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Lot 42
A Victorian walnut collector's cabinet, containing three drawers, enclosed by panelled doors34w x 22d x 42h cmOverall complete and usable. Doors open ok, but one has been broken where the hinged meet and glued and screwed back together. Drawers run ok, although some dividers are missing inside. Generally slightly scruffy as unrestored, with various surface marks and dirt. Right door does not close completely flat. Some losses to veneers, most noticably around the plinth base. No key.
Lot 67
An early 20th century Chinese heavily carved side cabinet, mid 20th century, profusely carved throughout with dragons and enclosed by panelled doors135w x 52d x 82h cmOverall condition is complete and usable. Unrestored, so quite dirty, with wear to most corners and edges and on the raised parts, most noticably around the plinth base. Top has light marks from use. Appears to be carved softwood. Various minor losses and knocks. Has a key.
Lot 343
An Edwardian mahogany and inlaid revolving bookcase49w x 50d x 86h cmOverall condition is solid and usable. Is unrestored, so has been bleached by the sun slightly, the wood is slightly dry and there are marks from use, most noticeably around the plinth at the base of the revolving shelves. The inlay on the top is not perfectly flat, but this in my opinion minor and not too obvious. Overall looks to be original.
Lot 1131
Comprising: 'Ginger and Pickles', model No. P3790, limited edition 2265/2750 and 'Mittens, Tom Kitten and Moppet', model No. P3792 (lacking plinth), both with certificates and boxes; together with 'Jemima and her Ducklings', BP-10a, (3)Provenance: The Mr & Mrs. Bell Collection, from Horton-in-RibblesdaleGinger & Pickles has been stuck to the base slightly off centre; otherwise the models are in good condition.
Lot 1138
Beswick and Border Fine Arts Including: Arkle, Connoisseur model No. 2065, on wooden plinth, Shire Horse in brown matt and brown gloss, two others, a Border Fine Arts Pottery Company Simmental family group, with boxes; and three Border Fine Arts Studio Horse Models including 'Lightly Rolled' model No. A8918 (11) (a.f)Provenance: A Private Collection
Lot 183
Small bedside table clock in a pierced brass case on a splayed plinth, with a 30hr spring wound movement with a balance escapement made by the British United Clock Company, c1920, with an enamel chapter ring and decorative gilt centre, movement wound and set from the rear.Dimensions: Height: 15cm Length/Width: 10cm Depth/Diameter: 7cmCondition Report:Enamel dial with chips
Lot 186
Slate mantle clock c1890 with an American �Waterbury� eight-day spring driven movement striking the hours on a gong (missing) Architectural styled case with recessed reeded brass columns to the front and depiction from Greek mythology to the tympanum, two-part dial with Arabic numerals to the chapter ring and a decorative gilt centre. With Pendulum.Dimensions: Height: 32cm Length/Width: 39cm Depth/Diameter: 15cmCondition Report:Gong missing and plinth with a missing side-piece of marble.
Lot 1
LARGE PAIR OF CARL THIEME (POTSCHAPPEL) PORCELAIN POT POURRI VASES, COVERS & STANDS, of urn form with twin handles, painted with classical subjects to the front, encrusted with flowers and swags, plinth bases, 52 h x 23cms w (2)Provenance: contents of Machen House, Lower Machen in the County Borough of Caerphilly
Lot 377
PORCELAIN MODELS OF FARM ANIMALS comprising Royal Worcester bone china 'Jersey Cow' 1961 on plinth, Royal Worcester bone china 'Jersey Bull' 1965 (damaged tail) on plinth together with Royal Copenhagen model of a pig numbered 4558 (3)Provenance: private collection Carmarthenshire, consigned via our Carmarthen Office
Lot 419
MIXED GROUP OF CONTINENTAL CERAMICS, to include pair of Dreseden style gilt and floral decorated urns with mask handles, 12cms tall, a lidded urn on plinth decorated with gilt decoration and ruby ground, a sevres style sauce boat, Italian maiolica wall pocket in the form of a tied handkerchief, cabinet plate ETC., together with a small Sitzendorf flower decorated easel bakck mirror 36 x 44cms (10)Comments: some nibbles to corners of mirror
Lot 423
Group of silver items to include a silver twin-handled trophy on a wooden plinth (stamped silver), 12cm high, an Edwardian silver mounted hair brush with relief angel and floral decoration, London 1908, contemporary silver circular pill box with engraved scrolling decoration, approx 5cm diameter, silver lidded glass vanity jar, dessert fork, teaspoon, salt spoon, sugar tongs and a French silver bone-handled pickle fork, together with a white metal fluted bud vase, 20cm high, and a pair of silver plated sugar tongs
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
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