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Click here to subscribe† SUE READ; two watercolours, still lifes of fruit including cherries in a dish with cranberry glass wine glass, signed with initials 'SR' lower right, 16.5 x 19.5cm, framed and glazed, and a still life watercolour of flowers in a vase, signed with initials 'SR' lower right, 17.5 x 17cm, framed and glazed (2).
HARUYO MORITA (born 1945); gouache and watercolour, still life of flowers, signed lower left, 65 x 45cm, a watercolour and gouache, still life of flowers, signed upper left, 65 x 45cm, both framed and glazed and a further watercolour and gouache, still life of flowers, signed lower right, 35 x 24cm, framed and glazed (3).
Nine assorted prints, watercolours and oils, comprising a rural scene by W S Carlton, 17.5 x 31cm, framed and glazed, a further pair of watercolour rural scenes by E M Cross, both 16.5 x 24cm, framed and glazed, three further watercolours, a pair of oils and an oil on board by Rebecca Boyd Allen, still life of flowers, 20 x 25cm, unframed (9).
† SUE READ; watercolour, still life of mother of pearl shell, signed with initials 'SR' lower right, 19 x 21cm, a watercolour, still life of an 18th century tea bowl, signed with initials 'SR' lower right, 12.5 x 12.5cm, and a watercolour, still life of four marbles, signed with initials 'SR' lower right, 11 x 16cm, all framed and glazed (3).
Gilbert Artaud (French, 1934- ) Colour lithograph Eight limited edition still life prints of flowers in vases, signed and numbered within margin, unframed 30cm x 22cm, together with two limited edition lithographs by Jean Fernand (1948-?) of continental canal scenes, signed and numbered within margin, unframed, 26cm x 60cm (10)
Michael John Bolan (1939-1995) Mixed media on hessian "River Lake Summer" titled verso, signed lower right and dated 1982, 67cm x 59cm, unframed, together with another by the same hand "Les Fleurs Exotiques", still life flowers in a vase, signed lower left and dated 1982, framed, 97cm x 96cm and a Michael Clifton oil painting on vinyl panel depicting a gardener with watering can, with fruits, birds, bird's nest and canopy above, signed lower left, 98cm x 31.5cm (3)
Michael John Bolan (1939-1995) Mixed media on hessian "Les Fleurs d’Ete", still life, flowers in a vase, titled, signed lower left and dated 1982, framed, 97cm x 95.5cm, Michael John Bolan (1939-1995) Mixed media on hessian "Fleurs des Champs", still life flowers in a vase titled , signed lower left and dated 1982, 122cm x 82.5cm, framed (2)
Rita Smith (British, 21 Artists Group, 20th / 21st century) Still life with a white cabbage, maize and a blue pail on a table oil on board, signed lower right, further signed verso, unframed 24 x 30in (61.5 x 76.2cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 430 to 442 for further lots from this collection.
A pair of miniature oil on card still life paintings - oval, signed, depicting bouquets of gardenflowers, in maroon velvet frames, overall 14 x 12cm; together with a relief-printed silhouette of a young girl, titled 'Miss Mary', after Enid Elliott Linder, signed in pencil, oval, in a Hogarth frame, overall 16 x 13.5cm. (3)
A pair of Chinese powder blue famille verte vases, Kangxi marks, inverse baluster form, decorated with ogee cartouches of mirrored scenes with figures in garden landscapes, between scholars table and still life motifs, within gilt borders, 40cm high (2)Provenance: From the collection of Anne Parsons, Countess of Rosse, (nee Messel, of Nymans, Sussex, previously Armstrong-Jones) 1902-1992, mother of Lord Snowdon and mother-in-law to HRH Princess Margaret, late resident of Womersley Hall estate, Yorkshire
[Angling] Collection of books largely on salmon and fly-fishing to include Fishing for Salmon by Cyril Marson 1929 first edition, Floating The Line To A Salmon by Major Simpson (1947), The Running Of the Salmon by Taverner & Browne 1954, Salmon Fishing by Waddington 1947, Flying Salmon by Balfour-Kinnear 1947, Salmon & Trout Fishing (Lonsdale Library), Advanced Salmon Fishing by Righyni (signed), The Great Salmon Beats, Salmon by Arthur Oglesby, Trout Salmon & Sea Trout Fishing, Rods On Fast Rivers 1937, Life in Lakes & Rivers (The New Naturalist) 1951, Classic Salmon Flies by Frodin, Fly Fishing by J.R. Hartley, Still Water Fly Fishing by Ivens 1952, The Complete Fly Fisher 1963, Casting by Terry Thomas, Science of Spinning for Salmon & Trout 1946, Fishing With Float & Fly by William Child 1966, Fly Tying by Major Sir Gerald Burrard, Modern Salmon & Sea Trout Fishing by Major Dawson, Bass Fishing, Profiles in Saltwater Angling, Rod & Line by Arthur Ransome, Spinning Up To Date etc (82)
