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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.

Juan Correa (Mexico City, 1646 - 1716).‘The Indian Juan Diego presenting the Virgin of Guadalupe to the bishop of Mexico Juan de Zumárraga’.Oil on canvas. Signed and located in Mexico.28 x 64 cm. Juan Correa is considered the principal painter of late 17th-century Mexico. Son of a famous Spanish surgeon and a freed black woman, Correa was one of the few mestizo painters who achieved fame in his time (the art of painting was generally considered the domain of white or Spanish masters). His two large-scale canvases for the sacristy of Mexico City's Cathedral (1691-98), for example, are considered masterpieces of Mexican Baroque.'"The National Institute of Anthropology and History of Mexico defines him as "one of the main exponents of the Baroque in Mexico, whose works are characterised by their sumptuousness, detail, and golden tones."His origins were reflected in his creations, "as his father was a man of African and Spanish descent, and Juan Correa was the first to paint angels with black or brown skin tones and the Virgin Mary with a dark complexion," a fact that "would become an unmistakable hallmark in his creations."Highlights among his extensive work include "The Coronation of the Virgin" at the National Museum of the Interventions, one of his masterpieces, and the "Expulsion from Paradise" at the National Museum of the ViceroyaltyOur Lady of Guadalupe, venerated in Mexico with great devotion, is the patroness of the country and the most important incarnation of the Virgin Mary in Latin America. Although the Our Lady of Guadalupe from Extremadura (Southern Spain) accompanied the conquistadors in their great adventure to the New World, the Mexican Virgin has her own origins. Both oral tradition and historical documentation, particularly the Nican Mopohua, narrate the different miracles and apparitions of this virgin to the indigenous man baptised with the name Juan Diego (1474-1548) on the hill of Tepeyac in 1531.According to the legend, there were four appearances of Our Lady of Guadalupe: In the first one, the virgin entrusted Juan Diego to see the bishop Fray Juan de Zumárraga and let him know her will to have a temple built in her honour in the place where she had appeared. Juan Diego obeyed, but the bishop did not believe him. In the second appearance, Juan Diego tells him what happened and asks the Virgin Mary to use another messenger because he was just a poor Indian. The Virgin Mary tells him that it was necessary for him to return to the bishop and repeat the message. Bishop Zumárraga asked him to bring a sign to be sure that it was "the lady from heaven" he was talking about. In the third appearance, the Virgin Mary asked the Indian to go up the hill and cut the flowers he would find there. Juan Diego knew that no flowers grew on that hill, especially not in December, but he found the summit turned into a flowered garden. He cut the flowers and took them to the Virgin Mary in his "ayate" (tunic). Our Lady of Guadalupe instructed him to go back to the Bishop, tell him where he had picked the flowers, and indicate that it was the sign that the Virgin Mary wanted him to build a temple. In the fourth appearance, on December 12, Juan Diego told the bishop everything that had happened, and when he spread out his "ayate", all the roses fell to the ground, and the image of the Virgin Mother of God miraculously appeared on it. After this event, the church was built, and this astonishing image is, according to tradition, zealously guarded by the Basilica of Our Lady of Guadalupe.As a result of this event, the worship of Our Lady Guadalupe became enormously prominent, especially within the indigenous sector of the population, becoming one of the most deeply rooted in Mexico and part of its identity. It is not surprising that soon the Mexican devotees wanted to have a copy of this miraculous image, so reproductions and the artists dedicated to creating them proliferated. The fame of this incarnation of the Virgin Mary soon became universal, gaining great veneration throughout Europe, especially in Spain.This representation of the Virgin of Guadalupe is a faithful rendering of the original, with the subtle variations that each artist can provide. The beautiful Virgin Mary is depicted as standing, crowned and surrounded by a mandorla of sun rays amid a cluster of clouds. She is seated on a crescent moon with the points facing upwards, supported by an angel with colourful eagle wings. She is portrayed as a young woman with a serene face and a lowered gaze reflecting love, tenderness, and respect. With her knee slightly bent, she clasps her hands in prayer in the Western manner. She wears a pink tunic adorned with floral elements and a blue mantle decorated with stars that also covers her head. She wears a ribbon around her belly as Aztec women did during their pregnancies, thus announcing that she is a pregnant woman. The iconographic type clearly derives from that of the Immaculate Conception.In this case, Our Lady of Guadalupe is depicted without the Apparitions or other ornamental elements that frequently accompany her and can therefore be considered a strictly faithful copy of the original. Most of these faithful copies, which are more iconographically straightforward, correspond to the earliest ones, generally dating from the 17th century. The more elaborate ones, with cartouches representing the apparitions and miracles, elaborate floral frames, views of the city of Mexico, or the inclusion of angels and archangels, are more typical of the 18th century. All these copies carry an implicit message, as most of them were "touched to the original," so the miraculous character was transmitted, making them bearers of her divinity."Enconchado" technique, so beloved and used in Mexico, actually has Oriental origins. It is a pictorial technique carried out on wood in which sheets of mother-of-pearl from shells and molluscs are inlaid, combined, and fused with oil paint to complete the image. This allows for the play of iridescence, gleam, sparkle, and subtle light effects that are highly valued. Provenance:- Former Pedro Vindel collection.Pedro Vindel was an antiquarian bookseller from Cuenca, as reported by the Royal Academy of History, ‘who became the first Spanish antiquarian bookseller of his time’, with one of the most important collections of books of hours. As the RAH continues, ‘Pedro Vindel, in the style of the great European booksellers, published his catalogues from 1895, and organised several book auctions, in premises rented by him, such as that of 1913, the catalogue of which he had printed. He also initiated what he called ‘graphic bibliography’ in Spain, by including [...] photolithographic reproductions of the covers or other elements of the books in his catalogues’.For further information, we recommend reading ‘Pedro Vindel: Historia de una librería (1865-1921)’, by Pavl Cid Noé. Bibliographical references:- Toussaint, M. Pintura colonial en México. Instituto de Investigaciones Estéticas. Universidad Nacional Autónoma de México. Mexico, 1965.- Vargas Lugo, E. "El indio que tenia "el don"..." in Anales del Instituto de Investigaciones Estéticas, no. 86, 2005.- Sánchez Mariana, Manuel. (n.d.). "Pedro Vindel Álvarez". https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez- Mediateca Instituto Nacional de Antropología e Historia. (19 de octubre de 2020). "Juan Correa". https://mediateca.inah.gob.mx/repositorio/node/5231- Mediateca Instituto Nacional de Antropología e Historia. (22 de enero de 2022). "Juan Correa, pintor novohispano afrodescendiente". https://mediateca.inah.gob.mx/islandora_74/node/5383 

