethell family purchased Rise Manor and estate in 1646. Sir Thomas Frankland, 2nd Baronet (1665-1726) of Thirkleby Hall in Yorkshire (close to the discovery site of this seal) was briefly Member of Parliament for Hedon, Holderness, in the East Riding of Yorkshire in 1695 alongside Hugh Bethell (1648-1717) of Rise, as the constituency at that time returned two members to the House of Commons.

An early 19th century agate and gold desk seal, the flared faceted chalcedony handle above a border of small cabochon turquoise, to a scroll and acanthus leaf mount, the octagonal base inset with an amethyst intaglio carved with a wreath encircling the motto ‘remember’, length 63mm. £300-£500 --- Condition Report Good crisp condition. Slight variation in colour of turquoise. No chips to chalcedony or amethyst, slight scuffing to amethyst only. Gross weight 26.8gm.

An Islamic intaglio pendant, the rectangular plaque with carved and painted Islamic religious script and flowerheads, to a plain mount, plaque dimensions 33 x 42mm. £100-£150 --- Condition Report Gross weight 18.4gm.

An early 19th century gold and hardstone seal, the cushion-shaped chalcedony intaglio carved with the crest of the Craig clan of Scotland - a knight/chevalier on horseback in full armour, grasping a broken lance, below a banner bearing the motto ‘VIVE DEO UT VIVAS’, in a foliate and scroll gold mount, height 34mm. £240-£300 --- Provenance: The motto of the Craig clan, ‘Vive deo ut vivas’ translates as ‘Live for God that you may live’. See: Fairbairn’s Crests, page128 and plate 43, crest 2. Condition Report Crisp, with minimal wear. Base dimensions 23 x 20mm. Gross weight 18.8gm.

