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Five pieces: 1. a 3-step aluminium stepladder;  2. an electric strimmer; 3. a Letter-Fix 5-meter portable fire escape; 4. a set of Delta ear defenders; 5. a snow shovel.

An aluminium step ladder (top step 103 cm high)

A 'MADE' SINGLE SPEED LADIES BIKEwith a step through black painted frame and spring supported seat, seat height 88cm

Set of small Youngman aluminium step ladders.

Set of Youngman aluminium step ladders.

Set of BCM Lyte 6 tread metal step ladders.

Vintage Herbert Terrry original 1227 2 step angle poise lamp.

Set of Ramsey aluminium 16 step 2 piece extension ladders.

Set of Werner Abru aluminium step ladders.

AN EMERALD AND DIAMOND DRESS RINGThe cut-cornered step-cut emerald weighing approximately 4.70cts, within a four-claw setting and between baguette-cut diamond shoulders, mounted in 18K gold, diamonds approximately 1.50cts total, ring size N½Accompanied by a report from the SSEF laboratory in Switzerland, stating that the natural emerald measuring approx. 11.20x10.70x5.30mm, is of Colombian origin, with minor oil and resin. Report number 138864, dated June 12th 2024. Condition Report: Emerald: of bluish-green hue, medium to dark tone, good transparency, facets are smoothDiamonds: approx. 1.50ct total, bright and lively - estimated clarity VSStamped 750 for 18K gold inside hoopMinor signs of wear, overall in good conditionTotal gross weight approx. 8.6g

 AN IMPORTANT ART DECO EMERALD AND DIAMOND BRACELET, CIRCA 1925Of openwork design, the series of square-shaped links pavé-set with single-cut diamonds, each centrally set with a cut-cornered step-cut emerald, connected by rectangular-shaped links set with baguette-cut diamonds accented with single-cut diamonds to each corner, each centrally set with an old asscher-cut diamond, mounted in platinum and 18K gold, emeralds approximately 10.00cts total, asscher-cut diamonds approximately 7.00cts total, remaining diamonds approximately 10.00cts total, with security chain, length 18cm The Private Collection of A Continental Lady* This collection is starts on lot 17 & ends on lot 24.Condition Report:Emeralds: Approx. 0.84ct, 1.14ct, 1.65ct, 2.54cts, 1.75ct, 1.35ct, 0.67ct = 9.94cts, of deep bluish-green hue, medium tone, good transparency, overall well matched in colour (most probably all Colombian)Principal diamonds: Old Asscher-cut diamonds. approx.: 0.76ct, 1.11ct, 1.28ct, 1.18ct, 1.03ct, 0.98ct 0.65ct = 6.99cts, estimated colour G/H/I, estimated clarity VS2-SI1Remaining diamonds: approx. 10.00cts total, colour and clarity similar to aboveWhite metal unmarked, tested by the jewellery department to be platinumClasp closes securely and has a safety bar and there is a working additional safety chainNormal signs of wear, commensurate with age, overall in good conditionTotal gross weight approx. 42.4g

Contemporary hardwood three-step library steps, 80cm x 47cm x 50cm.

Late 19th century child's high chair with caned seat, curved top rail, foot step, turned front legs united by six stretchers, H 81cm,

3 sets of aluminium step ladders

Previous ownership for 25 yearsRestored exampleThe Ford E83W, also sold under the Fordson brand, was a 10cwt (half ton) light commercial vehicle, built at the UK's Dagenham plant between 1938 and 1957. They were powered by the 1172cc Ford side valve engine, with a commercial gearbox, and were equipped with a very low ratio differential, making them much slower than the saloons, but giving them far greater torque.Anthony Hoists Ltd was a coachbuilder who specialized in modifying new commercial vehicles for the major motoring manufacturers, they built the steel back bodies for the E83W and others, with the Fords it was listed as a Builders Truck, rather than a Pick-up, it was certainly much beefier than the standard Ford offering which was made from wood. The E83W was aimed at the small haulage and support vehicle market. Vans were the most common, along with builders' flatbed Pick-ups with wooden side and tail boards. The rarest by far is the steel back Side-Step Pick-up, with less than 20 known to exist in the world.Offered here is an extremely rare Ford E83W. Acquired by the previous vendor in 1997, it was extensively restored and was dry stored since its restoration until sold in 2022. In excellent condition the Pick-up looks superb and was used for shows and classic car rallies throughout its last tenure. Offered with various sundry invoices, old MoT test certificates and the current UK registration document. Coming to the open market for the second time in the last two decades, this wonderful example provides huge amounts of fun for the new owner. Consigned by James Good Interested parties should note that we understand this vehicle has been running and has driven but is a non-runner presently which could be just a battery, but further inspection would be advised. PREVIOUS OWNERSHIP FOR 25 YEARSRESTORED EXAMPLE

