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Castilian school. 16th century.‘Temperance’ and “Justice”.Pair of carved, walnut wood reliefs. 47,5 x 42,5 cm. each. This pair of incredible quadrangular white walnut wood reliefs representing Temperance and Justice must have originally belonged to a liturgical piece of furniture which would also have contained the other two Cardinal Virtues, i.e. Fortitude and Prudence. It is most likely that they were part of a set of Renaissance pews - without categorically ruling out their belonging to a cupboard or a door - as representations of the Virtues were quite common in the pews of this period due to their moralising character, as we must bear in mind that the moral conduct of the Human Being rested on them.Given the technical characteristics of both reliefs, the remarkable skill and finesse with which they are carved, and the fact that sculpting in walnut and the making of pews and other ecclesiastical furniture were not commissioned from just any master, it seems clear that their sculptor was a relevant sculptor of the Castilian school and that they were carved around the second third of the 16th century.Both Virtues have been depicted, as is often the case, as women of classical appearance, almost like Roman matrons or noble maidens with sophisticated headdresses. They wear wide, fine garments completely covered with small pleats that make the edges of the garments extremely faceted.The wet cloth technique is simulated in some areas, with which not only the plastic and volumetric values of the reliefs are highlighted but also the voluptuousness of the women, since through these fine garments the rounded forms of their bodies are suggested. As a general rule, they are worked in bas-relief, but in the most relevant areas, such as the heads, hands and attributes, the relief acquires greater volume, close to being in the round, but never quite reaching it.The heads are small, round and have expressive faces, serious in the case of Justice and more serene in that of Temperance. They have slanting eyes, carved with great detail both in the iris and the eyelids, and above them, sharp curved eyebrows that give them personality, as well as a chiaroscuro in the area of the eye sockets that enhances their volume. The facial features comprise smooth foreheads, broad, elongated noses, marked nasolabial folds, small open mouths with thick lips and bulging cheekbones. The ears are not visible due to the elaborate headdresses that almost completely obscure their hair. In the case of Justice, we can see a scarf that leaves free a couple of snaky locks that slide down her temples, and a ribbon that the anonymous sculptor models with great skill, creating a series of curves and counter-curves while displaying it from different profiles with multiple folds. For her part, Temperance also wears a kind of veil that leaves free a pair of locks of similar characteristics to those of Justice. Above the veil, the end of which seems to be moved by the wind, is a winged head of a putti, one of the most characteristic elements of Renaissance vocabulary. This same putti is found on Justice's neckline, almost like a brooch. Finally, Temperance wears a kind of cloth hanging from the ends of the buckles that cover her ears.Both women are perfectly identified both by the Latin signs carved on the upper part of the panels - ‘TEMPERATIA’ and ‘IVSTICIA’- and by the attributes they hold in their hands. Thus Justice elegantly holds a scale in her right hand - the allegory of the equality with which she must act - while in her left hand she wields a sword - the symbol of the strength with which she imposes herself - whose long blade occupies the entire height of the panel. Temperance, on the other hand, is seen pouring water from a jug over a wide goblet filled with wine in order to temper what is too stimulating.The conception of the two figures differs from each other, for while Temperance presents a closed composition, withdrawn in on itself, as well as having a calmer character as it embodies the Virtue it is representing, Justice is conceived with an open composition -see the arms- and shows a more decisive and dynamic spirit. Both differences in state, tranquillity and impetuosity, can be seen in another specific detail that they both share: the way in which the wind moves or waves the scarf or ribbon that covers their hair. We would like to thank Dr. Javier Baladrón, doctor in Art History, for the identification and cataloguing of this work.

