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Lot 2145

Silver charm bracelet with nineteen charms including poodle, knight, deer, church etc with heart padlock clasp Condition Report:Approx 105gm

Lot 2146

Silver jewellery including charm bracelet with twenty six charms including guitar, taxi, rickshaw and elephant etc, coin bracelet mounted with six pre 1947 shillings, and abelone fish design pendant necklace Condition Report:Approx 121gm (gross) clasp on charm bracelet not silver, shillings 50% silver content, all stamped or tested as silver

Lot 2150

Silver marcasite Noah's Ark bracelet, stamped 925Condition Report:Length = 19.5cm, well presented in good condition, clasp secure

Lot 2153

9ct gold stone set cluster ring, Victorian silver pocket watch by William Hickman, London 1885, Gigandet ladies 18ct gold wristwatch on leather strap, 9ct gold jewellery oddments, silver jewellery etcCondition Report:18ct (gross) approx 11gm, 9ct non stone set approx 4.8gm, 9ct stone set 2.5gm, one 9ct charm heavily soldered approx 1.7gm, weighable silver 29gm, pocket watch movement not functioning

Lot 2157

Silver jewellery including a charm bracelet with eighteen charms including wise monkeys, moon, horse etc, loose charms, curb link chain and ring, and a floral micro-mosaic photograph frameCondition Report:Silver approx 87gm

Lot 2159

Silver jewellery including charm bracelet, bangle, 1967 South African Rand pendant necklace, spider pendant, ingots, fob watch and lighterCondition Report:Weighable silver approx 180gm

Lot 2160

Collection of silver and stone set silver jewellery including eleven rings, two brooches, seven pairs of earrings, seven pendant necklaces etc

Lot 2162

Silver Baltic amber rectangle link bracelet, stamped 925 Condition Report:Length = 18cm, good condition

Lot 2163

Silver-gilt single stone opal ring, stamped Sil and a silver-gilt three stone bamboo coral and cubic zirconia ring, stamped 925 Condition Report:Opal size P, coral size M, good condition

Lot 2176

Omega De Ville silver manual wind wristwatch, Cal. 625, on original silver double curb link braceletCondition Report:Movement not functioning but clean - hair spring appears to have broken, some discolouration to dial and losses around edge, bracelet good, clasp secure, case diameter = 20mm (excluding crown), overall length = 19.5cm

Lot 127

MOSHEH OVED: SILVER PARROT RING, CIRCA 1950Modelled standing, the displayed wings and neck engraved to resemble plumage, with hammered legs and talons forming the shank, ring size MFootnotes:ProvenanceA gift from Cycill Tomelry, manager of the Design Council in the 1950s Descent to the current ownerMosheh Oved (1885-1958), the charismatic owner of Bloomsbury antique shop, Cameo Corner, was an authority on cameos, antique watches and clocks as well as being a writer, sculptor and poet. Whilst sheltering in the basement of Cameo Corner during the blitz, he modelled the first of his animal ring designs out of wax - a lamb on wobbly legs - in order to steady his trembling hands. Later he would add many more animals to his menagerie of rings in both gold and silver.For further information on this lot please visit Bonhams.com

Lot 174

DIAMOND BROOCH, CIRCA 1810Designed as a sun in splendour, set throughout with old cushion-shaped diamonds in closed-back silver settings, diamonds approximately 2.25 carats total, length 3.5cm, gilt tooled leather case by A. Sintzenich, 8 Sackville St, Piccadilly, W.For further information on this lot please visit Bonhams.com

Lot 175

DIAMOND CROSS FLEURY BROOCH, MID 19TH CENTURYWith fleur-de-lys terminals, set throughout with old cushion-shaped diamonds in silver on gold, diamonds approximately 5.75 carats total, length 3.8cm, fitted gilt tooled case by Phillips Bros & Son, Art Goldsmiths, 23 Cockspur St, LondonFor further information on this lot please visit Bonhams.com