Attributed to Bernhard Keil, known as ‘Monsù Bernardo’ (Elsinore, 1624 - Rome, 1687)‘Intimate scene’.Oil on canvas. 97 x 73 cm. On the back of the stretcher there is an old handwritten note ‘Nº124’, which is probably a collection number, as well as a red wax seal. On the front, there are two other red seals, one with the initial ‘M’ engraved into it and another which has fragmented and is illegible, possibly both bore the initials of a former collection.There are other versions of this same scene, which have appeared on the art market in other years. These characters are also depicted in an indoor scene in which the woman washes the man's hands, a painting which is now kept in the Copenhagen Museum of Art. 

A Hasselblad 500C/M Medium Format Film Camera, black, body G, mirror and advance works, has been hand-painted gloss black on the back plate, obscuring the serial number, with a Carl Zeiss Distagon f/5.6 60mm lens, chrome, barrel F-G, optics F-G with light dust and haze, and a Carl Zeiss Planar f2/8 80mm lens, which has been hand-painted gloss black, and does not focus correctly, with a waist level finder, G and an eye-level finder, also hand-painted black, three film backs all with hand-painting on the interface plate, some filters and a hand grip.

A Group of 35mm Cameras, comprising a Pentax Spotmatic F, silver, body G, shutter works, with a Meyer-Optik Domiplan f/2.8 50mm lens, barrel G, optics F-G with a light fungus patch, a Pentax MG, silver, body G, shutter jammed, mirror is up, with a smc-Pentax-M f/2 50mm lens, barrel G, optics F-G with haze, a Pentax ME Super, silver, body G, shutter jammed, mirror is up, with a smc-Pentax-M f/1.7 50mm lens, barrel G, optics F-G with haze, a Chinon CM-4, black, body G, shutter works, with an auto-Chinon f/1.9 50mm lens, barrel G, optics F-G with haze, and a Minolta Vectis S-1, grey, body G, untested, with two lenses, a Minolta 22-80mm zoom, and a Minolta 25-150mm zoom, barrels G, optics G.