Twin rear wheelsRare exampleThe 1968 Ford Transit marked a significant step in commercial vehicle design, becoming an icon of practicality and versatility. Built in the UK and Germany, it featured a robust body-on-frame construction and a range of engines, including durable inline-fours and V4s. With its boxy shape and wide load area, the Transit became a favorite among tradespeople, emergency services and delivery companies. Its car-like handling and accessible maintenance made it a standout in its class. Over the years, the Transit gained cult status, remembered fondly for its reliability and workhorse nature, it laid the foundation for Ford’s dominance in the van market.This Ford Transit is fitted with a useful flatbed with twin rear wheels and features a 2,400cc diesel engine with five-speed transmission. This rare example benefits from a push button start, driving lamps and a reversing light. This handsome commercial is sign written and presents well in blue coachwork with an orange grille. We are informed that this classic Transit ran well on a recent test but has not seen extensive use for several years and may require some attention. Offered to auction with a V5C registration document. Consigned by Dominic Lake TWIN REAR AXLESRARE EXAMPLE

Just one owner from newHighly original exampleThe E28 generation BMW 5-Series, produced from 1981 to 1988, marked a major step forward in BMW's midsize luxury saloon lineup. As the second generation of the 5-Series, the E28 refined the formula of its predecessor with sharper styling, improved aerodynamics, and more advanced technology. It was the first 5-Series to offer ABS, onboard diagnostics, and a diesel engine option. Engine choices ranged from efficient four-cylinders to the iconic inline-six engines that defined BMW’s driving experience. The E28 also introduced the first M5 in 1984, which came equipped with the same high-revving engine found in the M1 supercar, making it the fastest production saloon in the world at the time. With its balanced chassis, rear-wheel drive, and precise steering, the E28 delivered the engaging dynamics that earned BMW its ‘Ultimate Driving Machine’ reputation. Today, it remains a beloved classic among enthusiasts and collectors alike.This example is quite extraordinary, having had just one owner from new and covering a mere 28,500 miles in the past 38 years! Supplied with its original bill of sale from Stephen James BMW of Enfield to a Dr Baker in July 1987. The car still has its original dealer window sticker, number plates and BMW handbook. The running in service was completed in October 1987, with the first service being carried out in July 1988, both at the supplying dealer. Unfortunately, the subsequent service history has been lost, however, the MoT history shows the car was exclusively tested by MP Automotive since online MoT data began in 2006 and until the car was taken off the road by Mrs Baker in 2015. MP Automotive are known for working on 80’s BMWs, so it is very likely they will have worked on the car, but they are under new ownership and the older records are no longer available. Despite the lack of older service history, this E28 can be bought based on its highly original condition, it’s very hard to find an E28 like this now. Offered to auction with a V5C registration document showing zero former keepers, a fresh MoT test certificate valid until April 2026 and a fresh service carried out in April 2025.Consigned by Fraser Smith JUST ONE OWNER FROM NEW28,500 MILESHIGHLY ORIGINAL EXAMPLE - ORIGINAL DEALER PLATES AND STICKERS

A pair of novelty step ladders with champagne names down the side.