AN IMPORTANT EMERALD AND DIAMOND NECKLACE AND EARCLIPS EN SUITE The necklace composed of graduated curved pavé-set brilliant-cut diamond links, with collet-set brilliant-cut diamond accents, each motif claw-set with a graduated oval-shaped emerald, to a concealed clasp; together with a pair of matching earclips, mounted in 18K gold and platinum, diamonds approximately 25.00cts total, with green leather pouch, length of necklace 38.5cm, length of earclips 2cmAccompanied by a report from the SSEF laboratory in Switzerland, stating that the twenty-two emeralds are natural, of Zambian origin, with strong green saturation, minor to moderate (oil & wax). Dimensions from approx. 12.20x9.20x5.80mm to 6.85x5.20x3.60mm. Report number 144739, dated March 3rd 2025.Emeralds have captivated civilizations for centuries, from Cleopatra’s Egypt to the Mayans and the Mughals. The name “emerald” comes from the Greek 'smaragdos', meaning “green gem,” symbolizing life and renewal. Over time, the emerald became legendary, thought to hold powers of prophecy and truth-telling, solidifying its status as a revered gemstone. For centuries, Colombia has been the most famous source of emeralds, renowned for their deep green colour with rich undertones. Colombian emeralds owe their striking hue to the presence of chromium and vanadium. These stones are often described as having a “velvety” softness. However, they typically contain more inclusions, known as jardin, which are natural characteristics of the gem but can impact its durability. Despite these inclusions, Colombian emeralds are still highly sought after for their rich, saturated green tones. In contrast, Zambian emeralds, which gained recognition in the late 20th century, have carved out a prominent position in the global gemstone market. These emeralds are known for their intense bluish-green hue and exceptional clarity, which results from the presence of iron rather than chromium. Zambian emeralds typically have fewer inclusions, giving them a cleaner appearance and making them more structurally durable. This clarity has made them increasingly popular among jewellers who value both beauty and resilience in gemstones. The Kagem Mine in Zambia’s Copperbelt Province, the world’s largest emerald mine, supplies around 25% of global emeralds. Notable finds include the 5,655-carat “Inkalamu” (2018), 1,225-carat “Kafubu Cluster” (2022), and 1,104-carat “Lion Emerald” (2017), cementing Zambia’s status as a leading source of large, high-quality emeralds with exceptional clarity. In recent years, Zambian emeralds have broken auction records, underscoring their growing value. A 56.87-carat piece by Chopard sold for over $1 million at Phillips Hong Kong in 2021, while a 17.43-carat emerald fetched £1.2 million at Bonhams London in 2022. Renowned jewellers such as Chopard, Graff, Boucheron, and David Morris have incorporated Zambian emeralds into their collections. High-profile figures like Julianne Moore at the 2016 Cannes Film Festival, Taraji P. Henson at the 2016 Golden Globe Awards, and Ellie Goulding at the 2020 Green Carpet Fashion Awards, have all been spotted wearing them. Condition Report:Largest emerald estimated to weigh approximately 3.70cts and smallest emerald estimated to weigh approximately 0.73cts. Emeralds of deep green hue, good transparency, overall well matched in colourDiamonds: approx. 25.00cts total, estimated colour approximately G, estimated clarity approximately VS2, one of the smallest diamond deficient near claspEarclips for non-pierced ears, clips with tight tensionClasp closes securelyMetal unmarked, tested by the jewellery department to be platinum and 18K goldNormal signs of wear, overall in good conditionTotal gross weight approx. 94gAccompanied by a soft green case
ALDO CIPULLO FOR CARTIER: AN 18K GOLD 'LOVE' BANGLE BRACELET, 1970The hinged bangle decorated with screw motifs, in 18K gold, signed, Cartier & Aldo Cipullo, stamped 1970 & Love, with maker's case and later screwdriver for opening and closing the bracelet, inner length approximately 16cm, width 6.3mmDesigned in 1969 in NYC, the Cartier Love bangle was the creation of Italian jewellery designer, Aldo Cipullo, who created this piece in 1969. “Love,” said Cipullo, “has become too commercial, but life without love is nothing. What modern people want are love symbols that look semi-permanent — or, at least, require a trick to remove. After all, love symbols should suggest an everlasting quality.”Cipullo was known for his innovative and bold designs. Initially he had proposed the design of the Love Bangle for Tiffany &Co. When Tiffany turned down his concept for the Love bangle, Aldo offered the design to Cartier. At the time, Cartier New York was independent from the Parisian Maison, and under the dynamic direction of Michael Thomas, who immediately saw the massive potential of the Love bangle to appeal to a new generation with entirely new values, lifestyle, and attitudes.The Love bangle as a symbol of everlasting love and commitment. The bangle features a simple, sleek design with a screw motif, inspired by medieval chastity belts, and it is meant to be worn as