A Mixed Selection of Cameras, comprising an Ilford Sportsman, body F-G, leatherette lifting, shutter working, a second Ilford Sportsman, body F-G, shutter not working, an Agfa Silette, body G, shutter working, an Agfa Optima, body G, shutter working, and an Agfa Selecta-m, body G, not working.

A Collection of Eight Leica Cases, for Leica M and R series cameras (8)

A Minolta XG-M 35mm SLR Camera, silver, serial number 2268917, body VG, shutter works, viewfinder LEDs work, responds to light, with a Vivitar 75-205mm zoom lens, barrel G, optics VG.

A Large Collection of Leica Spare Parts, mostly for Screw mount cameras but there may be some M parts (a lot)

A Selection of Leica Camera Accessories, comprising a 14329 right angle finder, VG, in maker's box, a 14126 DB2 Data Back, VG-E in makers case and box, a Leica M spare battery container, Leica battery charger, and a 14239 Universal Handgrip and Shoulder Stock, in maker's box.

A Leica Winder M, black, VG-E, made in Canada, little evidence of usage, battery terminals clean, in maker's box with instructions.

A Pentax ME Super 35mm SLR Camera Outfit, silver, serial number 2510831, silver, body G, mirror stuck up, not further tested, with power winder, a smc-Pentax-A f/2.8 28mm lens, barrel G, optics G, a smc-Pentax-M f/2 85mm lens, barrel G, optics G, a smc-Pentax-M f/1.7 50mm lens, barrel G, optics G, a Bell & Howell f/4-5 70-210mm macro zoom, barrel VG, optics G, and a smc-Pentax-M f/4 75-150mm zoom, barrel VG, optics G, a hood and some filters, all in a fitted aluminium case.

A Pair of Pentax PC35 AF-M 35mm Compact Cameras, both camera bodies G-VG condition, one with chip to corner, one powers up & appears to work correctly, one requires attention,

A Group of Lens Adapters, comprising a K&F Concept EOS-EOS R, VG, in box, a K&F Concept M42-EOS R, VG, in box, a K&F Concept Nikon G-EOS M, VG, in box, a K&F Concept M42-EOS, a Pixco M42-EOS M, VG, in box, a Pixco M42-EF, VG, in box,

A Konica Koni-Omega Rapid-M Rangefinder Camera, black, serial no. 41164, body F, brassing to paint, some minor dings, rangefinder working, viewfinder foggy, shutter working, slow speeds OK, with Super Omegon f/3.5 90mm lens, black, serial no. 704563, optics G, some very light haze.

An Olympus M-1 SLR Camera, 1972, chrome, serial no. 113943, with Olympus M-System F.Zuiko f/1.8 50mm 'chrome nose' lens, serial no. 105816, body, G, shutter working, marks to bottom of viewfinder and missing plastic cover on film winder, lens, VG, some light internal haze

A Pentax ME SE 35mm SLR Camera, silver with brown leatherette, body G, some marks to base plate, shutter works, internal LEDs illuminate and respond to light, meter adjusts to light, with a Pentax-M f/2.8-4 40-80mm Macro lens, optics VG with light haze, with cap.

A Hasselblad Distagon f/4 50mm Lens, chrome, with synchro-Compur shutter, shutter works, aperture blades slow to close, front ring slightly damaged m optics F with dust and haze.

A Group of 35mm SLR Cameras, comprising a Praktica super TL, body F-G, advances and clicks, but shutter does not open, with a Pentacon f/4 200mm lens, optics F-G, Pentax P30n, black, body VG, shutter working, with a Pentax-M f/1.7 50mm lens, optics G, and a Canon FT QL, body G, shutter works, with a f/1.8 50mm, barrel G, optics VG.

