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end of the 17th century | height: 23 cm | region: Naples | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This 17th century albarello, from a Neapolitan workshop, is decorated with rich polychrome decoration with heraldic motifs and a prominent gold royal crest. A lamb symbol and the inscription "IHS" are visible on the front, which refers to Christian symbolism, often associated with the Jesuits. This apothecary jar, in addition to its practical use, also fulfilled a decorative function thanks to the detailed painted ornament. The combination of religious and heraldic symbols gives this albarello an extraordinary aesthetic and historical value that is prized among ceramic collectors. | condition: chip on top edge | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

20th century | height: 43 cm | region: Central Italy | provenance: private pharmacy museum | Albarello faience pottery | The pair of painted majolica jugs probably come from the Italian region of Urbino, where this type of ceramic production was particularly developed during the High Renaissance. Works of this type are characterized by detailed figural rendering, richly decorated ornaments and mythological or biblical scenes, which are executed in the colorful colors typical of majolica. The sophistication of the shape stands out on these jugs, where the upper part is decorated with plastic figures of sea creatures, symbolizing the connection between man and nature. The body of the jugs is spherical and is covered with paintings that depict pastoral and hunting scenes, which corresponds to the artefact of the period for decoration inspired by everyday life and natural scenes. The sturdy and tall legs of the jugs are decorated with rich gold and blue motifs that emphasize the luxurious character of these artifacts. | condition: restored | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

19th century | height: 30 cm | region: York Glass Company | country: United Kingdom | provenance: private pharmacy museum | Albarello faience pottery | Made by the York Glass Company in the UK, this beautiful apothecary jar is a typical example of 19th or early 20th century pharmaceutical design. The container is decorated with a distinctive pink glaze and bears the inscription "UNG. HYD. MIT.", which refers to an ointment containing mercury (Unguentum Hydrargyri Mitius), which was historically used to treat various skin diseases, including infections and parasites. The container has a classic shape with a removable lid, which ensured that the ointment was kept in good condition and protected from contamination. The pink color of the container and the simple gold inscription contribute to its elegant appearance, which was characteristic of English pharmacies of the time. | condition: crack on top edge | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

Novohispanic School. Guatemala. 17th - 18th century."Virgin Mary" and "Mary Magdalena"Pair of carved, gilded, stewed and polychrome cedar wooden sculptures.Virgin measurements: 36 x 20,5 x 20,5 cm. Mary Magdalene measurements: 35,5 x 18 x 22 cm.These images serve as splendid examples of the refinement of sculpture in Guatemala in the 18th century. Fully covered in gold, with estofado technique and "picado de lustre" - a patterned effect achieved using small chisels or burins.  It is painted with various colours by brush. The sclptures are adorned with flowers, palm leaves, and small delicate geometric motifs. The mastery of the carving is evident in the multitude of folds in their elaborate garments, the emotion and sadness conveyed by the faces, and the beautiful strands of Mary Magdalene's hair.These images are comparable in quality to two sculptures that are part of the collection of the LACMA Museum in Los Angeles: the Archangel Saint Michael (collection number M.2021.1a-b) with significant similarities in the rich and fine polychrome, and the Virgin of the Rosary, polychromed by the artist Felipe de Estrada.It is important to highlight that in the society of that era, both in New Spain and in Europe, there was an enormous demand for this type of figure. Writings from the time reflect the society's desire to possess these excellent images. As indicated by Professor Ilona Katzew (Curator and Head of the Latin American Art Department at LACMA in Los Angeles), "in a letter to a fellow priest in Guatemala, the Franciscan commissioner in New Spain, Manuel de Nájara, thanked him for obtaining some images, emphasizing that the fame of Guatemalan carvings was widely recognized throughout the viceroyalty."Reference Bibliography:- Katzew, Ilona. "Archive of the World. Art and imagination in Spanish America, 1500 - 1800." Los Angeles County Museum of Art.

