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Lot 177
ASSORTED COINS & MEDALS comprising boxed Shell Chemicals Limited medallion, boxed silver proof £1 coin, cased set of six 1 Peso cupro-nickel coins, six mid 20th century penny coins, 5 x 20th century half penny coins, 1689 Threepence coin, bag of National Transport Tokens issued by Carmarthenshire County Council, Queen Victoria Jubilee Head Welsh Dragon coins, further GB and foreign coinage, small quantity of postcards and stamps, medals comprising George V 1914-18 War Medal and Victory medal engraved to '5466 Pte. B. Maurice. Leic. R.' together with WWII medals ETCProvenance: deceased estate Carmarthenshire, consigned via our Cardiff Office
Lot 248
ASSORTED MEDALS & COLLECTABLES comprising WWI German Iron Cross, gilt bronze medal depicting Wilhelm I wearing a pickelhaube, Austria Signvm Memoriae Medal 1898, commemorative coins, badges, crucifix pendants, clip, rosary beads, three card themed pickle forks, mini 8x 20mm portable pocket outdoor compact adjustable metal monocular telescope, cased Minolta 16 subminiature camera, cased Minox Wetzlar complan 1:35 spy cameraProvenance: private collection Swansea, consigned via our Carmarthen Office
Lot 249
WORLD WAR I MEDALS, group of four to include The Defence medal, The Great War medal, 1914/18 medal and 1914-15 Star, together with the Cadet Force medal issued to Leftenant Colonel L R Crouch RFA, together with two sets of matching miniature medals, and a South Wales Automobile Club 1925 Hill Climb medallion (cased)Comments: mounted on a single bar
Lot 599
GROUP OF INTERESTING FAR-EAST SPORTING MEDALS 1930s, mostly relating to Tientsin (Tanjin) including Tientsin Amateur Swimming Association Water Polo League 1935, Tientsin FA v Koreans 1935, TFA Winners Eilers Trophy International Football 1932-1933, one medal inscribed A JONES, 10 x totalProvenance: private collection RCT
Lot 316
Three hallmarked silver napkin rings, early 20th century W.H. Harling mathematical instrument set in burr wood case with pull out tray (some instruments removed), white metal Royal Masonic Hospital medal with box of issue, two Penman vintage pens, four vintage Parker pens, pair of vintage Moroccan leather slippers
Lot 626
A GREAT WAR & SECOND WORLD WAR GROUP OF FIVE MEDALS TO F.W.TAYLOR, SOMERSET LIGHT INFANTRY & ROYAL AIR FORCE comprising the British War Medal 1914-20 and Victory Medal (both 28989 PTE. F.W. TAYLOR. SOM. L.I.), officially impressed, Defence Medal and War Medal 1939-45, both unnamed as issued, and Royal Air Force Long Service and Good Conduct Medal (370346. CPL. F.W. TAYLOR. R.A.F.), engraved, all unmounted; together with an archive of related material, including a Certificate of Service and Discharge (Form 280); R.A.F. Service and Release Book (Form 2520A); and photographs of the recipient in uniform.
Lot 627
A GREAT WAR CASUALTY GROUP TO SAPPER W. GATRELL, ROYAL ENGINEERS comprising the 1914-15 Star (48825 SPR: W. GATRELL. R.E.), and British War Medal 1914-20 (48825 SPR. W. GATRELL. R.E.), officially impressed, unmounted, and a Memorial Plaque (WILLIAM GATRELL). Note: 48825 Sapper William Gatrell, 83rd Field Company, Royal Engineers, died on 29th August 1916. He is remembered with honour at Delville Wood Cemetery, Longueval.
Lot 628
A GREAT WAR PAIR OF MEDALS TO DRIVER A. JOHNSON, ROYAL ARTILLERY comprising the British War Medal 1914-20 and Victory Medal (both 23991 DVR. A. JOHNSON. R.A.), officially impressed, unmounted; together with a 1939-45 Star and War Medal 1939-45, unnamed as issued, in a postal despatch box addressed to Mr C.H. Keene, Kilburn, London; a silver A.R.P. pin badge; silver A.R.P. tie pin; British Mk VI service issue compass, dated 1940; and other items.