A Minolta XG-M 35mm SLR Camera, silver, serial number 2192418, body G, light marks to prism cover, shutter works, viewfinder LEDs work, responds to light, with a Minolta MD f/2 50mm lens, barrel G, optics G with light dust.

A Pentax K1000 35mm SLR Camera Outfit, comprising a K1000, silver, serial number 6458878, body G, minor rub to the rear of top plate, shutter works well, with a smc-Pentax-M f/2 50mm lens, barrel VG, optics F-G with light haze and peripheral fungus patch, a Takumar f/2.5 135mm lens, barrel G, optics G with light dust, a Tamron MC f/2.8 28mm lens, barrel G, optics G, a Sun Tele-Auto f/2.8 200mm lens, barrel VG, optics VG, and a Toshiba flash, battery corrosion evident.

1667 | PUBLISHER: Lugduni, Sumptib. Phil. Borde, Laura. Arnaud, et Petri Borde | NUMBER OF PAGES: 610 + index | LANGUAGE: Latin | DIMENSIONS: 352 x 228 mm | THE FULL TITLE OF THE WORK: Vetus ac novum Testamentu[m] literalibus et moralib[us] com[m]entarijs illustratu[m] per R. P. Antonium de Escobar et Mendoza Valli Soletanii societatis jesu theologum tomus primus continens quinq[ue] libros Mosis Scilicet Genesim Exodum Leuiticum Numeros ac Deutoronomium | NOTE: two edge clasps | CONDITION: insect damage | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

1642 | PUBLISHER: Lugd. Batavorum, Ex officina Elzeviriana | NUMBER OF PAGES: 768 | LANGUAGE: Latin | DIMENSIONS: 128 x 80 mm | THE FULL TITLE OF THE WORK: M. Tullii Ciceronis Opera. Cum optimis exemplaribus accurate collata. | NOTE: restored book | CONDITION: damaged back | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

1642 | PUBLISHER: Lugd. Batavor., Officina Elseviriana | NUMBER OF PAGES: 550 | LANGUAGE: Latin | DIMENSIONS: 130x 80 mm | THE FULL TITLE OF THE WORK: M. Tulii Ciceronis Orationum. Tomus II. | CONDITION: scratched spine | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

1592 | PUBLISHER: Lyon, Par Iean Huguetan | NUMBER OF PAGES: 406 + index | LANGUAGE: French | DIMENSIONS: 120 x 78 mm | THE FULL TITLE OF THE WORK: La pharmacopee de M. Laur. Ioubert | CONDITION: damp stains, spots, title page torn | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

1518 | PUBLISHER: Hagenaw, Joannis Rynman de Dzingaw | NUMBER OF PAGES: 223 + [102] | LANGUAGE: Latin | DIMENSIONS: 286 x 206 mm | THE FULL TITLE OF THE WORK: Rosariu[m] sermonu[m] predicabilium. Pars prima | BOUND WITH 1: Defensorium Montis pietatis Contra figmenta omnia emule falsitatis, Hagenaw: Joannis Rynman de Dzingaw, 1513 | NOTE: postincunabula, two edge clasps | CONDITION: spots, dampstains, insect damage | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

1692 | PUBLISHER: Coloniae Agrippinae, Sumptibus Ioannis Wilhelmi Friessem | NUMBER OF PAGES: 637 + index | LANGUAGE: Latin | DIMENSIONS: 378 x 255 mm | THE FULL TITLE OF THE WORK: Annales ecclesiastici ab anno quo definit Caes. Card. Baronius M. C. XCVIII usque ad annum M. D. XXXIV. continuati. Tomus XIV. | CONDITION: one edge clasp missing, spots | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

1627 | PUBLISHER: Lutetiae Parisiorum, Ludovico Feburier | NUMBER OF PAGES: 974 + 36 + index + 284 + 98 + index + 72 + 116 | LANGUAGE: Latin | DIMENSIONS: 353 x 235 mm | THE FULL TITLE OF THE WORK: L. Annaei Senecae Philosophi et M. Annaei Senecae Rhetoris quae extant Opera (2 volumes) | CONDITION: loose leaf, damaged boards, insect damage | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

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.