Flemish School. 16th century.‘Mary as the Gateway to Heaven. Allegory of the examination of conscience to achieve a Good Death’.Oil on panel. Accompanied by an imposing carved and gilded wooden frame.92 x 70 cm.Magnificent panel depicting the final moment of a human being lying in the centre of the bottom of the composition, taking stock of his good and bad deeds, the examination of conscience of his life; a prayerful reflection on his thoughts, words and actions in the light of the Gospel to determine how he may have sinned against God and others. The artist must have been familiar with the theology of the time, as taught by St. Ignatius of Loyola in his Spiritual Exercises, which taught: ‘at the end of the day, at the time of going to rest’ ‘to make a daily peaceful reflection on all that has happened [...] to find God in all things [...] even in those where God had apparently hidden himself’. 'The human conscience imagines its life at the ‘hour of eternal rest’. The painter places Mary, the Gate of Heaven, at the centre, as the Mother of Mercy who always awaits with open hands on her heart. In Glory,  the Holy Trinity awaits, God the reigning Father, the Suffering Son and the Holy Spirit who flies over everything and everyone. When contemplating this work, we see three differentiated levels, in which numbered phylacteries fly, like speech bubbles, which arrange the conversation. Above in the sky: Son (11) ‘PATER RESPICE VULNERA MEA...’ (‘Father, remember my wounds...’). And he also addresses his mother (14): ‘MATER MEA, FIAT TIBI SICUT VIS’ (‘My mother, let it be done as you will’). God the Father (12) ‘VENIT TEMPUS MISEREN DIEORUM’ (‘The hour has come for the miserable days’).The Father, who addresses the Virgin and calls her Daughter: ‘FILIA FIAT TIBI SICUT VIS’ (‘Daughter, be it done as you will’). And the third from heaven is the Dove or Holy Spirit (1) ‘SPONSA FIAT TIBI SICUT VIS’ (‘Bride, be it as thou wilt’). On the second level, horizontally speaking, and in the centre, the Virgin responds with three phylacteries (8): ‘PATER RESPICIE IN FACIEM CHRISTI’ (‘Father receive and look at the face of Christ’), (9) ‘FILI ASPICE UBERA QUAE TE LACTAVERUNT’ (‘Son, look at the breasts that suckled you’), and (10) ‘S. Se. DEUS ECCE QUOS AMAS INFIRMANTUR‘ (’God, Holy among the Saints, strengthen those you love"). The angels on the left, over which he prays: ‘PER HANC NOS AD DEUM’ (‘Through these, we go to God’), ask their Queen (7): ‘IUUA PUSILLANIMES, MARIA ANGELORUM REGINA’ (‘Mary, Queen of Angels, look upon the fainthearted youth’). On the right are saints and the Church: Saints Peter and Paul, Popes and Holy Fathers, and Saint Peter the Martyr, among others. Above them: ‘PER HANC DEUS AD NOS’ (‘Through these, God goes to us’), and they respond to their Mother: ‘SU COURE MISERIS SANCTORUM MATER’ (‘Merciful Mother of Saints, attend this tribunal with your heart’). On the earthly level, rests the conscience, lying in the form of a sick human being, who speaks to the Virgin (2): ‘MARIA, TU AB HOSTES PROTEGE ET HORA MORTIS SUSCIPE’ (‘Mary, protect yourself from the enemy and listen to the hour of death’). To which she replies from heaven (16): ‘CONFIDITE FILII, EXAUDITE EST ORATIO NOSTRA’. (‘Son of trust, hear our prayer’). And St. Michael the Archangel, who is named, brandishes his sword over the devil, and says to him (17): ‘IMPERET TIBI DEUS’ (‘God will annihilate you’). And that devil, who is leaning over the recumbent, says (1): ‘PECCAMUSTIS NON SPERETIS VENIAM’ (‘You must sin, do not expect forgiveness’). To the left of the couch, is an angel looking up and praying (5): ‘OCURRITE ANGELI DOMINI’ (‘Angels of the Lord, come’). To the left of his wing we read ‘STOS’ (‘he who remains standing’). To the right of the sick man Saint John the Evangelist (‘PROTECTOR’, behind him, above the shield) cries out: ‘SUB VENITE SANCTI DEI’ (‘Saints of God, come to him’). Two saints pray with the sick man, a Carmelite and an Augustinian, behind whom ‘death breathes, symbolised by the caravel waiting patiently with its shining dart’. The sick man communicates that he has had only one thought, of the fear of God (‘TIMOR DEI’), his whole life rests on the theological virtues, Faith, Hope and Charity (pillows), rests on his good works, thoughts and words (‘BONAE OPERA, BONAE COGITATIONIS, BONAE LOQUTIONES’), and rests on the cardinal virtues (legs of the bed) Prudence, Justice, Fortitude and Temperance. The devil, who stalks the dying man, sticks out from under his bed, which raised on a platform covered with a valance: ‘CONFUNDANTUR QUI ME PERSEQUNTUR ET NON CONFUNDAR’ (‘Those who persecute me will be confused, and they will not confuse me’); while the dying man prays and speaks to all: ‘MISEREMINI NOSTRI SALTEM VOS, AMICI NOSTRI’ (‘At least, you, our friends, have mercy on us’). All this theological life ‘has a face, an owner, a face, a family’, represented by the heraldic shield on the right of the evangelist and beloved disciple, either the person who commissioned the work or its painter. A shield in gold, gules and black with a heart surmounted by the Holy Cross of Jerusalem with initials B, E, P, O.Finally, we should note that an almost exactly similar panel, although not so dark in the background colour, with more light, with the same iconography, perhaps also by the same artist, is in the Pilgrimage Museum in Santiago de Compostela.