A glazed coffee table, a fold out card table, set of small step ladders & a bar stool

A cream two step Anglepoise lamp

Vintage song sheet collection, Whitney Houston I Will Always Love You, Ruby Gentry 1952, Victor Young When I Fall in Love, Cliff Richard Summer Holiday, Cliff Richards Constantly, Mack The Knife by Louis Armstrong, Our Love Affair Judy Garland, As Long as There`s Music, Step Livley Frank Sinatra and The Sound of Music Vocal Selection. Up to 10 in collection. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Pair of Lenox fine sculpture figurines featuring Juliet and Prince Charming, each part of limited edition Lenox collectible series. Juliet, from The Legendary Princesses collection, is shown in a flowing blue and white gown with gold accents, delicately holding a mask in one hand. Prince Charming, from the limited edition series, is depicted mid-step on a staircase platform in a richly detailed royal blue and lavender ensemble with gold epaulets, evoking a fairytale ballroom setting. Both figures are hand-painted with elaborate costume embellishments and expressive postures, capturing timeless romantic archetypes. Lenox backstamp. Issued: c. 1989-1992Dimensions: Tallest: 6"W x 9.75"HCountry of Origin: United StatesCondition: Age related wear.

A Hornby (China) R2204 4-6-2 BR green Re-built Merchant Navy Class Locomotive No.35020 'Bibby Line'. Front offside step missing and tender rear fitted with Kadee coupling. VG-Ex, box VG

One emerald-cut diamond weighing 4.62 cts., one cut-cornered rectangular step-cut Fancy Intense Orange-Yellow diamond weighing 3.08 cts. Size 6. With GIA report no. 11570394 stating I color, VS1 clarity. With GIA report no. 12346729 stating Fancy Intense Orange-Yellow, natural color, SI1 clarity. Diamond: I-VS1, no fluorescence.Colored diamond: Fancy Intense Orange-Yellow-SI1, strong orange fluorescence.Diamond: I-VS1, no fluorescence. Colored diamond: Fancy Intense Orange-Yellow-SI1, strong orange fluorescence.Any 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

One emerald-cut emerald weighing 4.09 cts., 2 tapered baguette diamonds. Size 7 3/4. With AGL report no. 1144883 stating Colombian origin, with Minor Traditional clarity enhancement. Emerald: bright medium deep slightly bluish green, slightly included, scratch and some pitting on table, scratch on step facet, moderate abrasions on table edge, some small chips/abrasions on step face junctions, one medium and several small chips on girdle, good transparency, lively.Emerald: bright medium deep slightly bluish green, slightly included, scratch and some pitting on table, scratch on step facet, moderate abrasions on table edge, some small chips/abrasions on step face junctions, one medium and several small chips on girdle, good transparency, lively.Any 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

One square cut-cornered step-cut emerald-cut diamond weighing 15.23 cts., 6 tapered baguette diamonds ap. 1.40 cts. Size 5 3/4, with expandable shank. With GIA report no. 11736584 stating E color, VVS2 clarity. Diamond: E-VVS2, no fluorescence.Width 9/16 inch.Diamond: E-VVS2, no fluorescence. Width 9/16 inch.Any 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

One cut-cornered step-cut emerald-cut yellow sapphire ap. 13.75 cts., ap. 12.6 dwts. Size 5 1/2. With GIA report no. 2235408284 stating Sri Lanka origin, with no indications of heating.Mounting tests as platinum and 18 kt.Yellow sapphire: intense vivid yellow, excellent saturation throughout stone, cleanish, small chip at girdle, beautiful asscher-cut, lively.Width 5/8 inch.Mounting tests as platinum and 18 kt. Yellow sapphire: intense vivid yellow, excellent saturation throughout stone, cleanish, small chip at girdle, beautiful asscher-cut, lively. Width 5/8 inch.Any 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

2 cut-cornered square step-cut diamonds weighing 4.02 cts., 24 baguette and fancy-shaped diamonds ap. 1.50 cts., ap. 13.2 dwts. With fitted box. With GIA report no. 5231535514 stating 2.01 cts., H color, VS1 clarity. With GIA report no. 6233535541 stating 2.01 cts., H color, SI2 clarity.Test as 18 kt.2.01 cts. each center diamonds: both H color, one VS1, faint fluorescence and EGL laser inscription, one SI2, no fluorescence.Diamonds: H-I-VS.Diameters 5/8 inch.Test as 18 kt. 2.01 cts. each center diamonds: both H color, one VS1, faint fluorescence and EGL laser inscription, one SI2, no fluorescence. Diamonds: H-I-VS. Diameters 5/8 inch.Any 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