Peter Cushing (1913-1994) and Peter Ustinov (1921-2004) – a small selection of four original and one copy correspondence between the two actors. In 1955, whilst Cushing was appearing in a BBC drama based upon a play written by Ustinov, they commenced an exchange of humorous correspondence by fictional characters they created. Although their correspondence ended shortly after the play was broadcast, they remained great friends and occasionally reprised their characters’ correspondence in later years, usually with deliberate mis-spellings of names and events.Included in this lot is:1. A Comical handwritten telegram from Peter Ustinov (of Houltworthy, Riller, Riller, Spraffe & Bullim, Solicitor-at-law) being a summons (to Peter Cushing) for non-payment of monies. Laid down to a single, plain sheet of A4 paper;2. A photocopy of Peter Cushing's reply, an autographed letter, dated 23. Feb. 1955, 'mie veree dere Morrie' . . . Cushing has acknowledged the receipt of the telegram which has left him 'hart-broken', appeals to Ustinov to 'retrackt your ackshun’, and suggests they ‘meat at a mewtually conveneant tyme and playce’ to sort it out ‘frend too frend’, signed Peter;3. Orginal autographed letter signed from Peter Cushing, to Messrs. M. & D. Grosvenor, also dated 23. Feb. 1955, hand-written on the reverse of the page of an unknown play or film script. Cushing states . . . 'I am in receet of yore a/c receeved of toodai’s dayt and franklee, sirs, I am horryfyed – I never – repeet NEVVER – had me nipples done and me switch’s arr spynsters tew thys veree dai – further moor – yore pryces arr Xorbeedant. Reelucktantlee I am refurring thee whole soordyd ayefare too mi solelissiturs – Messurs Renfrick, Renfrick & Renfrick & Sons Ltd who no dout wil bea getting in touch wiv yew (?) Moyst unfaythfooly Yrs Peter Cushing';4. A further original autographed letter signed from Peter Cushing, also dated 23. Feb. 1955, sent to Mie Veree dere Morris (Ustinov) in which he states 'as old frends and busyness assosheates . . . he was ‘hart-broken' to have received the letter from his solicitors, Howuntrusty, Riller, Riporf, Swagge and Bullion, and asks how he (Morris/Ustinov) could have done it knowing his (Cushing’s) ‘sirkumstanzez’ with a wife, several children and his mother-in-law to feed, Cushing pleads with him to ‘retrackt yore ackshun’ and to meet at a ‘moochully conveneant tyme and playce and diskuss this busyness in a atmossfear of konvivealitty’ signing ‘Yrs Sinceerley, Peter’;5. A further autographed letter signed from Peter Cushing to Morris Grsovenor, dated '24 of Feb 1955', written from Hotel D’Or, Place de la Konkord, Paris, France, in which he says he has gone for a ‘breff vaykayshun wiv the family. I cannot nor I will not be kowtow’d by yore attitood which I do not lyke. I am on too a good busyness deel hear (tyres and sundries) and if yew dew rite by me, I mite be abel to kut yew inn on a gude thing. I shal be a abzentea from the Kalleydonian Road for sum tyme and wil deam it only write if you wil cease yore insessant korrespondence until such tyme as I am abel too meet yew harf way. Yrs without ackrinimy, Peter Cushing’; Provenance: ex- Peter Cushing Collection: Canterbury Auctions, 2023.

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

A silver, orange and white stone ring, ring size M, and a pair of matching earrings (3)

A yellow coloured metal cocktail ring, ring size M

A platinum and diamond three stone ring, ring size M

An 18ct white gold and diamond solitaire ring, diamond 0.4ct approx., ring size M

A red stone full eternity ring, some losses, ring size M

A diamond half eternity ring, ring size M

A 9ct gold and diamond half hoop ring, ring size L, and a 9ct gold, blue and white stone ring, ring size M (2)

A 9ct gold and diamond chip ring, ring size L, and a 9ct white gold, blue and white stone ring, ring size M (2)

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

A 9ct gold and blue stone dress ring, ring size G, an uncut garnet, and a 9ct gold and red stone ring, ring size M (3)

A spinel-set gold ring, set with vari-coloured pink pear-shaped spinels in polished yellow gold, stamped 750, size M

A late 19th century sapphire and diamond five stone ring, set with sapphires and diamonds in alternation, to a carved and pierced yellow gold mount, size M