Castillian School. Circa 1500."Saint Quiteria and Saint Barbara"Oil or tempera with gold background on panel. Fragment of an altarpiece, possibly belonging to a predella.37,5 x 40,5 cm.Even though we have not been able to recognise the master behind these two saints, his great artistic skill is evident. The faces of both saints are delightful and of unfathomable sweetness.An exceptional panel that shows the splendour of the Aragonese Renaissance, both in the colour palette, with those shimmering tones on the tunics, as well as in the physiognomy of the models and the flesh tones on their faces and hands in tempera and oil. It is also evident in the perfect gold ground-covered surface for the backdrop, decorated with plant motifs and pointillé, a decorative technique used on gold which consisted of engraving different drawings with small chisel strokes or pricks, thereby pushing down the smooth gilded surface or the stucco mass. There is no doubt as to which saints they are, as they are named on their limbs, Quiteria and Barbara.Quiteria was alive during the 2nd century A.D. The daughter of a pagan Roman governor, her mother gave her up for adoption, along with her eight siblings, to prevent her honesty from being questioned and to preserve her virginity. According to Christian doctrine, this adoption brought her closer to God. Always linked to prayer, as she appears reading a book of hours, she would eventually meet her parents. Tradition has it that her father, as soon as he learned of her profession of faith, had her head cut off.Barbara came from Nicomedia, on the Anatolian Peninsula, in the late 3rd and early 4th centuries AD. Highly intelligent, she was the daughter of Diocorus, a wealthy pagan man. Through her reading and studies she questioned her paganism, and because of her religious concerns, she was instructed in the catechism and converted to the Christian faith. Because of her physical beauty, she had no shortage of suitors, but she kept herself a virgin in order to consecrate herself to God. Her father had a tower built to keep her from the eyes of strangers. On one of her father's journeys, she herself ordered the workmen to build a third window (she only had two) to honour the Holy Trinity. She was tortured for her faith, but she did not die as she received help and care from heaven.  As she refused to worship the pagan gods, her father finally cut off her head. After decapitating her, her father was struck by lightning and no trace of his body was left.In the panel, she is shown holding her most characteristic attribute, the tower in which she was imprisoned, at a reduced scale on her hand, as if it were a model. A moulding runs along it and frames it in the manner of the Gothic lines to strengthen a wall or window, in which verticality predominates over horizontality, underlining the mysticism of the figures it contains. This panel would clearly have formed part of the ‘flos sanctorum’ of the lower predellas or side sections of an altarpiece.Finally, it is interesting to note that marks of the gouge can still be seen on the back of the boards which are assembled horizontally and which form the panel, and the remains of rabbit glue dissolved in water as a grout can be seen, erasing imperfections and smoothing out the pine boards, the most advanced material used at that time for this type of work. 