The Warner ‘Gresham Grasshopper’ Seal Ring An important 16th century gold signet ring, circa 1560-1575, the oval crystal bezel intaglio carved with the coat of arms of Warner, with tinted foil behind to colour: Or a chevron between three boars’ heads couped sable, in a closed gold mount with tapered shoulders, the underside of the bezel engraved with a grasshopper in green enamel, weight 14.8gm, ring size Q. £10,000-£15,000 --- Provenance: This, until now unrecorded ring, is one of a series of ‘Gresham Grasshopper’ seal rings, gifted by the great Tudor financier Sir Thomas Gresham between the years 1560-1575. This ring was inherited through a private family from the 19th century, thence by descent, until circa 2010. Sir Thomas Gresham (1519-1579) The Gresham family were an old Norfolk family, merchants and financiers by trade. Sir John Gresham (1495-1556) worked for Henry VIII, Cardinal Wolsey and Thomas Cromwell. The young Thomas Gresham, following in his family’s footsteps, served his apprenticeship as a merchant under his uncle Sir John Gresham, dealing principally in woollen cloth and other luxury textiles such as silks and velvets. However his true talents lay elsewhere, like his father Sir Richard Gresham, in making deals in foreign exchange and arranging finance. His father “taught him some of the secrets of exchange dealing in Lombard Street and Antwerp” (Guy, J., p.13). By the 1530s Thomas began working and training within the family business, by this time the Gresham family firm were the largest shippers trading out of London. In 1543, at the age of just 24, Thomas was, again following family tradition, admitted as a liveryman of the Mercers’ Company, leaving England later that year to pursue business in the Low Countries. Quickly earning respect for his adept and skilful play of the financial markets, his trade took him regularly to Antwerp, the principal trading port for cloth in the European markets, and by the 15th century the “commercial capital of Northern Europe” (Guy. J., p.19). Here he began to undertake financial arrangements on behalf of Henry VIII, including smuggling over £30,000 of gold and silver coins into Bologne to pay the king’s mercenaries based in Antwerp. A shrewd and astute businessman, Thomas Gresham skilfully kept out of the religious fever sweeping back and forth across 16th century Europe and this determined neutrality allowed him to maintain his role as financial agent to the Crown, not only to Henry VIII, but Edward IV, Mary and finally Elizabeth I, negotiating foreign and domestic loans, advising on financial matters, and manipulating the exchange rates to allow him to restructure and reduce the crown debt. Under Elizabeth he was also appointed as ambassador to the Court of Margaret of Parma, Governor of Netherlands. In 1565 Thomas Gresham agreed to finance and oversee the construction of the Royal Exchange, largely modelled on the Antwerp Bourse, on a site between Lombard Street and Cornhill, a grand and appropriate venue for him and his fellow merchants to conduct their business. After his death in 1579, in his will Thomas Gresham left the Royal Exchange in trust, to be split between the Corporation of London and the Mercers’ Company but both parties being thereafter required to fund Gresham College, the first institution of higher education in London. Mark Warner (d.1583/1584) This ring bears the arms of the family of Warner. A potential candidate for these arms was Sir Edward Warner (1511-1565) of Polstead Hall and Little Plumstead in the County of Norfolk, but as Sir Edward bore for his arms: ‘Per bend indented sable and argent’, this cannot be the case. It is therefore believed that this ring belonged to Mark Warner, of All Hallows, Lombard Street. (Ref: Beacon Genealogical and Heraldic Research). Mark Warner is recorded as a cloth merchant and a member of the parish of All Hallows, Lombard Street, in the City of London. He was twice married at the church, first to Elizabeth Farthing in 1554 and then Judith Grymson in 1579, and was buried there in January 1583/4. His will (National Archives ref: PROB 11/66/333) lists two daughters, Cicelye and Elizabeth, and a son, John. The Warner family owned property at Stroud Green in Middlesex but had long been associated with Lombard Street. Mark’s grandfather John and his father Richard both contributed to the building of All Hallows church. Mark Warner was a member of the Worshipful Company of Drapers, being apprenticed in 1543 and called to the livery in 1552. By 1554 he had become a freeman, in this year he took his first apprentice, William Bocher, followed by a second apprentice James Cranfyld, prior to 1558. Like Gresham, Warner was not just involved in the cloth trade but also in finance. His name is included in a list of known insurers in London, in business between 1559-1573. (National Archives ref: HCA 24/39). At this time, high risks were associated with the safe passage of goods by sea. Marine insurance was provided by ‘Lombard Street’ custom (although not yet legislated for). Collectively groups of merchants based around Lombard Street would each loan against part of the cargo of a ship, the loan being dismissed if the vessel floundered, thus insuring the vessel and spreading the risk of overseas trade amongst the merchant community. When, in 1575, the Chamber of Assurances was set up to register insurance contacts, it was Gresham’s long time agent Richard Chandler who was given the position and an office inside the Royal Exchange. The quantity and value of overseas deals negotiated by Gresham must surely have necessitated elaborate insurance deals. Both being cloth merchants, involved in finance and insurance, and both residing and working in Lombard Street, Warner and Gresham’s paths would undoubtedly have crossed. The Grasshopper Rings This form of signet ring, with an intaglio carved rock crystal bezel, foiled behind to tint the colours of the coat of arms (allowing impressions to be taken without exposing the colours to hot wax), first appeared in Germany in the early 16th century (Princely Magnificence, cat no. 4 and 7). By the second half of the 16th century this style of ring had made its way to England where it became “the status symbol ‘par excellence’”. (D. Scarisbrick, 1993, p.48). Through the third quarter of the 16th century Thomas Gresham gifted a series of these rings to acquaintances/business associates, each with a foiled crystal bezel displaying their coat of arms, with an enamelled grasshopper to the underside of the bezel. The grasshopper was the family crest of the Gresham family, probably derived from their Norman ancestry, being descended from the De Gresses. After becoming citizens of England, the French prefix ‘DE;’ was dropped, and to distinguish them as landowners, the word ‘HAM may have been added, and under this modified name, the family coat of arms granted prior to 1460. The Gresham family coat of arms are: ‘Argent a chevron ermine between three mullets pierced sable’, with a crest: ‘On a mound a grasshopper vert’. These arms are recorded in the Heralds Visitations for the County of Norfolk, 1563 and for the City of London, 1568; these pedigrees indicate the arms were granted to John Gresham (died 1460), the 2x great grandfather of Thomas. Nine such ‘Gresham grasshopper’ rings are recorded. The Warner ring, until now undiscovered, brings this total to ten. The recorded examples are: The Sir William Fleetwood ring, in the British ...