Lot 222
WILHELM SCHMIDT: AN EXCEPTIONAL BOULDER OPAL, GEM-SET AND HARDSTONE BUST, CIRCA 1890Portraying Mars, the Roman god of War, in Ajax helmet surmounted by a vulture, sculpted from a single boulder opal, his bearded face and neck and the vulture's legs and bald head carved in dark brown ironstone matrix resembling deeply patinated bronze, the winged helmet and the vulture's plumage highlighted by utilising the thin layers of precious opal within the host rock, the opal with additional intricately engraved feather and scroll detail, the helmet and vulture's eyes inlaid with brilliant-cut diamonds, the vulture wearing a ropetwist collar, backed in engraved yellow gold. The torso clad in engraved fish-scale gold armour, the draped folds of the toga rendered in carved chalcedony, with rose-cut diamond fastening. Mounted on a silver circular collar with gold acanthus leaf scrollwork and set with three cabochon turquoises and a single cabochon emerald. The whole on a rectangular tapered, polished hardstone pedestal of exquisite purple and green colouration. Each face of the pedestal in-set with an oval cameo withing gold ropetwist frame; an idealised Roman goddess in sardonyx at the front, and three labradorite cameos to the sides and back variously depicting Minerva, Cleopatra and Isis, on a green hardstone base, signed W.Schmidt on reverse of toga, repair in chalcedony toga, three diamonds deficient, lengths: 31 cm total, the bust 14 cm, the plinth 14 cm, Footnotes:ProvenanceHerbert Maxwell Stuart (1842-1921) The date of purchase by Maxwell Stuart is unknown but the sale is mentioned in a typed transcript of a letter of reminiscences, written in 1926, by Wilhelm Schmidt to his friend and business associate Dr George Frederick Kunz of Tiffany, 'Bust of Mars, in opal matrix, size 5 inches, face and neck in brown matrix, Ajax helmet in opal of finest quality...Purchased by Mr Herbert Maxwell Stuart of Scarthingwell Hall, Tadcaster.' Schmidt continues, 'Mr Herbert Maxwell Stuart, the lineal descendant of the Stuarts and owner of their estates in Scotland and Yorkshire was a purchaser of many of my works. He was greatly interested in precious stones.'Maxwell Stuart amassed a large collection of unmounted specimen gems, including the largest facetted topaz, known as the Maxwell Stuart Topaz. Part of his collection was sold after his death at Christie's on 22 June 1921, including several opal cameos, unattributed in the catalogue but most likely carved by Schmidt. This bust was not part of the sale. It was purchased, unattributed, as a beautiful object of vertu by the family who currently own it. This highly important signed opal carving by the prodigiously gifted Victorian cameo engraver Wilhelm Schmidt (1845 – 1938) represents a uniquely important example of Schmidt's pioneering opal carving technique, the scale of ambition setting it apart from his other known works. Until recently, it was believed Schmidt never signed his work and this is the only fully signed piece so far traced, underscoring its exceptional importance. Wilhelm Schmidt was born in Idar Oberstein, the European centre of the mineral, gemstone and lapidary trades, where large deposits of carnelian and other agates, found during the 16th - 17th centuries, gave rise to an illustrious gem engraving industry. This instilled in Schmidt 'a great love of art in every expression' and despite being born with an eye defect, he conceived a passion for gem engraving from an early age. In 1860, at the age of fifteen, he was sent to Paris, as an apprentice in the lapidary studio of his cousin, Louis Purper. The head of the studio was the cameo-cutter, Arsène, whom the young Schmidt came to admire greatly and who trained him in the waning neo-classical tradition.Schmidt stood out as a remarkable talent, winning prizes for drawing and draughtsmanship, but by the time he graduated, the voracious thirst for cameos and intaglios by connoisseur collectors and students of antiquity was rapidly drying up. Schmidt's cousin closed his studio to pursue a more profitable career as a pearl dealer, whilst Wilhelm struggled on for several tough years trying to make ends meet as a gem engraver. He found work by cutting portrait cameos and an early commission was from an elderly American, Mr Fox, whom Schmidt described as 'practically the only important dealer in precious stones in New York', for onyx cameos of General Grant and Abraham Lincoln, heroes of the American Civil War.At the outbreak of the Franco-Prussian War, Schmidt was expelled from Paris and returned home in 1869. Much to his relief, he was not called up to fight against his adopted country, or Napoleon III, to whom he referred patriotically as 'mon Empereur'. He remembered in old age, 'I shall always gratefully remember France, as the country where I learnt and studied the art of precious stone engraving. Therein I