Small snuff box in embossed gold. France. 18th century.In an oval format, completely carved with exquisite decoration of architecture, still life of fruits and flowers, musical instruments (violins, trumpets) and curtains. On the inside it has the marks “S crowned” and a lion rampant. 2,8 x 7,4 x 3,2 cm.Weight: 56 g.

Italian school. Early 16th century.‘The Annunciation'Oil and gold ground on copper.38 x 39,5 cm.With the inscription ‘Vera S. Mariae Angelo V. Effig.’Delicate composition framed in a tondo decorated at the cardinal points by very special little angel heads as they look like portraits. It has slight flaws. 

Carved, gilded and polychromed Eucharist chest. Possibly France. Gothic. Circa 1300.21 x 27,5 x 18 cm.A marvellous chest for liturgical use that retains most of its original polychromy and gilding, although with some losses.The front and back, although not identical, have very similar decoration based on thin, stylised pointed arches with a marked Gothic aesthetic, finished with a half-pointed arch with three cavities inside, resembling stained-glass windows on the front. The sides are identically decorated with geometric and vegetation elements.It has a gabled lid that, on its front side, is decorated with branches which hide different types of flowers amongst them. On the other side it has two large rosettes like those found in the stained-glass windows of the most prominent Gothic cathedrals.The decoration is enriched by borders of dotted gold, sometimes single and sometimes double, which, when it was placed there, was intended to resemble goldsmith's work.The chest still has its original hinges, but the lock is missing.Inside, the lower part is painted red and the upper part depicts a blue sky with red and gold stars.The lower natural-wood strip that runs around almost the entire perimeter is modern, to complete what had been lost and  strengthen the structure.

Imposing carved and polychromed wooden cupboard. Viceregal work. Peru. 18th century.210 x 152 x 60 cm.Structurally, it has two front doors that close with a large original wrought iron bolt. It is topped with a cornice and supported by a long continuous base. The entire cabinet is completely carved with rich ornamentation of flat carving and moulding in square ribbed sections.The decoration on the doors is divided into three segments, the upper one shows the keys and the Mitre of St. Peter (elements that are repeated in the cornice), the central one shows two Eucharistic pelicans among branches and flowers, and the lower one is formed by a single large rose window, similar to a cathedral stained-glass window.The same decoration, somewhat smaller due to there being less space, can be found on the sides.An example comparable to this is the one in the Museo de Arte de Lima, and as María Campos Carlés points out in her book on Viceregal Peruvian furniture ‘Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII": it is ’a dazzling and majestic cabinet for civilian use. This piece was built in the last quarter of the 17th century by anonymous artisans from Cusco with Italian influence.Another example comparable to this cupboard is the one in the Vivian and Jaime Liébana collection in Lima, dating from the 18th century.Regarding the origin and style of this type of baroque furniture, we highly recommend reading chapter VI of the aforementioned book by Compos Carlés (Wooden, baroque style furniture with flat carving, bare, gilded and polychromed. Civil and religious, utilitarian and ornamental use. Lima, Cusco, Arequipa, Puno and Trujillo) in which it is explained how: ’the local craftsman extracted artistic patterns from books of engravings and drawings of European art. This valuable data allowed them to ornament a piece of furniture with Europeanising morphology while inserting juxtaposed autochthonous elements. The Spanish Baroque underwent changes in the Viceroyalty of Peru as a result of the added ornamental fantasy of a typically Andean identity, avid for creativity...The three-dimensional volumetry was achieved by means of bevelled roughing on hard and ductile woods...It is relevant that on some occasions the carved wood was totally or partially gilded with gold leaf, and patinas and polychromy were also used.210 x 152 x 60 cm.Structurally, it has two front doors that close with a large original wrought iron bolt. It is topped with a cornice and supported by a long continuous base. The entire cabinet is completely carved with rich ornamentation of flat carving and moulding in square ribbed sections.The decoration on the doors is divided into three segments, the upper one shows the keys and the Mitre of St. Peter (elements that are repeated in the cornice), the central one shows two Eucharistic pelicans among branches and flowers, and the lower one is formed by a single large rose window, similar to a cathedral stained-glass window.The same decoration, somewhat smaller due to there being less space, can be found on the sides.An example comparable to this is the one in the Museo de Arte de Lima, and as María Campos Carlés points out in her book on Viceregal Peruvian furniture ‘Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII": it is ’a dazzling and majestic cabinet for civilian use. This piece was built in the last quarter of the 17th century by anonymous artisans from Cusco with Italian influence.Another example comparable to this cupboard is the one in the Vivian and Jaime Liébana collection in Lima, dating from the 18th century.Regarding the origin and style of this type of baroque furniture, we highly recommend reading chapter VI of the aforementioned book by Compos Carlés (Wooden, baroque style furniture with flat carving, bare, gilded and polychromed. Civil and religious, utilitarian and ornamental use. Lima, Cusco, Arequipa, Puno and Trujillo) in which it is explained how: ’the local craftsman extracted artistic patterns from books of engravings and drawings of European art. This valuable data allowed them to ornament a piece of furniture with Europeanising morphology while inserting juxtaposed autochthonous elements. The Spanish Baroque underwent changes in the Viceroyalty of Peru as a result of the added ornamental fantasy of a typically Andean identity, avid for creativity...The three-dimensional volumetry was achieved by means of bevelled roughing on hard and ductile woods...It is relevant that on some occasions the carved wood was totally or partially gilded with gold leaf, and patinas and polychromy were also used.