A unicorn gold seal ring, 15th - 16th century, the heavy ring with round bezel intaglio carved with a unicorn restant within a corded border, the interior of the band inscribed in Medieval French gothic script ‘Le voyr’, weight 15.3gm, ring size Q. £8,000-£10,000 --- Provenance: From a private family collection, circa 1970, and thence by family descent. The Medieval French inscription ‘le voyr’ or ‘le voir’ translates as ‘see it/him’, probably alluding to the unicorn. Whilst a titled gentleman’s signet ring bore his family crest or coat of arms, by the late Medieval and post Medieval periods, signet rings were in wider use often engraved with para-heraldic devices. “The image graven on the bezel needed only to be a visual representation or device of an individual; something that was enough to create a distinctive, identifiable sign... Many rings with non heraldic devices attempt in part to make reference to true heraldry... This could in turn elevate a man’s status socially and this was one means of defining his masculinity”. (Awais-Dean, N.) Of all the mythical beasts, the unicorn is one of the most elusive and secretive: its essential characteristics being the single horn, the magical quality of repelling poison, its fierceness and fleetness of foot and its ability to elude capture. They are said to represent purity, innocence and truth. In the Middle Ages the unicorn was sometimes used to symbolise the death and sacrifice of Christ, whilst in the 13th century a more romantic imagery was popular: Richard de Furnival, in Bestoire d’Amour, referred to the unicorn as “symbolising the lover, beguiled by the virgin who represents his beloved”. In his work on Mythical Beasts, John Cherry notes that where the unicorn is depicted in Medieval art “one cannot be sure whether it is the triumph of religious or secular love that is being celebrated. It is this ambiguity that makes the unicorn one of the most fascinating mythical beasts.” Literature: Awais-Dean, N., Bejewelled: Men and Jewellery in Tudor and Jacobean England, British Museum Press, pub. 2017. Cherry, J., Mythical Beasts, British Museum Press, pub. 1995. Condition Report According to a PMI test on an XRF machine the gold is testing as 21ct. Some general surface wear, but in overall fine condition, detail still crisp. Bezel measures 12mm diameter. Gross weight 15.3gm.

Middle-Eastern Intaglio ring

A 9ct yellow gold signet ring with carved intaglio, size W, approx 5.8g.

A pair of Bohemian intaglio engraved stag and doe beakers, late 19th century, height 15cm

Two Victorian gilt metal intaglio seals; together with a similar pocket watch key (3).

A GLASS INTAGLIO RING depicting Dante, in a closed back Georgian style setting, stamped 18ct. Finger size O1/2, weight 16.6gms Condition Report:We do not acid test items. It is stamped 18ct. Without a full Uk hallmark it is impossible to date the ring exactly it is at least Victorian.

Original etching on paper titled Descending by British artist Merle Perlmutter, pencil signed and numbered 12/75 in the lower margin. This finely executed intaglio print explores a surreal architectural interior, featuring stark geometric spaces and a solitary figure emerging from a staircase. The composition utilizes rich tonal variation and intricate linework, highlighting Perlmutter's command of the etching process. A deep plate mark is visible around the image, affirming its authenticity as an original print. Professionally matted and housed in a polished chrome frame.Artist: Merle Perlmutter (British, b. 1936)Issued: 20th centuryDimensions: 25"L x 33"HCondition: Age related wear.

TWO REVERSE PAINTED MONOGRAM JEWELS, LADY HELENA CAROLINE COOKE The oval locket with reverse painted HC monogram, the border with motto Spes Tutissma Coelis, the locket containing a coil of hair, the border inscribed The Lady Helena Caroline Cooke Born 11th April 1801 Died 9th May 1871; together with a similar reverse painted intaglio monogram stickpin, the gold setting inscribed Lady Helena C. Cooke b:1801 d:1871 Spes Tutissma Coelis, unmarked Size/dimensions: locket 4.6cm long including bale, stickpin terminal 2cm diameter Gross weight: 23.3 grams Provenance: The Davies-Cooke Collection from Gwysaney Hall, North Wales For further details about the collection, visit: www.dreweatts.com/news-videos/gwysaney-hall-a-welsh-family-s-portrait-of-british-history-14767/ The motto is that used by the King family and Viscounts Lorton. Helena Caroline King (1801-1871) eldest daughter of George King (1771-1839) 3rd Earl of Kingston and his wife Helena Moore (1773-1847) daughter of Stephen Moore (1730-1790) 2st Earl Mount Cashel. Condition Report: The locket has some light wear commensurate with age and use. The stickpin has some signs of use, scuffs and knocks. Condition Report Disclaimer

A EARLY 19TH CENTURY FOB SEAL, EARLS OF KINGSTON The black agate matrix with a K below an Earl's coronet, unmarked, with an early 20th century paper scroll with seal details written in black ink; together with a further 19th century fob seal, carved with a classical lady's head in profile, unmarked Size/dimensions: first seal 2.5cm long; second 2.7cm long Gross weight: 9.7 gramsProvenance: The Davies-Cooke Collection from Gwysaney Hall, North WalesFor further details about the collection, visit: www.dreweatts.com/news-videos/gwysaney-hall-a-welsh-family-s-portrait-of-british-history-14767/ The earldom was created in 1768 for Sir Edward King (1726-1797) 5th Baronet of Boyle Abbey, co. Roscommon. Subsequently the same crest and coronet was used by the descendant earls, amongst whom is George King (1771-1839) 3rd Earl of Kingston. Condition Report: Some general wear commensurate with age and use.Earl of Kingston fob has some knocks to the side of the setting. There is some basemetal around the interior of the suspensory loop. The fob with the classical head has a cornelian panel inset to the back of the panel, possibly to strengthen the intaglio. Some repairs. Condition Report Disclaimer

Indian An antique yellow gold ring with Quranic intaglio engraved carnelian inset to the top Ring size: J Total weight: Approximately 8.63 grams

Continental, Antique An ancient blue glass intaglio-style panel (possibly Egyptian) within a high carat gold rope-twist and lover's knot shank. Finger size: H Total weight: Approx. 4.13 g.

