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A 9ct gold gate bracelet,a four row gate bracelet with plain and crimped links, to a concealed box clasp and figure of eight safety catch, one figure of eight safety catch deficient, import hallmark London 1982, 195mm long, 12.16gCondition ReportMaker's mark ERS.Links to either side of clasp loose and require repair.Box clasp loose and does not catch. Safety catch secure.One figure of eight safety catch deficient.Marks/scratches.Minor tarnish.

A 9ct gold gate bracelet, centre twisted bars, with a plain bar either side, and outer curved crimped bars, to heart shaped padlock claps and safety chain, London 1972, 23.64gCondition ReportClasp does not close securely.Surface marks/scratches to gold.

A 14ct white gold diamond set bracelet,rectangular gate style links, alternating links illusion set to the centre with pairs of eight cut diamonds, to concealed box clasp and figure of eight safety catch, import hallmark Birmingham 1972, tongue piece of clasp marked W.Germany, 191mm long, 26.00gCondition ReportMinor surface marks/scratches, and wear to rhodium plating in places.Clasp secure.

A silver gate bracelet with two propelling pencils.

Hallmarked silver gate bracelet with a padlock clasp and safety chain, 13g. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Four pieces of furniture; a painted trolley, a painted gate leg table, an Edwardian chair and a pine table.

Leonard Howard, 'Norman Gate, Windsor Castle', 'Market Place, Cambridge' and 'Curfew, Windsor'. Watercolours. Framed and glazed. (3) (B.P. 21% + VAT)

Make up bag of gold and costume jewellery, to include small 9ct outer cased ladies fancy fob watch, 9ct gold back and front heart shaped pendant and another similar, dress ring, gate bracelet with padlock etc. (B.P. 21% + VAT)

Dogs please close gate cast iron sign, L: 30 cm. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

SILVER GATE BRACELET AND SILVER BELCHER BRACELET

A late 19th Century/early 20th Century folio European Travel Album, many images 1880s, commercial images - Germany, including Dresden, Brandenburg Gate, Berlin, National Gallery, Sans Souci (15), Gothic Revival stately home with crenellations, probably UK, in style of Salvin, Spain, including Seville, Granada exterior by Valentine, Malaga harbour, Alhambra, Gibraltar, Cordoba (18), Italy, art images and others, G (apx. 127 images)

A Mid 20th Century Oak Barley Twist Drop Leaf Gate Legged Table, 90cm wide

A Mid 20th Century Oak Drop Leaf Gate Legged Occasional Table, 77cm wide

Twenty Lilliput Lane cottages, to include Old Mother Hubbard, Woodman's Retreat, Sore Paws; Gulliver's Gate; Hampton Moat; The Nutshell; The Spinney; Chalk Down; Clare Cottage; Little Bee; Wycombe Toll House; Kiln Cottage; Petticoat Cottage; Strawberry Cottage; Purbeck Stores; Cotman Cottage; Sweet William; Junk and Disorderly; Flower Sellers; Chiltern Mill; all boxed.Qty: 20

9k gold gate bracelet with heart lock, 7” long, w: 27.5 gms

Full sovereign 1900 in 9k gold gate bracelet with heart lock, 6” long, total w: 22.4 gms