a symbol of love and unity. It is distinctive for its seamless, unbroken design, with a screwdriver needed to open and close it, symbolising the idea that love is something to be kept safe and protected.As the story goes, the bangles could at first only be purchased by couples who would surrender the screwdrivers to one another. When Cartier introduced the bangle, they were given to high-profile couples like Elizabeth Taylor and Richard Burton. According to Vogue, some NYC hospitals keep a Love bangle screwdriver on hand in case patients need their accessory removed in an emergency. While a Cartier Love bangle may be easier to remove than a chastity belt, it has still proved enduring, and a smart investment.What makes the Cartier Love bangle even more intriguing is the way it is meant to be worn. Traditionally, the bangle is given by one partner to another, and it is secured on the wrist with the help of the accompanying screwdriver. Once fastened, it is typically not meant to be removed, symbolising the permanence of the relationship.The Love Bangle quickly gained popularity among couples, celebrities, and fashion icons. Its iconic design and symbolism resonated with people around the world. The bangle not only became a symbol of love and commitment, but a status symbol as well. Condition Report: Minor signs of wear, overall in good conditionI believe both the screwdriver and case are laterTotal gross weight approx. 28.2g
AN IMPORTANT LATE 19TH CENTURY PAIR OF AMETHYST AND DIAMOND PENDENT EARRINGSOf girandole design, each set with three pear-shaped amethyst drops, to the old-cut diamond foliate motif and circular-cut amethyst and old-cut diamond cluster surmount, mounted in silver and gold, with partial Russian assay mark ?'56', amethysts approximately 35.00cts total, diamonds approximately 3.30cts total, length 4.9cmA historical pair from the 18th century, of similar design, was sold at Christie's in Geneva, 13.11.2007, lot 269.Amethysts have been treasured for centuries, revered by ancient cultures from Greece to medieval Europe. The name comes from the Greek amethysts, meaning “not intoxicated,” reflecting the belief that the stone could ward off drunkenness and promote mental clarity. Symbolising wisdom, royalty, and spiritual protection, amethysts were worn by bishops and monarchs, were valued for their beauty and their perceived ability to calm the mind and strengthen resolve. Among the most coveted are Siberian amethysts, famed for their rich, velvety purple hue often accented with flashes of red and blue. Mined from Russia’s Ural Mountains since the 18th century, these stones quickly became the gold standard of amethyst quality. Though production from the region has declined, Siberian amethysts remain highly prized for their depth of colour and exceptional clarity, often commanding premium prices on the market. Today, amethysts are sourced from regions including Brazil, Zambia, Uruguay, and Madagascar, each offering distinct characteristics. Brazilian stones are typically lighter with a clear, violet hue, while Zambian amethysts are darker, often with a bluish tint. Uruguayan gems stand out for their vivid saturation and purity. Yet among them all, Siberian amethysts remain the most prized, distinguished by their intensity and historical provenance. Siberian amethysts were favoured by the Russian nobility, with figures like Empress Catherine the Great adorning themselves in amethyst-laden jewels. In modern times, the stone continues to make public appearances. Queen Elizabeth II famously wore amethyst pieces from the Kent Amethyst Suite, while Lupita Nyong’o stunned at the 2015 Golden Globe Awards in Chopard amethyst earrings.Siberian amethysts have achieved remarkable results at auction, reflecting their rarity and historic value. A Victorian amethyst and diamond necklace from the 19th century sold at Christie’s London for over £75,000, far exceeding its estimate. Similarly, pieces from Queen Alexandra’s collection have also surfaced in royal exhibitions and private sales, often valued in the six-figure range, underscoring the enduring prestige of these exceptional gems. The Romanov dynasty ruled Russia from 1613 until 1917, when the Revolution abruptly ended their empire. The last years of the 19th and the early 20th century was a period of elegance and excess for the Tsars and the wealthy families of Russia. The Imperial family’s jewellery was amongst the most precious in the world. These jewels were tangible symbols of the power of the Romanovs and their deep ties to European aristocracy and culture and were once the epitome of Russian opulence. After the Bolshevik Revolution, the fate of these precious treasures would become one of the most captivating chapters in the story of the Russian Empire’s fall. The Bolsheviks, in their sweeping promises of equality, claimed that the jewels once hoarded by the aristocracy would be used