An early 20th Century Stevens & Williams 'rock crystal' type vase of footed ovoid form with everted collar neck, skeletal molded and polished intaglio cut in the Art Nouveau taste with panels of stylised flowers and foliage within repeat pattern borders, unmarked, height 20cm.

A group of three early 20th Century Thomas Webb & Sons drinking glasses, each with rock crystal style decoration of polished intaglio rococo scrolls and panels, flowers and foliage, tallest 11.5cm. (3)

An early 20th Century Stourbridge clear crystal glass decanter by Stevens & Williams, the dimple knocked body with vertical ribbing, decorated with polished intaglio flowers and foliage, all below a silver collar neck, hallmarked for Birmingham 1906 with matched spiral and polished intaglio cut stopper, height 25cm.

An early 20th Century Stevens & Williams clear crystal vase of footed trumpet form, the body polished intaglio cut with panels of stylised flowers and foliage, height 25.5cm.

A late 19th Century Stevens & Williams clear crystal decanter if shouldered ovoid form with dimple body and vertical ribs and polished intaglio stylised flowers and foliage below a silver hallmarked quatrefoil rim and wrythen fluted stopper, hallmarked for Sheffield 1896, height 24.5cm.

Thomas Webb & Sons - An early 20th Century clear crystal drinking glass, the bell form bowl with polished intaglio decoration of floral garlands over rococo style panels with baluster form stem and radial cut foot, height 15cm, together with a similar smaller version and an earlier ruby wine with engine turned decoration. (3)

A 19th century agate intaglio ring, comprising an oval form carved with a classical Roman figure looking to the right, width approx 15mm, to a later mount, size O, unmarked assessed as 14ct gold,  total gross weight approx 6gms Further details: intaglio intact, minor wear commensurate with age 

A classical green chalcedony intaglio possibly ancient Greek from 1st Century BC, set in a later Georgian gold ring mount, the intaglio possibly depicting a seated Neptune with trident, offering an object (possibly a crown) to a standing male figure, within a grooved box setting oval in form, approx 14 x 13mm, closed gadrooned bezel, split shoulders with beaded decoration, size P, unmarked gold, total gross weight approx 3.4gms Further details: intaglio intact, minor wear commensurate with age, the reverse shank with later lower carat gold pieced section

Mixed media intaglio print by Slovak-Israeli artist Mikulas Kravjansky, titled Jerusalem City of Gold Part II. This richly textured piece blends architectural and cultural imagery with embossed metallic details, historic motifs, and photographic elements, creating a layered homage to the city's heritage. The composition incorporates elements like a copper seal, miniature vignettes of pastoral life, and Romanesque and Byzantine architectural references. Pencil signed by the artist in the lower right and hand-numbered 185 of 190, dated 1982. Embossed collector seal in the lower left margin.Artist: Mikulas Kravjansky (Czech, b. 1928)Issued: 1982Dimensions: 34"L x 42"HCondition: Age related wear.

Mixed media print by Mikulas Kravjansky (Czech, b. 1928), titled Jerusalem City of Gold Part III. This richly textured and atmospheric piece blends intaglio, etching, and embossing techniques with hand-applied coloration to create a detailed panorama of the Old City. Foreground features include embossed architectural forms, bronze-hued seals, ancient iconography, and subtle engravings of Jewish cultural scenes. A lion relief, rendered in copper tones with pseudo-Hebrew inscription, dominates the center, evoking themes of strength and heritage. Below it, a small black-and-white etching depicts a contemplative figure near a window, while the lower right contains a medallion-like stamp with classical architectural motifs. The background features towers and domes fading into a sepia-toned haze, suggesting Jerusalem's layered, sacred history. Hand-signed and dated "M Kravjansky 1982" in pencil at lower right, and numbered 185 of 190 at lower left. Embossed certification seal visible in the margin.Artist: Mikulas Kravjansky (Czech, b. 1928)Issued: 1982Dimensions: 34"L x 42"HCondition: Age related wear.

A Military badge possible French Foreign Legion. Glass intaglio and other badges.

An 18ct gold Albert / watch chain made up of elongated oval links (31g, 31cm), with 1909 gold half sovereign pendant and Victorian pocket watch key set with a bloodstone intaglio depicting a man with a knife

A 9ct rose gold graduated double Albert/ watch chain (43g, 39cm) with Victorian intaglio seal