Lot 177

DIAMOND TIARA, CIRCA 1820Of naturalistic inspiration, designed as a wreath of ears of wheat, set overall with old cushion-shaped diamonds in silver on gold, later tiara frame, diamonds approximately 14.00 carats total, internal diameter 14cmFootnotes:This neo-classical tiara is designed as ears of wheat, an attribute of the Roman goddess, Ceres, and therefore symbolic of prosperity and abundance. In Classical Antiquity, tiaras of laurel leaves, oak or other naturalistic foliage would also crown victors or be worn by women to demonstrate their prominent status in society. Emperor Napoleon I, who took every opportunity to liken his own leadership to that of the great Roman Emperors, often portrayed himself in his coronation robes and wearing a golden laurel wreath.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 182

AMETHYST AND DIAMOND LOCKET BROOCH/PENDANT, MID 19TH CENTURYThe surmount designed as a snake encircling a Latin cross and set with old cushion-shaped diamonds, issuing a heart-shaped cabochon amethyst and a further diamond-set tassel drop, glazed locket compartment to the reverse, set in silver and gold, detachable brooch fitting and accompanying screwdriver accessory, length 6cm, gilt tooled fitted case by Collingwood Ltd, 46 Conduit St. WFor further information on this lot please visit Bonhams.com

Lot 201

DIAMOND BROOCH/PENDANT, LATE 19TH CENTURYThe oval brooch/pendant of openwork design with star motif, suspending a detachable oval drop, set throughout with old cushion-shaped and pear-shaped diamonds in silver on gold, detachable brooch fitting, folding pendant loop, diamonds approximately 5.00 carats total, length 7cm, cased by The Goldsmiths & Silversmiths AssociationFor further information on this lot please visit Bonhams.com

Lot 202

DIAMOND TARGET BROOCH/PENDANT, CIRCA 1890The circular openwork cluster set throughout with old brilliant-cut diamonds, via a similarly-set detachable surmount, mounted in silver and gold, principal diamond approximately 1.90 carats, remaining diamonds approximately 17.00 carats total, length 5.0cm For further information on this lot please visit Bonhams.com

Lot 209

BLOODSTONE INTAGLIO SIGNET RING AND AN ENAMEL, DIAMOND AND PASTE MONOGRAM BANGLE, LATE 19TH CENTURY1st: The bloodstone intaglio carved with the Ingilby family armorial crest featuring the boar's head and incorporating the motto, 'Mon Droit' (My Right), mounted in gold, 2nd: The central compartment with a hinged cover displaying the rose-cut diamond initial, 'M', beneath a similarly-set coronet, over a black enamel ground, within a surround of cushion-shaped diamonds and white paste, mounted in silver and gold, ring with goldsmith's mark RJ, ring size O½, bangle inner diameter 5.7cm (2)Footnotes:From the Collection of the Ingilby Family of Ripley CastleLots 209 - 221 Located three miles from Harrogate on the edge of the Yorkshire Dales National Park, Ripley Castle has been the seat of the Ingilby family since the 14th century. Sir Thomas Ingliby (c. 1290–1352) married the heiress, Edeline Thwenge in 1308/9 and acquired the Ripley Castle estate with its medieval manor house as her dowry. While hunting, their eldest son, Thomas (1310–1369), saved Edward III from being attacked by a wild boar and was duly knighted with the boar's head incorporated into the Ingilby family crest (see lots 209 and 213). Subsequent generations of the Ingilby family have survived periods of political and religious turmoil and witnessed great societal change. Today, the Ingilby family still live at Ripley Castle and have been opening it to the public since 1954.The rose-cut diamond 'M' on the hinged cover of the bangle is for the Marjoribanks family of Lees near Coldstream in the Scottish borders. The Hon. Alicia Marjoribanks (d.1916) was the youngest child of David Robertson MP., 1st Baron Marjoribanks (1797-1873) and on 26th June 1862, she married Sir Henry Day Ingilby, 2nd Baronet (1826-1911) of Ripley Castle and Harrington Hall in Lincolnshire. Her father was the Lord Lieutenant of Berwickshire and his portrait can still be found at Ripley Castle. Alicia's great uncle, Edward Robertson (1776-1868), was appointed as a partner of Coutts Bank by Thomas Coutts in 1797 and a senior partner from 1836 until his death. Alicia and Henry had two children, Henry and Mary. Within the space of a mere fourteen months between October 1872 and December 1873, both children died tragically of meningitis, aged four and nine respectively. Shortly after this, Alicia's father was run over by a horse drawn bus outside his club in Newcastle just seven days after being ennobled as Lord Marjoribanks of Lees. His sons had predeceased him and his untimely passing saw the extinction of his title. He is buried at Ladykirk and his family mausoleum is nearby at Coldstream.For further information on this lot please visit Bonhams.com