9k gold gate bracelet with heart lock, 7.5” long, w: 12.1 gms

VASE COUVERT TRIPODE EN BRONZE DORÉ À DÉCOR INCISÉ DE SCÈNE DE CHASSE ET D'ANIMAUX FANTASTIQUES, LIANDynastie des Han occidentaux (206 av. J.-C. - 9 ap. J.-C.)A VERY RARE GILT-BRONZE INCISED 'HUNTING SCENE' TRIPOD CONTAINER AND COVER, LIANWestern Han Dynasty (206 BC-9 AD)The cylindrical vessel raised on three kneeling bear supports, divided into registers by three bowstrings, variously decorated around the sides with an intricate incised designs of lappets and scrollwork with a scene of a man wielding a spear hunting a mythical beast, flanked with a pair of taotie-mask and ring handles, the cover with an external border decorated with a similar hunting scene, around the internal medallion with lappets alternating with six animals including an owl and a toad around a four lappets encircling an aperture. 23.5cm (9 2/8in) diam. x 23.5cm (9 2/8in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Cast as a miniature 'mountain' decorated with spear-armed men hunting mythical beasts, the present vessel was once entirely gilt and thus particularly precious. Although the shape is probably inspired by ritual wine containers, zun, produced during the Warring States period (475-221 BC), the vessel could have been used also as a cosmetic box or in the ritual context, may have acted as a visual aid for the tomb occupant to envision the mythical Immortal land of Penglai which they were hoped to reach in their afterlife.According to the Classic of Mountains and Seas, Shanhai Jing, likely compiled during the 4th century BC, Penglai was one of the Immortal islands located in the Eastern Bohai sea, which vanished from sight as voyagers glimpsed them and hoped to land on them in their search of Immortality-granting elixirs. These islands were defined by high mountains dotted with caves where Immortals were thought to live. Based on the Daoist idea of a peaked island, the miniature landscape presented on this vessel may have represented the deceased's journey through a winding obstacle-laden landscape, in search of the elixir of eternal life. '(..) Having transcended sacred mountains, one will gain supernatural powers, controlling the wind and rain, and finally reach to Heaven, the Abode of the Celestial Emperor', mentions the 'Masters from Huainan', Huainanzi, in the 2nd century BC. See A.G.Wenley, 'The Question of the Po-Shan-Hsiang-Lu', in Archives of the Chinese Art Society of America, no.3, 1948, pp.5-12.Mountains were highly regarded in China as primary components of the universe, because of their ability to produce water, the life-giving element, from the clouds swirling around them. They were linked with a profound interest in meeting the Immortal spirits inhabiting their naturally high peaks, which provided the closest connection with heaven. From at least the time of emperor Wudi (r.141-87 BC), the mountains located on the Immortal islands in the Eastern Sea were thought to be reached in two ways, wither during one's earthly lifespan, through the ingestion of magical potions, or following one's death, through the preservation of the body and soul in the burial. See J.Rawson, Mysteries of Ancient China: New Discoveries From the Early Dynasties, London, 1996, pp.172-173; see also S.Erickson, 'Boshanlu: Mountain Censer of the Western Han Period: A Typological and Iconographical Analysis', in Archives of Asian Art, 1992, vol.45, pp.6-28. The animals populating the mythical mountain depicted on the present vessel were probably inspired by the mythical creatures inhabiting the wondrous realms described in the Shanghai Jing (Classic of Mountains and Seas), the Huainanzi, compiled sometime before 139 BC, and the Zhuangzi (Master Zhuang) of the late Warring States period (476-221 BC). It is also quite possible that the animals may have been inspired by those involved in the imperial hunts that were carefully staged in the royal parks during the Han dynasty. The Han emperors had an unprecedented passion for building brilliant parks of great size where the rulers staged symbolical conquests of the natural world through ritual hunts and animal combats. See E.H.Schafer, 'Hunting Parks and Animal Enclosures in ancient China', in Journal of the Economic and Social History of the Orient, 1968, vol.11, no.3, pp.318-343.The taotie mask designs decorating the ring handles and the three bears shaping the feet were probably aimed at protecting the deceased against the evil influences they may encounter in their afterlife. Although the actual significance of the taotie motif is still the subjects of extensive academic research, it is mentioned in the 'Spring and Autumn Rituals' as bodiless monster swallowing hostile tribes. By the same token, the 'Classics of Mountains and Seas' praises the bear for its bravery and refers to the creature as the gate guardian of the mythical mountains invoked by Daoists. See D.Jenkins (et al.), Mysterious Spirits, Strange Beasts, Earthly Delights: Early Chinese Art from the Arlene and Harold Schnitzer Collection, Portland, 2005, pp.34-35.Compare a closely related gilt openwork lian and cover, Han dynasty, in the Cleveland Museum of Art (Leonard C. Hanna, Jr. Fund 1972.44); see also a related gilt and silver bronze example, Han dynasty, in the Minneapolis Institute of Art (acc.no.50.46.49a,b).A related bronze un-gilt and plain lian and cover, Han dynasty, with tiger supports and ram finials, was sold at Sotheby's New York, 22 March 2011, lot 195.Réalisé à l'image d'une montagne miniature et décoré d'hommes armés de lances chassant des animaux fabuleux, ce vase tripode était à l'origine entièrement doré et donc particulièrement précieux. Bien que sa forme soit probablement inspirée des récipients rituels à alcool de type zun, produits durant l'époque des Royaumes Combattants (475 – 221 av. J.-C.), ce récipient a aussi pu servir de boîte à cosmétiques ou, dans un contexte rituel, faire office de support visuel pour aider l'occupant de la tombe à imaginer l'île mythique des immortels Penglai, dans l'espoir d'atteindre l'au-delà.Selon le Classique des Montagnes et des Mers, Shanhai Jing, sans doute compilé au IVe siècle av. J.-C., Penglai était une des îles des Immortels situées dans la mer orientale de Bohai, îles qui disparaissaient une fois aperçues par les voyageurs espérant y parvenir dans leur quête de l'élixir d'immortalité. Ces îles étaient formées de hautes montagnes parsemées de grottes où vivaient, pensait-on, les Immortels.Basé sur l'idée taoïste d'une île formant un pic montagneux, le paysage miniature présenté sur ce récipient pourrait avoir représenté le voyage du défunt à travers un paysage sinueux plein d'obstacles, à la recherche de l'élixir d'immortalité. « (...) Après avoir dépassé les montagnes sacrées, on obtiendra des pouvoirs magiques, contrôlant le vent et la pluie, et on accèdera finalement au Ciel, « la Demeure de l'Empereur Céleste » dit le Huainanzi (Le Maître de Huainan) au IIe siècle av. J.-C. Voir A. G. Wenley, «The Question of the Po-Shan-Hsiang-Lu », dans Archives of the Chinese Art Society of America, n°3, 1948, pp.5-12.Les montagnes étaient considérées avec un grand respect, en Chine, en tant qu'éléments primordiaux de l'univers, en raison de leur capacité à produire de l'eau, l'élément donnant la vie, depuis les nuages tourbillonnant autour d'elles. Elles étaient associées au d... For further information on this lot please visit Bonhams.com