Snuff box in vermeil silver, applied enamel and small ruby and emerald cabochons. Royal Sèvres Manufactory. France. 18th century.A marvellous box entirely decorated with a first layer of lapis lazuli enamel on which is a garland of fleurs-de-lis, painted in gold, enriched with turquoise enamel and small rubies and emeralds. In the centre of the lid, in an indented oval section, the portrait of the monarch Louis XVI is painted in enamel, above which is a crown of rubies and emeralds. Inside, at the base, there is a Sèvres porcelain plaque bearing a large fleur-de-lis in gold paint surrounded by the initials of the factory, which in turn is surrounded by a laurel wreath enamelled in gold and turquoise. On the inside of the lid is a lozenge-shaped mark with the initials ‘GJ’.2.5 x 9 cm.

Circular, gold snuff-box. France. Dated 1657.Circular in shape, the outside and the bottom are alternately decorated with thin strips of gold and slate.The lid is decorated with an oil-painted miniature depicting a country landscape. The interior is covered in tortoiseshell.An old clipping of the fragment of the Christie's catalogue of the auction from which the box was purchased is to be found in the box. The clipping has the handwritten inscription ‘Hawkins Coll’The snuff box is in a superb state of conservation, despite the fact that 4 of the small gold strips at the top of the box are missing. 3 x 5.5 cm.Provenance: Christie's auction, 27 March 1928.

1920's/1930's art deco industrial table lamp with gold painted decoration.

Five bottles of single malt Scotch whisky, all in original boxes, comprising: Bowmore 'Surf', 40% Vol, 1 Ltr, Aberlour Aged 10 Years, 40% Vol, 70cl, Highland Park Aged 12 Years, 40% Vol, 70cl, Ancnoc, 40% Vol, 70cl and Cardhu Gold Reserve, 40% Vol, 70cl, together with a bottle Dimple De Luxe Scotch Whisky, 15 Years Old, boxed, 75cl.Qty: 6

A Middle Eastern black fabric banner, (Kaaba cloth?), embroidered with inscriptions in gold and silver thread (not tested), with three signatures, 91 cm square, framed and glazed, 104.5 x 105.5 cm

Star Trek: Voyager Crew Jacket and related memorabilia – includes, Star Trek: Voyager, black padded crew jacket, fully lined, with TV series title embroidered in white and gold across the back, full-zip front with snap fasteners, rolled hood and detachable zip sleeves, snap fastener front pockets, label reads ‘Result, Paramount Pictures 1998’, size M, unworn as new; together with, Star Trek: Wrath of Khan, uniform badge, boxed (x2); Star Trek: No Contact, stainless steel pen boxed (x2); Star Trek: Generations, journal; Star Trek pins; Star Trek Paramount Pictures CD case holder; Star Trek: Hypermouse II, computer mouse; Star Trek Sony watchmen; and Star Trek Paramount Pictures paperweight. (12) Provenance:The vendor worked as a receptionist for 15 years with Cinema International Corporation (CIC) film distribution company started by Paramount Pictures and Universal Pictures in the early 1970s.