American Naïve school (20th century), a pair of half-length portraits of a 17th-century couple, initialed 'A J H' (on woman's brooch), oil on panel, 45 x 38 cm, both framed, overall 59.5 x 52.5 cm; together with two dog portraits of similar American Folk Art style, the largest measuring 41 x 47.5 cm overall.Qty: 4

A silver bracelet, another, a brooch, a bangle, and a compact

A paste set brooch, a gold plated bracelet, and assorted other costume jewellery, in an oak jewellery box

An enamel brooch, a silver coloured metal buckle, and assorted costume jewellery

A late 19th/early 20th century diamond belle époque pendant/brooch, the central old cut diamond 0.3ct approx., 49 mm wide, in a jewellery box

A modern 9ct gold brooch, 6.5 g

An orange bead necklace, a matching pair of earrings, a coral brooch, and a matching pair of earrings (4)

A yellow coloured metal brooch, in the form of a snake on a book, engraved verso, EL Goodsell, Yale 1881 S, 4.3 g13.7 x 13.7 mm approx, all in 4.3g

A late 19th/early 20th century diamond floral brooch, in a vintage jewellery boxweight 5.5g all in, 40 x 12 mm approx, diamonds grey, no major faults to the naked eye

A 1920s carved jadeite plaque brooch, decorated flowers4.1 x 2.3 cmNo major faults visible to naked eye, very small losses under a 10x lens

A late 19th century yellow coloured metal and red stone brooch, in a vintage jewellery box

A yellow metal, red and white stone gypsy set ring, a gilt metal and turquoise brooch, and a vintage jewellery box (3)

A yellow metal, red stone and seed pearl floral brooch, on a chain

An antique silver ring, and a yellow metal and green stone fan brooch, lacking two stones (2)

A late 19th/early 20th century 9ct gold bar brooch, in a vintage jewellery box

A silver and hardstone brooch, and assorted silver rings (6) Provenance: Sold on behalf of the Yeovil Hospital Charity

A Georg Jensen silver brooch, decorated deer, No. 256, 4 cm wide

A 20th century silver floral brooch, 33.5 g

A silver coloured metal cigarette case, two compacts, a baby's rattle, a wine label, a silver coin mounted as a brooch, a baby's push, various dates and marks (box)8.6ozt

A yellow, white metal and diamond sweetheart brooch

A carved coral brooch, a turquoise and silver ring, ring size M, and a pair of turquoise stud earrings (4)

A late Victorian diamond starburst brooch, set with graduated old cushion-shaped diamonds in silver and gold, diameter 5cm, case

λ A group of jewels including an Art Nouveau brooch, circa 1900, comprising: a necklace composed of graduated lapis lazuli beads and two shorter necklaces composed of graduated coral beads, length of longest 75cm; an Art Nouveau brooch in base metal designed as two pairs of sycamore seeds, length 10.1cm; and a synthetic ruby and synthetic diamond cluster ring, size Q1/2

A Victorian diamond brooch/pendant, late 19th century, designed as a twelve-rayed star, set with circular-cut diamonds, the central diamond weighing approximately 1.50 carats, mounted in silver and gold, length 6cm, detachable brooch fitting

Φ Φ Jacqueline Gruber Stieger, a gold and moonstone brooch/pendant, 1977, designed as a segmented textured panel set with oval and semi-circular opal cabochons, maker's mark AGS, London hallmarks, length 5.8cm Jacqueline Steiger adopted her late husband Alfred Gruber's maker's mark AGS after his death in 1972.

λ A mixed group of jewellery, including: an abstract diamond ring, set with round brilliant-cut diamonds in white gold, total approximate diamond weight 0.85cts, size K, a diamond half hoop ring, set with six circular-cut diamonds in fluted white gold setting, stamped 18K, size K, a demantoid garnet pendant with a diamond-set bail and a mid 19th century coral and seed pearl oval brooch, length 3cm

An enamel and diamond brooch, late 19th century, designed as a flower, set with circular-cut and cushion-shaped diamonds, on a ground of deep blue basse-taille enamel, mounted in silver and gold, the reverse with floral engraving, length 3cm