An oak gate-leg table on turned supports

A large collection of 19th century photography of India (mostly), Burma, Egypt and Malta, 54 albumen prints in total, various photographers, Indian images to include Botanical Gardens Calcutta, Barshi, Ranikhet, Nainital, The Residency Lucknow, Delhi Gate, Rangoon, Moulmein Burma, Pachmani, Darjeeling, Darjeeling Railway, Fort William Calcutta, Marble Rocks Jabalpur, Malabar Coast, The Himalayas, Bombay. Hippolyte Arnoux (1860-1890) Port Said, Egypt (2) Langahi (fl.1890), HMS Jumna, Suez Canal (1). H.Agius (fl.1898), Malta (4), flush mounted on card mounts in a leather bound album,

A concrete garden ornament in the form of "The Gate Keeper"

A pair of reconstituted stone lion gate post finials, 52cm high.

AN OAK GATE LEG TABLE, on bobbin turned legs, open length 95cm x closed length 35cm x depth 61cm x height 72cm

A REPRODUCTION  CAST LNER 060 RAILWAY SIGN, 'Any person who omits to shut and fasten this gate is liable to a penalty not exceeding forty shillings' (1) (Condition report: rusting on the back, rust stains and chips to the front)

A pair of arched wrought iron gates, each gate width 85cm, height 187cm

A 9ct gold , split pearl and turquoise set gate link bracelet, 17.5cm, gross weight 17.4 grams.

Large iron gate, width approx 270cm, height 130cm

Iron garden gate, width approx 103cm, overall height approx 105cm

Collection of Lilliput Lane, to include 'Swiss Cottage, Gate Keeper's Lodge, Say it with Flowers, Greyfriars Bobby, Badger Bar, Just For You, Rover Return Inn, Little Lupins, Sugar Mouse, and Make Mothers Day', with boxes (10)

2 x Stadt Hannover - 12 Mariengroschen 1669/ 1671, Av: Löwe über Stadttor, darin Kleeblatt, Rv: Wert, Erhalt 1 x s-ss, Henkelspur, Grünspan, berieben, gebogen, Kratzer, Tönung, 7,2g Ag rau und Erhalt 1 x ss, Tönung, berieben, Tönung, Stempelriss, 6,3g Ag rau.| 2 x City of Hanover - 12 Mariengroschen 1669/ 1671, Obv: Lion over city gate, cloverleaf within, Rv: Value, condition 1 x F-VF handle mark, verdigris, rubbed, bent, scratch, toning, 7.2g Ag rough and preserved 1 x VF, toning, rubbed, toning, stamp crack, 6.3g Ag rough.