Morrissey: Five framed presentations awarded to the late Mike Hinc for his contribution to multiple Morrissey tours -the first; Morrissey 'Southpaw Grammar' CD presentation, given to Mink Hinc to recognise sales in the United Kingdom of more than 60,000 copies of the album "Southpaw Grammar" 1995, framed and glazed,16 ¼ x 16 ¼ inches;the second; Morrissey presentation photograph and plaque, the plaque congratulating Mike Hinc for the success of the second UK leg of the1991 Kill Uncle Tour, framed and glazed, 18 ¼ x 13 inches,the third; Morrissey 'Hulmerist' presentation, given to Mike Hinc for more than 25,000 sales of retail value over $1,000,000 of the music video "Hulmerist", RIAA Certified Sales Award logo, framed and glazed, 17 x 13 inches,the fourth; 'Morrissey In Person' presentation, expressing thanks from MCP, S.J.M. Concerts, and Riverman, framed and glazed, 13 ½ x 14 ¼ inches, and the fifth; 'Morrissey at The Forum' advertising poster for dates during the UK leg of the 1991 Oye Esteban tour, framed and glazed, 13 x 9 ½ inches. (5)Steven Patrick Morrissey (b. 1959 -), is an English singer and songwriter. Beginning his career in The Smiths, he has since gone on to have a successful solo career within the alternative and indie rock genre. From the personal collection of the late Mike Hinc, former booking agent at Rough Trade for Morrissey, The Smiths and others. All in very good condition. No major flaws. Glue residue is visible on the top and bottom gold plaques of the Kill Uncle tour presentation. All unexamined out of glazed frames.

The Smiths: Four Gold Discs for the albums The Smiths,1984; Hatful of Hollow, 1984; Meat is Murder, 1985 and The Queen is Dead 1986, all 'Presented to All Trade Booking to recognise sales in the United Kingdom of more than 100,000 copies of the Rough Trade Album . . . ', Meat is Murder plaque with BPI certified sales award logo, all framed and glazed 20 ¾ x 16 ½ inches overall. (4)The Smiths (1982-1987) were a British rock band formed in Manchester, composed of Morrissey (vocals), Johnny Marr (guitar), Andy Rourke (bass), and Mike Joyce (drums). The band is widely regarded as one of the most important acts to emerge from the 1980s British independent music scene and is best known for the songs 'This Charming Man', 'Heaven Knows I'm Miserable Now', and 'There is a Light That Never Goes Out'. From the personal collection of the late Mike Hinc, former booking agent at Rough Trade for Morrissey, The Smiths and others. Very good condition. Scratching and mold to Meat is Murder gold disc. A loose piece of glass within the frame of The Queen Is Dead. All unexamined out of glazed frames.

Paramount Studios and Antz (1998) Two Crew Jackets and Cast signed Frasier photograph –Paramount Studios, black padded jacket with brown suede sleeves, fully lined, with the Paramount logo embroidered in brown and gold across the back, snap fasteners to front, label reads ‘Paramount, USA type’, size XL, unworn as new; Antz (1998) black and white padded crew jacket, fully lined, film title embroidered on left breast, film title and image of an ant under a microscope across the back all in black, green, and brown, snap fasteners to front, label reads ‘JSR Industries Inc., USA type’, size XL, unworn as new; together with, Frasier (American TV series, 1993-2004) Cast signed publicity photograph, signatures include, Kelsey Grammer, John Mahoney, Peri Gilpin, David Hyde Pierce, Jane Leeves and Moose (Eddie), 8 x10 inches, framed and glazed, 11 x 13 inches. (3) Provenance:The vendor worked as a receptionist for 15 years with Cinema International Corporation (CIC) film distribution company (started by Paramount Pictures and Universal Pictures in the early 1970s).