A shell cameo ring, early 19th century, set with a shell cameo depicting a classical woman in profile, in a gold collet-setting, to a wirework gallery and plain band, cameo 2.1 x 2.0cm, ring size M, original fitted case

A gold ring/bracelet, France, first half 20th century, designed as an expanding gold trellis fastened by screws, smallest ring size M, largest inner circumference as bracelet 26cm, French maker's mark and patent mark, gross weight 21 grams

A ruby and diamond suite of jewellery, comprising a ruby and diamond ring by Romaine Herzo, the oval ruby set within diamond-set shoulders and gallery in white gold, French control marks and rubbed maker's mark, size M, with a ruby and diamond necklace, formed of graduated clusters of ruby and diamonds on a ruby chain in white gold, length 43cm, with a pair of matching ruby and diamond earrings in white gold, post and clip fittings, length 3.1cm

An aquamarine and diamond ring, the step-cut aquamarine weighing approximately 1.00cts, to stepped shoulders each with three circular-cut diamonds, millegrain-set in platinum, total approximate diamond weight 0.25cts, size M, stamped PLAT

A rare Rococo gold, enamel and chalcedony scent bottle/fob seal pendant, mid 18th century, modelled as a baluster vase in gold chased with abstract scrollwork, applied with floral festoons and lappets in multicoloured enamels, to a screw lid with suspension hoop, the base with a white chalcedony intaglio depicting a bearded warrior in profile, possibly Achilles, height 4.4cmCf.: two comparable Rococo scent bottles with carnelian intaglio bases, circa 1740-60, in the collection of the Victoria and Albert Museum, collection nos. 182-1864 and M.173&PART-1941

A diamond solitaire ring, the old cushion-shaped diamond weighing 1.22ct, claw-set in platinum and gold, size M

Φ Φ Andrew Grima, a cultured pearl 'campanile' ring, 1970, suspending a cultured pearl within a plain white gold hoop on top of a polished 18ct white gold shank, marked GRIMA and maker's mark HJCo with London hallmarks for 1970, approximately size M, case marked Andrew GrimaThis ring was likely made in conjunction with Grima's exhibition 'Opals and Pearls', which took place in December 1970

An emerald and diamond ring, of cluster design, set with a step-cut emerald weighing approximately 1.40 carats, within a border of brilliant-cut diamonds, mounted in 18ct gold, size M, British hallmarks

An unusual amethyst and diamond ring, mid 19th century, centring on a floral cluster set with cushion-shaped diamonds, to shoulders rubover-set with sections of polished amethyst, mounted in gold and silver, size M

A five-stone diamond ring, set with a sequence of five graduated cushion-shaped diamonds, in a bicoloured gold mount with a scrolled gallery, size M, stamped 18CT

A sapphire and diamond cluster ring, set with an oval-shaped sapphire within a surround of diamonds in platinum and gold, size M

A George III mourning ring, circa 1789, designed as a band applied with white enamel, the commemorative inscription 'REVD ROGER COLE A M OB 24 JAN 1789 AE 37' in reserve, mounted in gold, size N, partial British hallmark, maker's mark IF

A tanzanite ring, set with a cushion-shaped tanzanite between shoulders set with oval tanzanites, mounted in 18ct gold, size M, British hallmarks

Maurizio Pintaldi, a ruby and gold ring, designed as three undulating openwork cylinders in brushed gold, the terminals set with single-cut rubies, unsigned, size M

An early 19th century diamond ring, set with graduated rose-cut diamonds in silver and gold closed-back setting, size M

A collection of rings, 19th century, comprising: a twin heart ring set with multicoloured pastes, mounted in gold, size R; an amethyst and seed pearl cluster ring in gold, size L; a red and green paste quatrefoil ring, size H; and a Georgian garnet and hairwork mourning ring, mounted in gold, size M

Koch, a natural pearl and diamond ring, early 20th century, set with a natural pearl measuring 6.8 - 6.9 x 7.5mm, to shoulders millegrain-set with single-cut diamonds, mounted in platinum, size M, signed Koch, one diamond replaced, caseAccompanied by Gem & Pearl Laboratory report no. 24105, dated 31st December 2023, stating that the pear is natural saltwater.