Orden und Ehrenzeichen - Spanienkreuz : SPANIENKREUZ IN GOLD MIT SCHWERTERN UND BRILLANTENSpanienkreuz in Gold mit Schwertern und Brillanten - B - Stück. Bronze - vergoldet, an Nadel. Auf der Rückseite die fein ausgeführte Herstellergravur: "J.Godet & Sohn Unter den Linden 53". Der auf dem vorderseitigen Medaillon aufgesetzte Brillantenkranz in Silber mit 14 Simili - Brillanten im Altschliff (8/8 Schliff) besetzt. Die Fassung rückseitig mittels Nieten befestigt. Einige Steine mit tragebedingten Chips. Die Adler zwischen den Kreuzwinkeln separat eingelötet, die Hakenkreuze poliert. Ein Adler an der Schwinge mit leichter Bruchstelle. Prächtiges, sehr viel getragenes, einwandfreies Originalexemplar. Das Spanienkreuz wurde durch Verordnung des Führers und Reichskanzlers Adolf Hitler vom 14.4. 1939 geschaffen: "Zum sichtbaren Ausdruck meiner Anerkennung und meines Dankes für die Verdienste deutscher Freiwilliger an der Niederwerfung des Bolschewismus im spanischen Freiheitskampfe" Die höchste Klasse, das Spanienkreuz in Gold mit Schwertern und Brillanten, wurde nur 28 mal verliehen. Es stellt damit eine der seltensten militärischen Tapferkeitsauszeichnungen des Dritten Reiches dar. Nach dem Ende des spanischen Bürgerkriegs wurden die siegreichen Heimkehrer durch eine große Siegesparade geehrt. Die Soldaten marschierten am 6. Juni 1939 durch das mit zahllosen Hakenkreuzfahnen herausgeputzte Berlin. Die Kinder hatten für diesen sonnigen Dienstag extra schulfrei bekommen. Bereits am Tag zuvor war im Bezirk Zehlendorf die Wannseestraße feierlich in Spanische Allee umbenannt worden - als Zeichen der engen Verbundenheit mit der in Madrid errichteten Diktatur des zum Caudillo (Führer) ernannten Generals Franco. Zu ihrer Siegesparade, die sie über die Prachtstraße Unter den Linden an der versammelten Politprominenz und einem dichten Spalier von Hunderttausendenvorbei zum Lustgarten führen sollte, hatten pünktlich um 10 Uhr zwischen 15000und 20000 Legionäre hinter dem Brandenburger Tor Aufstellung genommen. Fast alle waren mit dem eigens gestifteten Spanienkreuz in Bronze, Silber oderGold dekoriert, das insgesamt 26116 mal verliehen worden war. Während des die Heerschau beschließenden »Siegesappells« vor dem Alten Museum im Lustgarten dankte Adolf Hitler für den Einsatz in Spanien als "Kampf für Deutschland" und "Denkzettel für unsere Gegner". Hermann Göring bezeichnete den Sieg des spanischen Faschismus als Rettung vor dem "Blutrausch desBolschewismus" in Europa. Prominente Träger des Spanienkreuzes in Gold mit Schwertern und Brillanten waren u. a. die späteren beiden ersten Träger der höchsten deutschen Tapferkeitsauszeichnung, des Eichenlaubs mit Schwertern und Brillanten zum Ritterkreuz des Eisernen Kreuzes, Mölders und Galland und die späteren Generalfeldmarschälle Wolfram v.Richthofen und Hugo Sperrle. Insgesamt erhielten folgende Offiziere die Auszeichnung in Brillanten: Oberleutnant Hans-Detlef v. Kessel, Major Martin Harlinghausen, Major Karl-HeinzWolff, Oberleutnant Wilhelm Balthasar, Oberleutnant Otto Bertram, Oberleutnant Adolf Galland, Hauptmann Harro Harder, Hauptm. Günter Lützow, Hauptm. Werner Mölders, Oberleutn. Walter Oesau, Oberleutn. Reinhard Seiler, Hauptm. Wolfgang Schellmann, Hauptm. Joachim Schlichting, Leutn. Wilhelm Boddem, Oberleutn. Kraft Eberhardt, Leutn. Oscar Henrici, Leutn. Heinz Runze, Oberleutn. Max Graf Hoyos, Oberleutn. Karl Mehnert, Hauptm. Rudolf Freiherr