A George III ruby and diamond brooch, late 18th/early 19th century, designed as a ribbon bow, set with cushion-shaped and rose-cut diamonds and rubies, mounted in silver in closed-back settings, length 3cm, later brooch fitting

A collection of jewels, comprising: a bracelet set with circular-cut amethysts, mounted in gold, stamped 9ct; a garnet bar brooch in 9ct gold, British hallmarks; a sapphire and diamond ring, stamped 18K; a jadeite pendant on a gilt metal chain; a pair of cultured pearl pendent earrings in gold; a pair of turquoise cluster stud earrings in gold; a low-carat gold longchain; and an onyx brooch mounted in gilt metal

A Victorian diamond brooch, late 19th century, of radiating foliate design, set with circular-cut diamonds, mounted in silver and gold, length 4.1cm

A chrysoberyl brooch, late 18th/early 19th century, designed as a cluster of cushion-shaped chrysoberyls in closed-back settings, mounted in silver and gold, 4.4cm

A group of jewels, comprising: a pair of floral earrings set with foiled garnets, mounted in silver, length 1.7cm, screw fittings; a hexagonal synthetic ruby ring mounted in gold, size K1/2; a gold and amethyst bar brooch; a cultured pearl bar brooch; an aquamarine and diamond ring in gold and platinum, size P1/2, stamped 18CT PLAT; an emerald, ruby and sapphire 'Day and Night' eternity ring, size P; and a 19th century gold fob seal chased with floral designs set with an intaglio depicting a classical couple making an offering at an altar, handle deficient

A diamond double clip brooch, C1950, of scrolling fan design set with graduated circular and baguette-shaped diamonds in white gold, width 4.8cm

A Victorian diamond and ruby brooch, late 19th century, designed as a bee, set with circular-cut diamonds, its eyes set with cabochon rubies, mounted in silver and gold, wingspan 3.2cm

Kutchinsky, a gold, emerald, ruby and diamond brooch, circa 1963, designed as a stylised lion in textured 18ct gold, accented with brilliant-cut diamonds, a cabochon ruby and circular-cut emeralds, length 4.2cm, British hallmarks for 18ct gold, signed Kutchinsky

An Art Nouveau garnet and pearl pendant/brooch, late 19th century, centred on a carved garnet depicting the profile of a maiden in low relief, within a scrolling foliate bi-colour gold frame detailed with red paste and diamonds, surmounted by two doves with river pearl bodies and the base suspending a further pearl, length 6cm, maker's mark FV and city mark for Pilsen

A Victorian natural pearl and diamond necklace, late 19th century composite, the three rows of graduated pearls separated with three diamond cluster clasps in silver and gold, each clasp detaches entirely and can be worn separately as a pendant, the largest central clasp with vacant brooch fittings, length 38cmAccompanied by GCS report no. 5784-2804, dated 19th July 2024, stating that the pearls are natural saltwater.

A collection of jewels, comprising: three gem-set and diamond brooches designed as an elephant, a bee and an aeroplane respectively; a gold pocket watch on a gilt metal chain; a brooch set with a green cabochon, the gold back with a commemorative engraving dated 1860, length 5.2cm; a carved jadeite pendant, length 3.8cm; and ten base metal rings, including three set with intaglios; and a circular section of banded agate

A pink topaz and pearl brooch, mid 19th century, of plaque design, set with rectangular cushion-shaped and circular-cut pink topazes and four half pearls, in a scrolled gold border, length 33.8cm, pearls untested

A pearl and diamond brooch/pendant, early 20th century, of circular outline, with a radiating design in openwork knife wire, set with circular-cut diamonds and pearls, mounted in silver and gold, diameter 4.6cm, detachable brooch fitting, pearls untested

A Victorian seed pearl, demantoid garnet and ruby brooch, late 19th century, designed as a salamander, set with seed pearls, circular-cut demantoid garnets and cushion-shaped ruby eyes, mounted in gold, length 5.6cm, pearls untested