15 rectangular step-cut diamonds ap. 7.00 cts., 110 round, old-mine and transitional-cut diamonds ap. 4.75 cts., 14 single-cut diamonds, circa 1935-1940, ap. 17 dwts. With original clip-fitting.Rectangular-cut diamonds: K-L-VS, several SI, one edge chipped.Diamonds: G-H-I-VS-SI, several Imperfect.Well-made. 2 x 1 5/8 inches.Rectangular-cut diamonds: K-L-VS, several SI, one edge chipped. Diamonds: G-H-I-VS-SI, several Imperfect. Well-made. 2 x 1 5/8 inches.Any 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

One emerald-cut emerald ap. 1.50 cts., 2 old European-cut diamonds ap. 1.80 cts., 12 baguette diamonds ap. 45 ct., circa 1925. Size 7 3/4. With AGL report no. 1146703 stating Colombian origin, with Insignificant Traditional clarity enhancement. Emerald: bright medium slightly watery green, slightly to moderately included at two corners of stone, visible inclusion close to surface to side on step facet near prong, several minor abrasions and nicks around table edge, few pits in table, shallow pavilion, good transparency, lively.Diamonds: I-J-SI, one stone due to chip on crown facet by prong, small chip on girdle, no fluorescence.Lovely mounting. 3/4 x 3/8 inch.Evidence of re-sizing.Emerald: bright medium slightly watery green, slightly to moderately included at two corners of stone, visible inclusion close to surface to side on step facet near prong, several minor abrasions and nicks around table edge, few pits in table, shallow pavilion, good transparency, lively. Diamonds: I-J-SI, one stone due to chip on crown facet by prong, small chip on girdle, no fluorescence. Lovely mounting. 3/4 x 3/8 inch. Evidence of re-sizing.Any 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

One cut-cornered step-cut emerald-cut emerald weighing 6.41 cts., 2 trillion-cut diamonds ap. 1.50 cts. Size 6, with hinged shank. With AGL report no. 1144759 stating Colombian origin, with Insignificant Traditional clarity enhancement.Emerald: deep vivid green, slightly bluish green in one corner, good color saturation and distribution, slightly included to moderately included in one corner, slightly visible, nice cut, culet slightly off-center, lively.Diamonds: G-H-SI2-I1.Emerald: deep vivid green, slightly bluish green in one corner, good color saturation and distribution, slightly included to moderately included in one corner, slightly visible, nice cut, culet slightly off-center, lively. Diamonds: G-H-SI2-I1.Any 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

18 kt., one step-cut octagonal-shaped foil-backed amethyst ap. 23.0 x 22.0 mm., scrollwork, flowers, bows, rocailles, foliage and musical instrument design, with personal monogram for Caroline Lucy Morgan, with maker's marks and French assay mark, early 19th century, ap. 65.5 dwts. gross. 3 3/8 x 1 3/16 inches. With fitted box retailed by Spaulding & Co., Paris.Amethyst: bright medium-deep purple with pinkish purple highlights, slightly included, foil-backing slightly visible, nice cut and shape, lively.Very lovely gold detail.Amethyst: bright medium-deep purple with pinkish purple highlights, slightly included, foil-backing slightly visible, nice cut and shape, lively. Very lovely gold detail.Any 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

[Durcan (Paul)] Teresa's Bar, 1976 (h.b. revised Edn.) & First Edn., Poems Going Home to Russia, 1987;  [Dunne (Sean)] The Sheltered Nest, 1992, Inscribed; Collected, 2005, & 1 other; [French (Tom)] The First Step, 2009; Midnightown, 2014; Touching the Bones, 2001, Signed, (h.b. & p.b.) all 8vo, Gallery Press, cloth & d.j. As a lot. (1)

A set of Victorian mahogany library steps, applied with gilt tooled leather treads, the hinged and sliding second step opening to a secret compartment, with a further compartment within the upper step, all upon turned and tapering legs, branded with a coronet and 'V.R' to the interior of the upper compartment, 68cm H x 73cm W x 45cm D

A yellow gold and aquamarine pendant, the rectangular step cut aquamarine with an approximate weight of 19 carats, suspended from a yellow gold ribbon design, on a fine trace chain, 38 cm long.Not hallmarked, tests as gold.Total weight; 14.3 grams

An 18 carat white gold sapphire and diamond three stone ring, set to centre with a square step cut sapphire with an approximate weight of 0.45 carats, flanked by two round brilliant cut diamonds with a combined approximate weight of 0.10 carats, size P.4 grams.