v. Moreau, Hauptm. Wolfgang Neudörffer, Oberleutn. Bernhard Stärcke, Leutnant PaulFehlhaber, Generalmajor Wolfram Frhr. v. Richthofen, General der Flieger Hugo Sperrle, General der Flieger Helmut Volkmann sowie Oberst Ritter v. Thoma. Die Brillantstücke unterscheiden sich von den Spanienkreuzen in Gold mitSchwertern unter anderem durch die insgesamt deutlich größeren Abmessungen sowie das mehrteilige Medaillon. Es wurden also keine herkömmlichen Spanienkreuze als Basis für die Brillantstücke verwendet. Alle Originale, sowohl A - Stücke als auch B - Stücke, weisen exakt dieselben Prägemerkmale auf. Extrem seltenes, viel getragenes Originalexemplar.Orders and Decorations - Spanish Cross : Spanish Cross in Gold with Swords and Diamonds.Spanish cross in Gold with swords and diamonds "B - piece". Features gold plated bronze construction with pin to reverse. Reverse features finely engraved maker mark: "J. Godet & Sohn unter den Linden 53". The obverse center is set with 14 silver mounted old cut (8/8) diamonds (paste). The center medallion with two rivets to the reverse. Some stones show wear/chips. The eagles are separately soldered between the arms of the cross with burnished swastikas. One eagle shows a minor fracture. Magnificent, well worn original issue of the greatest rarity. The Spanish cross was established by decree of the Führer and Reich Chancellor Adolf Hitler on 14 April 1939. "As a visible expression of my appreciation and recognition of the German volunteers in the fight against the Bolsheviks in the Spanish struggle for freedom" The highest class, the Spanish cross in Gold with swords and diamonds, was awarded only 28 times. It is thus one of the rarest Military Valor honors of the Third Reich. After the end of the Spanish Civil War, the victorious returnees were honoured by a large victory parade. The soldiers marched on 6 June 15, 1939 in Berlin along a route of countless swastika flags. The children had been given an extra day off on this sunny Tuesday. The day before, in the district of Zehlendorf, the Wannseestraße had been solemnly renamed into Spanish Avenue - as a sign of close ties with the dictatorship of General Franco, appointed as "Caudillo" (leader). The victory parade would take the awardees down the street "Unter den Linden" to the assembled political notables along a tight cordon of hundreds of thousands of visitors through the Lustgarten. Arriving on time at 10 o'clock, between 15000 and 20000 legionaries assembled behind the Brandenburg gate. Almost all of them were decorated with the Bronze, silver or Gold Spanish Crosses, a total of 26116. During the "victory speech" in front of the Old Museum in the Lustgarten, Adolf Hitler thanked them for their service in Spain as a "battle for Germany" and "a message to our opponents". Hermann Göring described the victory against Spanish fascism as a rescue from the "bloodlust of Bolshevism" in Europe. Prominent recipients of the Spanish Cross in Gold with swords and brilliants were, among others, the first recipients of highest German valor award, the oak leaves with swords and brilliants to the Knight's Cross of the Iron Cross: Mölders and Galland. Also the later Field marshals Wolfram v. Richthofen and Hugo Sperrle. The following officers received the award in brilliants: Oberleutnant Hans-Detlef v.Kessel, Major Martin Harlinghausen, Major Karl-Heinz Wolff, Oberleutnant Wilhelm Balthasar, Lieutenant Otto Bertram, Lieutenant Adolf Ga