λ A collection of jewels including a cultured pearl and diamond necklace, comprising: an early 20th century necklace composed of graduated cultured pearls measuring 3.0-6.2mm, to a clasp set with three circular-cut diamonds totalling approximately 0.50 carats, mounted in platinum and gold, length 42cm, pearls untested; a necklace of graduated peau d'ange coral beads measuring 4.6-13.1mm, to a clasp set with rose-cut diamonds, length 45cm; three gilt silver Masonic pendants; a silver fob watch sautoir, signed Flari, stamped 925; a silver pendant designed as two confronted wasps; a heart-shaped garnet and diamond cluster ring; turquoise and seed pearl floral brooch and a floral brooch set with a carved amethyst; two paste eternity rings; a Rolex watch movement with a square dial; a stainless steel fob watch; and a collection of loose gemstones including amethyst, malachite, garnet and smoky quartz

Φ Φ Ben Rosenfeld, a turquoise flower brooch, 1965, set with a central cluster of diamonds within graduated turquoise leaves within ropetwist borders in 18ct yellow gold, maker's mark and London hallmarks, length 5.5cm

An Art Nouveau gold and pearl brooch, Russia, late 19th/early 20th century, designed as a stylised flower set with a seed pearl, mounted in gold, length 3.6cm, Russian 56 zolotnik and St Petersburg city marks, assayer or workmaster mark ПT, pearl untested

A rare paste and garnet 'Order of Christ' brooch, Portugal, 19th century, designed as a cross within a foliate border suspended from a ribbon bow, set with foiled calibré-cut garnets and cushion-shaped pastes, in closed-back silver settings, length 5.5cm, case stamped Franklin, 37 Duke Street, St James'sThe Order of Christ was a religious and military order founded in Portugal as a continuation of the Knights Templar, following their persecution and disbandment in the early 14th century. Secularised by Queen Maria I of Portugal in 1789, it was one of the three 'Ancient Military Orders' conferred upon prominent political, cultural and military figures by the Portuguese monarchs. With the fall of the Portuguese monarchy in 1910 it was discontinued, but was revived shortly afterwards in 1917 and still continues, presided over by the President of the Republic as its Grand Master. Cf.: Leonor d'Orey, Five Centuries of Jewellery, National Museum of Ancient Art, Lisbon, 1995, p.112 and Diana Scarisbrick, Brilliant Impressions: An Exhibition of Antique Paste and Other Jewellery, SJ Phillips, 2010, p.97-8, for similar examples of these distinctive jewels.

An Art Deco diamond double-clip brooch, 1930s, dividing into two clips, each of geometric openwork design, each end terminating in a palmette, set with circular-cut and baguette diamonds, mounted in platinum, combined length 6.2cm

A ruby, emerald and diamond brooch, designed as a butterfly in flight, its wings partially articulated, its antennae mounted en tremblant, set with single-cut and baguette diamonds, circular-cut rubies, channel-set with lines of calibré-cut emeralds, and brilliant-cut diamonds of yellow, brown and greenish tints, mounted in white gold, length 8cm, diamonds not tested for natural colour origin, case

An early 20th century labradorite necklace and brooch, the fine oval-link chain set with graduated labradorite cabochons, centring on an articulated labradorite and white stone drop on knife-edge links, necklace length 38cm, with a similar labradorite and diamond brooch, with a carved labradorite eagle within starburst surround of graduated old-cut diamonds in gold, width 4.3cm, fitted case by E.W.Payne

A sapphire, ruby and enamel brooch, designed as the burgee of the Royal Southern Yacht Club, set with calibré-cut sapphires and rubies, the central Imperial State Crown motif applied with red enamel, mounted in white gold, length 3cm