A rose gold cluster ring, set with blue and yellow stones, size K 1/2, together with a platinum engraved wedding band, size L, and a silver sapphire and paste step cut eternity ring, size L. (3)Rose gold ring not hallmarked, tests as gold; 4.4 grams.

A 9ct yellow gold rectangular step cut green stone ring, with geometric detail to shoulders, size L, together with a 9ct yellow gold signet ring, hallmarked for Birmingham 1957, size M. (2)5.1 grams

AN ALUMINIUM SIX RUNG STEP LADDER

A FOUR RUNG ALUMINIUM STEP LADDER

A VINTAGE EIGHT RUNG WOODEN STEP LADDER

A PLASTIC CARAVAN STEP AND A 12" GYM BOX

TWO ITEMS TO INCLUDE A METAL WHEELBARROW AND A THREE RUNG ALUMINIUM STEP LADDER

FIVE VARIOUS ALUMINIUM FOLDING STEP LADDERS

A TELESCOPIC FOLDING STEP LADDER

TWO SETS OF STEP LADDERS AND TWO METAL SACK TRUCKS

A FOUR RUNG ALUMINIUM STEP LADDER AND A FURTHER THREE RUNG STEP LADDER

Six mixed pairs of step ladders. Not available for in-house P&P

Abru aluminium ladders, step and extending saw. Not available for in-house P&P

Royal Doulton Disney Showcase Jiminy Cricket figurine, model DM2, beautifully hand-crafted and hand-painted. This delightful porcelain piece captures Jiminy Cricket mid-step, joyfully tipping his red umbrella, wearing his signature blue hat and jacket. A charming tribute to the beloved character from Disney's Pinocchio, this figurine is part of the Disney Showcase Collection by Royal Doulton. Marked on the base with the official Royal Doulton backstamp, and it includes the original box and certificate of authenticity.Issued: c. 1940Dimensions: 3.25"HCountry of Origin: EnglandCondition: Age related wear.

18 kt., one modified cushion-shaped modified step cut sapphire weighing 5.89 cts., 4 round sapphires, 4 round diamonds ap. .60 ct., ap. 16 dwts. Size 8 1/2. With AGL report no. 1146685 stating Ceylon (Sri Lanka) origin, no gemological evidence of heat treatment.* Center sapphire: medium to medium deep blue with cornflower blue highlights, two feathers from girdle to table, bisecting, one shallow and very close to surface, some color zoning on one side of stone, square step and lumpy cut, several small chips to corners, very deep pavilion, lively.Diamonds: I-J-VS-SI.1 1/8 x 7/8 inches.Center sapphire: medium to medium deep blue with cornflower blue highlights, two feathers from girdle to table, bisecting, one shallow and very close to surface, some color zoning on one side of stone, square step and lumpy cut, several small chips to corners, very deep pavilion, lively. Diamonds: I-J-VS-SI. 1 1/8 x 7/8 inches.Any 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

18 kt., one cushion-shaped modified step-cut sapphire weighing 3.16 cts., 9 round sapphires, 14 round diamonds ap. 1.95 cts., signed J. Aragon, ap. 30 dwts. Inner cir. 6 3/4 inches. With AGL report no. 1146686 stating Ceylon (Sri Lanka) origin with no gemological evidence of heat or clarity enhancement.* Sapphire: bright medium violitish cornflower blue, faintly visible silk, overall cleanish, lively.Sapphires: dark blue, cleanish, lively.Diamonds: G-H-VS.Width 1 3/4 to 7/8 inch.Sapphire: bright medium violitish cornflower blue, faintly visible silk, overall cleanish, lively. Sapphires: dark blue, cleanish, lively. Diamonds: G-H-VS. Width 1 3/4 to 7/8 inch.Any 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

Cartier: An Art Deco onyx and diamond brooch circa 1920 Centrally set with a pyramidal-cut onyx, within an openwork geometric plaque set with single-cut diamonds, accented at the cardinal points with square step-cut diamonds, millegrain detail throughout, diamonds approx. 0.95 carat total, signed Cartier Paris Londres, numbered, French assay mark, length 2.6cmAccompanied by a Cartier case.  