An 18ct gold and diamond three stone ring, ring size J

A ladies 9ct gold wristwatch, 23.4 g (all in), a ladies Rotary wristwatch, cased, another watch and a watch face (3)cushion cased with mesh bracelet clasp and case is hallmarked 9ctmovement not runningrectangular watch case marked 9ct gold

A 9ct gold and seed pearl heart shape pendant, 3 g (all in)One seed pearl missing21 x 17 mm approx

A 9ct gold and diamond chip wedding band, ring size M, 2.2 g

A pearl triple strand necklace, with a 9ct gold clasp, by Coleman Douglas, cased

A 9ct gold bangle, 6.1 g

A late 19th/early 20th century Indian yellow coloured metal, old cut diamond and green stone snake bracelet, the head and tail inset with diamonds, testing as high carat gold, 91.7 g (all in)Overall condition good, body of the bracelet has slight wear, but no noticeable kinks or creases, diamonds are old cut, some variation of colour, most bright white, no visible repairs

An 18ct white gold and diamond solitaire ring, ring size Papprox 2.3g all in

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

A 9ct gold and pink stone baguette cut ring, ring size O

A 9ct gold cigar cutter, 10 g (all in)

A 9ct gold, blue and white stone cluster ring

A 20th century 9ct gold spiral broochgross weight 6.7g

A 9ct gold wedding band, ring size N, and a 9ct gold cross pendant on a chain, 7 g (2)

A string of cultured pearls, a gold plated locket, another, a ladies dress watch and two vintage jewellery boxes

A 9ct gold heart shape pendant/clasp, 2.6 gsize approx 2.25 x 1.5 cm2.5 x 1.5 mm approxsome light ware

A 9ct gold ring, a 9ct gold locket, and two yellow metal chains (3) Provenance: Sold on behalf of the Yeovil Hospital Charity

A modern 9ct gold brooch, 6.5 g

A ladies 18ct gold and stainless steel Cartier Panthere wristwatch, with paperwork

A pair of 18ct gold Verdura citrine shell earringsoverall condition good, slight surface scratch visible under 10x lens, setting slightly loose

A 9ct gold memorial ring, probably 19th century, ring size P

A 14ct gold and carved turquoise bird pendant, on a chainChain length 41cmboth stones approx 3.1cm in lengthNo obvious faults to the chain, small loss/chip, various natural faults

A 9ct gold chain, and another, 7.2 g (2)

A pair of 18ct white gold and diamond stud earrings

A 14ct gold and blue hardstone ring, ring size P, and a silver and blue and white stone ring, ring size P (2)

A 9ct gold bracelet, 2.7 g

A 9ct gold, turquoise and seed pearl bracelet, 10.7 g (all in)

A pink quartz plaque ring, ring size K, and a 10ct gold and green stone ring, ring size J (2)

A 9ct gold and blue stone cluster ring, ring size I, and a 9ct gold and pink stone ring, ring size R (2)

An 18ct gold and diamond band, ring size K, 3.8 g all in

An 18ct gold, sapphire and diamond half hoop ring, ring size Q

A 9ct multi-coloured gold bangle, 12.2 g, and a yellow metal and glass pendant (2)

A 9ct gold charm, 8.4 glength 11 cm, light scratches, some tarnishing, no major faults found

A 9ct gold, seed pearl and turquoise ring, ring size Q

An 18ct white gold and three stone diamond ring, ring size P

A ladies 9ct gold Omega wristwatch, with a leather strap, in a vintage jewellery boxLater strap, the box is well worn

A 10ct gold and red stone ring, ring size G, and a silver and purple stone ring, ring size K (2)

A 9ct gold bangle, 8.9 g

A 9ct gold bangle, 6.2 gwidth (inner measurement) 4.8 cmlength (inner measurement) 6 cm

A ladies 9ct gold wristwatch, on a gold plated strap, two other ladies wristwatches, and a vintage watch boxgross weight of CYMA watch approx 18.9g running

A pair of 9ct gold and amethyst Celtic style stud earringsAll in 3.1 g