A collection of jewels, late 19th and 20th century, comprising: a pair of brilliant-cut diamond stud earrings totalling approximately 0.40 carats, mounted in 18ct white gold, post fittings, British hallmarks; a diamond ring, stamped 18CT; a synthetic blue spinel and diamond cluster ring in 18ct gold, British hallmarks; a step-cut emerald and baguette diamond ring in white gold, stamped 14K; an oval amethyst brooch; a pair of amethyst and diamond cluster stud earrings mounted in gold, stamped 9K; a cultured pearl necklace with a cultured pearl and diamond clasp modelled as a bow, stamped 14K; an amethyst and white chalcedony-handled desk seal mounted in gold, length 5.2cm; a horseshoe stick pin set with half pearls; a rose quartz and diamond pendant, stamped 375; a portrait miniature brooch in 18ct gold, British hallmarks; a gold brooch designed as a Rococo scroll frame; four gold lockets; a fox head bar brooch; a lady's gold Rotary watch with gilt metal bracelet; and a collection of jewels in gold, silver and gilt metal, in a wooden jewellery box

Φ Φ Ben Rosenfeld, a ruby and diamond brooch, designed as a stylised flowerhead set with graduated rubies and diamonds in 18ct yellow and white gold, maker's mark and London hallmarks for 1962. length 3.5cm, case

Child & Child, an enamel brooch, early 20th century, designed as a pair of wings applied with translucent blue basse-taille enamel, mounted in silver, length 9.5cm, indistinct mark for Child & Child under enamel to reverse, some restoration to enamel, fitted case stamped Child & Child

A collection of silver and enamel Arts and Crafts jewellery, including a brooch by Charles Horner, early 20th century, and an opal doublet ring, comprising: a gold ring set with an opal doublet, size K; together with two brooches, a pendant and a pair of earrings, each designed in the Arts & Crafts style, applied with blue and green enamel, earring length 3.1cm each, screw fittings, the smaller brooch, length 3.5cm, with British hallmarks for silver, sponsor's mark CH for Charles Horner, date letter H for 1908, the larger brooch length 5.2cm, likely adapted from a buckle, later brooch fittings, partial British hallmarks; pendant length 5.7cm, central paste possibly later replaced

A collection of jewels, comprising: a pearl and diamond half hoop ring, mounted in gold, size M1/2, pearls untested, one pearl deficient, three gold shirt studs, each stamped 18CT; a pair of 15ct gold cufflinks, British hallmarks; a pair of gold cufflinks with oval terminals, each stamped 9ct; a gold heart padlock clasp, stamped 9ct; a gold shirt stud designed as a fox's head; three mechanical pencils, one stamped 18CT; and a silver brooch depicting a heraldic leopard, British hallmarks

A turquoise and diamond brooch, mid 20th century, designed as a turtle, its shell set with turquoise cabochons, its head and tail set with single-cut diamonds, mounted in bicoloured gold, length 4.1cm, stamped 18CT, case

A gold and enamel fob watch and chain, late 19th/early 20th century, the fob watch with a white enamel dial and Roman numeral indicators, the reverse applied with painted enamel depicting Cupid with a rake, tending a rose garden, accented with rose-cut diamonds, suspended from a later brooch modelled as a fish in multicoloured enamel, on a fancy link watch chain in 9ct gold, watch 3.2cm including suspension hoop, French assay marks for gold, numbered 5948, brooch length 2.4cm, watch chain length 46cm, British hallmarks for 9ct gold

An enamel and diamond brooch, late 19th century, of circular outline, designed as a knife wire lattice and border of rose-cut diamonds on a ground of deep blue enamel, mounted in silver and gold, diameter 2.6cm, French import assay marks

An Edwardian seed pearl necklace, set with three graduated seed pearl crescent moons within articulated seed pearl fringe necklace on fine-link yellow gold chain, with a matching seed pearl starburst brooch (two seed pearls missing), necklace length 39cm, brooch length 2cm

A gold and diamond brooch, late 19th century, designed as a rose modelled in gold, set with a cushion-shaped diamond within a border of rose-cut diamonds, length 7cm