Cartier: An aquamarine and diamond brooch circa 1935 Designed as two demi-lunes, composed of oval-cut aquamarines and brilliant-cut diamonds, connected by a rectangular step-cut aquamarine, diamonds approx. 0.60 carat total, signed Cartier London, numbered, width 3.5cm By repute, purchased in the 1930s from Cartier. The original owner was an English socialite who had a home in Kent and was good friends with Lady Vita Sackville-West, the well regarded author, who lived nearby at Knole House. Hence by descent.   Following the US Stock Market Crash in 1929, the global economy felt the shockwaves. Although disproportionally affecting those in lower economic classes, the jewellery industry was not untouched. As prices, supply and demand for top coloured stones, such a rubies, sapphires and emeralds felt the repercussions, so to did the spending power of clients. Jacques Cartier chose to make a unique strategic move. For several years the three Cartier brothers subtly bought up the best quality aquamarines (as well as topaz) on the wholesale market. Jacques Cartier was particularly drawn to aquamarines, as well as topaz, as those stones lent themselves to the rectangular cuts which complimented the architectural style of Art Deco jewels. In order not to alert their competitors that they were planning new ranges of jewels featuring these “semi-precious” gemstones, they would acquire the best gems available, but never so much as to draw attention to themselves.Cartier’s aquamarine jewellery appears to have been predominantly produced from the London workshop starting in 1932. Several American clients ordered aquamarine jewellery specifically through the New Bond Street London premises. One of the most notable advocates for Cartier’s aquamarine collections was the famed American interior designer Elsie de Wolfe. She commissioned a striking aquamarine spiral halo tiara in 1935, and to complete the look, had her hair tinted blue to match. Due to their strategic gemstone buying in both London and Paris, when the Cartier store windows were filled with aquamarine and platinum jewels as well as topaz and yellow gold creations, their competitors found it almost impossible to find premium gemstones. If they were offered any, the gemstones would cost substantially more than the Cartier brothers had paid.See Rudoe, Judy Cartier 1900-1939, British Museum Press, London, 1997, page 263 and Cartier Brickell, Francesca, The Cartiers, Ballantine Books, New York, 2019, pages 323-325.

Cartier: A 5.08 carat diamond single-stone ring circa 1925 Set with a cut cornered, step-cut diamond, weighing 5.08 carats, in a four-claw setting, signed Cartier, numbered, ring size PAccompanied a later Cartier case as well as a Letter of Expertise from IAJA Expertise stating that the ring is a genuine Cartier New York item from circa 1925. Letter numbered XP2197-290125, dated 29th January 2025.The diamond has been assessed unmounted by GCS and a verbal result given that the diamond is L colour, VS1 clarity. It is rarely discussed in jewellery history who actually cut the diamonds and gemstones which find themselves adoring fabulous jewels. The role of the lapidary is even further removed from the limelight than that of the goldsmith.However one name in diamond cutting has managed to carve out a well deserved reputation. The Amsterdam based firm of I J Asscher Diamond Company has cut some of the most famous diamonds in history, including the 3,106 carat Cullinan Diamond.Founded in 1854 by Joseph Asscher, its global headquarters are still located on the original site Tolstraat 127, Amsterdam, The Netherlands. In 1904 they patented a cut of diamond unlike anything else at the time. The Asscher-cut is almost square and was composed of 50 or 58 facets. The geometric style meant that it perfectly suited the Art Deco jewels made in the coming decades.Asscher was well known to be a preferred diamond supplier to Cartier. A diamond of similar appearance to this one, appears central in the Patiala necklace made by Cartier in 1928.Sadly a large amount of the Asscher firm’s archives was lost in the Nazi occupation during WWII. Like the vast majority of other diamonds, it is not possible to know for sure who cut this particular diamond but the style and angular facet arrangement are indicative of the firm’s output.