found pleasure, happiness, and contentment throughout my long life.'In 1870, he emigrated for the second time, setting up in London an engraving business trading alongside his gem-importer brother Louis. London directories from 1870 list 'Schmidt and Nourick, importers of precious stones' at 59 Hatton Garden, and by 1872, the firm was styled 'Louis Schmidt', below whose name appeared 'Schmidt, W., Cameo Engraver'. In the same way he took his French identity to heart whilst living in Paris, Schmidt became thoroughly anglicised, calling himself William, speaking excellent English and proudly becoming a naturalised citizen in 1887.London, like Paris, had a rapidly dwindling pool of specialist patrons of the glyptic arts but Schmidt successfully navigated the macro-economics of the jewellery industry by adapting to new tastes and by pioneering innovative techniques. He carved and sold numerous cameos, for use in ornamental jewellery, to the best London jewellery firms working in the fashionable Archaeological Style, including John Brogden, Guiliano, Castellani, Child & Child and Edwin Streeter, as well as to leading jewellers in America such as Marcus and Tiffany. Although these carvings were unsigned and the retailers did not credit the engraver in their finished jewels, this and his portrait cameo business, afforded him enough money to live comfortably with his second wife, six daughters and one stepson.Schmidt's gemstone-dealing brother supplied him with a plentiful source of unusual and rare specimens with which he could work. His wide repertoire of materials included labradorite, malachite, tourmaline, crocidolite, moonstone, zircon, tourmaline, malachite, lapis lazuli, sapphire, amethyst, topaz and, most unusual of all, opal that was to become his trademark.In 1874, Schmidt invented a distinctive and challenging new technique of carving opal to create striking three-dimensional sculptures through its contrasting layers. To quote the late scholar Gertrud Seidmann, a connoisseur of Schmidt's work, to whom we are indebted for much of our knowledge of him:'Opal cameos, if rare, were not unknown (in the 19th century) but Schmidt had invented a novel technique: instead of carving the whole cameo from precious opal, he used blanks with a thin layer of precious opal overlaying the matrix, in the same way in which the contrasted layers of agates were traditionally used to set off the background.'In 1878, London jeweller John Brogden unveiled a necklace set with opal cameos - carved by Schmidt - at the Paris Exhibition. The necklace caused a sensation and was awarded a gold medal and high praise from the press. The Telegraph described it as a 'wonder of wonders'. However, only Brogden was credited and awarded the Cross of the... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 1084
Jack Daniel's Single Barrel Tennessee Whisky, 45%vol 70cl, in wooden crate; Jack Daniel's 1905 Liege Belgium Gold Medal Tennessee Whisky, 43%vol 100cl, boxed; Gentleman Jack Rare Tennesee Whisky, 40%vol 37.5cl; a set of three The Balvenie whisky miniatures, single barrel 15 years old, Doublewood 12 years old and Founder's Reserve 10 years old, boxed; and Glenmorangie pair of whisky miniatures, in tin.
Lot 1227
After Giambologna (Italian 1529-1608): Mercury flying on the breath of Zepher, after the antique, green patinated bronze, and mounted on a black marble plinth with patinated bronze frieze depicting putti, 66cms high. Notes: The most celebrated sculpture by Giambologna is the Mercury, known in four versions whose chronology is uncertain. His first design, a heavy wingless figure, is preserved in a model in Bologna. When Giambologna returned to Florence, he referred to his earlier work in a second version, a flying Mercury, now lost or identical to one in Vienna. This bronze was sent by Cosimo as a diplomatic gift to the Holy Roman Emperor Maximillian II, when they were negotiating the marriage of Maximilian's sister Giovanna to Francesco de' Medici. The messenger G od was Maximilian's protector and the pose was based on a medal of Maximilian by Leone Leoni (1551).The fourth, a flying variant in Museo Nazionale del Bargello, Florence (of which this lot is a copy) was completed by 1580, when it became a fountain figure at the Villa Medici, Rome. Mercury balances on a bronze column of air issuing from the mouth of Zephyr, over which flowed water, increasing the illusion that he was floating. The god assumes an arabesque, balanced precariously on his toes, and points upward to Jupiter. It is Mannerist in that it can be appreciated from all angles and is elongated and elegant, yet these features contrast with its amazing physicality and an evident study of weights and balances. The preciosity of "Maniera" is blended with what became Baroque illusionism and the freedom derived from wax.
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