19th century mahogany serpentine fold-over side table, inlaid with foliate motifs, single gate-leg action base, on moulded square tapering supports with spade feetDimensions: Height: 74cm  Length/Width: 87cm  Depth/Diameter: 47cm

19th century mahogany side table, moulded rectangular fold-over top, single gate-leg action base, on square tapering supportsDimensions: Height: 74cm  Length/Width: 97cm  Depth/Diameter: 48cm

David Cox (British 1783-1859): 'Staghow from the Meadow Gate', sepia watercolour unsigned, attributed on mount and labelled verso; James Duffield Harding (British 1797-1863): 'The Church on the Hill', pencil sketch unsigned, attributed on mount and labelled verso max 18cm x 15cm(2)

Small oak barley twist gate leg table measures approx 28 inches tall 23 inches wide 13 inches depth (when closed)

A Victorian Pine chest of drawers; oak gate leg table. 

Seb West (b.1968 St Ives) Pair of pencil signed prints one 'The gull at the gate' (St Ives) the other 'Small world' (St Ives harbour) Both with Seb's St Ives Gallery labels verso. Frame sizes approx 17 x 14 inches. 

Two Mauchline ware boxes, comprising case modelled as a book depiciting The Ancient Entrance Gate, Stirling Castle, and lidded jar depicting Hythe Church, The Crypt, together with Russian lacquer box and other wood pot pourri bowl

Silver spoon inscribed 'Kennel Club Show, 1912', together with silver gate bracelet

OAK GATE LEG TABLE,on spiral column supports, 74cm wide

Two 6' x 6' fence panels and a matching gate.

Three buckets containing staples, galvanised nails, gate hinge, etc.

A Mountfield 150cc petrol mower - no grass box, plus a safety gate.

A painted oak garden gate (51" wide x 41 1/2" high) and a metal trestle.

Sheep netting, stakes, electrical fencing, gate handles, etc.,

A metal farm gate.

Marot (Jean) Le Magnifique Chasteau de Richelieu, en General et en Particulier..., first edition, first issue (A), 3 double-page leaves of text (title, dedication and preface), 20 engraved plates on 19 sheets, all but one double-page, all mounted on stubs, text and a few plates a little browned, some light marginal soiling or occasional water-staining, one plate trimmed at lower edge and repaired, old ink library stamp to verso of title, modern bookplate of Prof. Wilhelm Klein, contemporary vellum, rubbed and soiled, stained at edges, [Fowler 192, issue A; cf.Millard French 115 issue B], oblong folio, Paris, [c.1660].⁂ Record of the enormous project of a country seat for Cardinal Richelieu designed by Jacques Lemercier, comprising the palace and outbuildings, which included stables, bakery, gate-houses, pavilions, grottoes, and galleries, and even a nearby model town. The town still exists but the chateau was almost completely destroyed in the early nineteenth century.

Benjamin John Warren RBSA, framed and glazed watercolour titled At The Cottage Gate, details to verso, signed bottom left, 40.5 x 16.5cm

9ct two tone gold four bar gate bracelet, with heart locket clasp, stamped 375Condition Report:Approx 9.8gm

9ct gold six bar gate bracelet, with heart locket clasp, hallmarkedCondition Report:Approx 11.7gm

9ct gold five bar gate bracelet, with heart locket clasp, hallmarkedCondition Report:Approx 12.4gm

Gold five bar gate bracelet and a gold roe twist bracelet, both 9ctCondition Report:Approx 17.55gm, tested also, links with damage

9ct rose gold four bar crossover gate bracelet, with heart locket clasp, hallmarkedCondition Report:Approx 10.9gm

A gilt framed oil on board, depicting a rural gate in an Autumnal landscape - indistinctly signed

An ethnic two stone grain grinding wheel, set in a 64cm hardwood base with incised repeat roundel decoration and decorated gate

1930s oak drop flap gate leg table; raised on turned supports

9 carat yellow gold gate link bracelet; 3.7g

Boxed Britains plastic farm accessories to include 2x 9545 Tipping Transporter and Loads and 3x 1731 Farm Gate (5)

An onyx and diamond bracelet, comprising a grooved baluster-shaped panel, with an old-European cut diamond in collet setting at the centre, flanked by bifurcated sections with foliate motifs, accentuated by rose-cut diamonds and millgrain details, to a fine diamond-set gate bracelet, fastened by box clasp and safety chain, two-toned metal marked as '750', country assay marks rubbed off, internal circumference 16.0 cm long, total weight of item 10.1 grams.

Three 9-carat yellow gold bracelets: a gate link bracelet with heart-shaped padlock clasp; a Figaro bracelet with heart-shaped padlock clasp and a fancy link bracelet (combined gross weight 10.3g) (3)