Cartier: A diamond 'Love' bangle The polished bangle accented at intervals with alternating screwhead motif and brilliant-cut diamonds, signed Cartier, maker's mark, numbered, Cartier size 19Accompanied by a Cartier case, box and screwdriver as well as a certificate of authenticity dated 2016. Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created. In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially. To market the Love Bangle's release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw.  Many of whom would go on to wear those bangles for years to come.The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamond-set versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it's popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide. It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles' design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.

Cartier: A platinum "Love" ring Small model; the thin platinum band decorated at intervals with screwhead motifs, signed Cartier, numbered, European convention mark, Swiss assay mark, Cartier size 59  Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created. In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially. To market the Love Bangle's release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw.  Many of whom would go on to wear those bangles for years to come.The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamond-set versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it's popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide. It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles' design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.

Cartier: A gold necklace by Georges Lenfant with a detachable Imperial topaz and diamond cluster 1960 The 18 carat gold necklace of polished and matte woven design in a herringbone pattern, featuring a detachable spacer that converts into a brooch, centrally set with a step-cut topaz, each of the four claws buttressed by a baguette-cut diamond, within an oval angled surround pavé-set with brilliant-cut diamonds, diamonds approx. 4.50 carats total, topaz approx. 24.50 carats, necklace signed Cartier, partial maker's mark GL for Georges Lenfant, numbered, maker's mark JC and London import mark, French export marks, brooch unsigned, lengths: necklace 37.3cm, brooch 3.3cmAccompanied by a fitted Cartier case.Please note this lot will be subject to VAT of 5% on the hammer price. The design of this brooch is identical to two which featured in a Cartier necklace previously sold at Christie's sentinel auction “Jewellery and Objects by Cartier” held in Geneva on the 25 May 1993, lot 799. As with this example, that necklace was unsigned but was presented with a catalogue footnote “Although not signed, this necklace was purchased by the present owner at Cartier, London in July 1962”.Georges Lenfant (sometimes seen as "L’Enfant") and his son Jacques Lenfant are regarded as some of the most skilled goldsmiths of the 20th century. Their distinctive work is now highly sought after by collectors. However, throughout their careers they operated behind the scenes, making exquisite jewellery for the famous Parisian jewellers of the Place Vendôme and Rue de la Paix. He was a workmaster for Cartier, as well as making creations for Mellerio, Hermès, and Van Cleef & Arpels amongst others. Born into the jewellery trade, Georges Lenfant set up his own workshop around the turn of the last century. In 1903 he was listed in the ‘Revue de la Bijouterie, Joaillerie, Orfèvrerie’. By 1909 he had registered his distinctive maker's mark. In 1915 Jacques Lenfant began helping in his father's workshop at just 11 years old. He continued his education studying in France, Germany, Austria and England before formerly joining the company in 1927. Following the Second World War, Jacques took over control of the company. It was Jacques who in the late 1950s pioneered the now iconic woven and textured goldsmithing techniques for which the house became world famous. Jacques Lenfant died in 1996 and the company was subsequently purchased by Benjamin Leneman in 1998, thereafter becoming the Bouder workshop. Jacques teaching roles at the Chambre Syndicale de la Joaillerie, Bijouterie et Orfèvrerie were testament to his dedication to goldsmithing education. In 1980 he created an award to celebrate top students, which is still awarded today. He also wrote the book Le Livre de la Chaîne, which was commissioned by the Chambre Syndicale, but was sadly only published posthumously in 1996.The pattern of this necklace is identified in Le Livre du Chaine as "Tissu Polonais Presse Empire Relief" or Polish Press Empire Relief Fabric, see page 90. This was a term Lenfant used to describe a distinct type of woven gold chain designed as an homage to patterns in traditional Polish and Milanese fabric.

Cartier: A 'Love' Bracelet The polished bangle, decorated throughout with screwhead motifs, signed Cartier, numbered, Cartier size 16Accompanied by a Cartier case and screwdriver. Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created. In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially. To market the Love Bangle's release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw.  Many of whom would go on to wear those bangles for years to come.The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamond-set versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it's popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide. It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles' design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.

Two Step Ladders