for the benefit of the people. “Diamonds, pearls, and precious stones that have cost workers endless suffering for centuries are now in safe hands. The proletariat will be able to use them wisely,” they boasted in the 1920s. Yet, while the Soviet government officially denied any sale of the Romanov collection, they could not entirely escape the growing rumours that began circulating in the West. In response to these whispers, the Bolsheviks organised a lavish exhibition of the Russian Crown Jewels in Moscow on December 18, 1925, to counter the belief that the revolution had torn apart the cultural and material legacy of Russia’s royal family. But less than a year later, the treasures were quietly sold, and the secrets of their dispersal would only emerge later. In a remarkable twist of history, American antiquarian Norman Weiss acquired a substantial portion of the Crown Jewels exhibition in 1926, purchasing 9 kilograms of imperial treasures for $50,000. Among the pieces were two pairs of magnificent 18th-century girandole earrings, a quintessential example of Russian royal jewellery, that soon entered the international market. One of these pairs, set with vibrant Ural amethysts, is famously associated with Empress Catherine the Great. The earrings are prominently featured in a portrait of the young Catherine, then still a Tsarevna and Grand Duchess, long before she assumed the throne. Though not yet immersed in imperial luxury, the gift, commissioned by Empress Elizabeth Petrovna from her court jeweller, Jérémie Pauzié, already reflected the grandeur of the 18th-century Russian court. Crafted by Pauzié, renowned for his meticulous attention to detail and his intricate, heavy designs, the earrings became a significant part of Catherine’s early life. When time came for Cathrine’s coronation, the soon-to-be crowned empress entrusted Pauzié with the creation of the Imperial Crown of Russia. The jeweller collaborated closely with the court’s most skilled artisans, and together, they fashioned the exquisite crown, adorned with nearly 5,000 diamonds and 75 large pearls, a feat that has since become an iconic piece of Russian history. After the earrings were sold to Weiss, they resurfaced in 1929 when JS Phillips purchased them at Christie’s London for 135 pounds. Decades later, in 2007, they appeared again at Christie’s in Geneva, fetching 433,000 Swiss francs and reaffirming the enduring allure of Russian imperial jewellery. The sale of the Romanov jewels remains a poignant and fascinating story, illustrating the complex intersection of revolution, power, and history. These jewels, symbols of a vanished world, continue to captivate collectors, historians, and admirers offering a glimpse into the opulence of the Russian Empire before its collapse. Condition Report: Amethysts:3 PS each approx. 6.43cts, 4.57cts & 4.18cts & 1 RD 2.12cts3 PS each approx. 6.57cts, 4.35cts & 4.40cts & 1 RD 2.11ctsPS: Of purple hue, medium to dark tone, good transparency, facets are smooth, well matched in colourRD: Of purple hue, medium tone, good transparency, one slightly darker than the other oneDiamonds: approx. 3.30cts total, bright and livelyWith partial Russian assay mark ? '56' on each back earrings, one posts slightly looser when opening itFor pierced earsNormal signs of wear, commensurate with age, overall in good conditionTotal gross weight approx. 22.6g
After Balthasar van der Ast A still life of fruit in a vase with a parrot and shellsoil on canvas100 x 80cmCondition ReportFramed: 127 x 107cmEarly 20th century. Condition issues. Craquelure and circular impact cracks with the potential for flaking. Surface dust and dirt. Stretcher marks. Discolouration and crazing to the varnish. Not examined under UV light, for a full report please contact the department.
▲ Frances St Clair Miller (b.1947) A winter still life of flowers and fruitsigned 'Frances St Clair Miller' l.r., oil on canvas70 x 80cmCondition ReportFramed: 94 x 103cmThe work has a glossy varnish. Undulations to the canvas in the upper and lower right corners. Not examined under UV light, for a full report please contact the department.
▲ Howard Carter (b.1938) 'Cezanne Still Life III' carved wood, signed and dated '1998' to a label on the reverse62cm wide53cm deep38cm highCondition Reportgood order with light cosmetic wear and dirt, it seems that measurements are inaccurate and should read 62cm wide 53cm deep 38 cm high ...I have included some photos that show the scale, there are some small chips to the paint and a small crack visible in the just which looks to be as a result of the timber drying out
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![[Angling] Collection of books largely on salmon and fly-fishing to include Fishing for Salmon by Cyril Marson 1929 first edit](https://cdn.globalauctionplatform.com/34e33a75-a8a5-4b3b-b218-b27d011535cf/2975f238-91da-477d-a834-b2c2014c8367/468x382.jpg)