Lot 212

GEORGE UNITE: CHILD'S SILVER AND CORAL RATTLE/WHISTLE, 1874Engraved with floral and acanthus leaf motifs, suspending eight bells from the centre and terminating with a coral corallium rubrum branch forming the handle, maker's mark G.U, UK hallmark, length 13.0 cmFootnotes:From the Collection of the Ingilby Family of Ripley CastleLots 209 - 221 Located three miles from Harrogate on the edge of the Yorkshire Dales National Park, Ripley Castle has been the seat of the Ingilby family since the 14th century. Sir Thomas Ingliby (c. 1290–1352) married the heiress, Edeline Thwenge in 1308/9 and acquired the Ripley Castle estate with its medieval manor house as her dowry. While hunting, their eldest son, Thomas (1310–1369), saved Edward III from being attacked by a wild boar and was duly knighted with the boar's head incorporated into the Ingilby family crest (see lots 209 and 213). Subsequent generations of the Ingilby family have survived periods of political and religious turmoil and witnessed great societal change. Today, the Ingilby family still live at Ripley Castle and have been opening it to the public since 1954.Please note, this lot will be subject to US Fish and Wildlife Regulations if imported into the USA.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

Lot 213

GOLD ENGRAVED SEAL RING, CIRCA 1550, AND A SILVER SEAL, CIRCA 1650-17001st: Engraved with the Ingilby family armorial crest incorporating the boar's head couped and erect above a shield emblazoned with an estoile beneath the motto, 'Mon Droit' (My Right), mounted in gold, 2nd: Similarly engraved without the motto, the surmount composed of two intwined dolphins, ring size J, length of silver seal 2.0cm (2)Footnotes:From the Collection of the Ingilby Family of Ripley CastleLots 209 - 221 Located three miles from Harrogate on the edge of the Yorkshire Dales National Park, Ripley Castle has been the seat of the Ingilby family since the 14th century. Sir Thomas Ingliby (c. 1290–1352) married the heiress, Edeline Thwenge in 1308/9 and acquired the Ripley Castle estate with its medieval manor house as her dowry. While hunting, their eldest son, Thomas (1310–1369), saved Edward III from being attacked by a wild boar and was duly knighted with the boar's head incorporated into the Ingilby family crest (see lots 209 and 213). Subsequent generations of the Ingilby family have survived periods of political and religious turmoil and witnessed great societal change. Today, the Ingilby family still live at Ripley Castle and have been opening it to the public since 1954.The seal ring was used as long ago as 3500 BC and is believed to have originated in Mesopotamia. The ancient Greeks and Romans used seal rings widely and elevated them beyond their functionality to decorative and beautiful jewels.There are references to seal rings in the Bible and they continued to be used throughout Europe during the Middle Ages when heraldry became an important form of authority and identification. The growing merchant class of the Renaissance period led to new levels of embellishment and an increasing need to mark goods, sign letters and seal legal documents. Some of the most important documents in history have been stamped with the initials or crest of the wearer in wax from a seal ring. In its day, the seal of a ring was considered more authentic than a signature (see Scarisbrick, D., 'Rings: Jewelry of Power, Love and Loyalty', London, 2007, pp.9 and 28).The vast majority of seal rings dating from these periods were usually destroyed upon the owner's death to avoid any possibility of forged documents appearing, so it is rare for an armorial seal ring of this age to come to market directly from the family to whom the crest belongs.The practice of wearing a seal ring engraved with a heraldic crest became common in England during the 15th century. However, from the mid-16th century it became more common for a nobleman to wear his family's full coat of arms, as seen in these two seals, which are each engraved with a complete shield.For a similar seal ring, see Bonhams, London, 27th April 2022, lot 53.For further information on this lot please visit Bonhams.com

Lot 216

AMETHYST AND DIAMOND BANGLE, CIRCA 1890The oval-cut amethyst within an openwork surround of foliate and knifewire detail, set with old brilliant and rose-cut diamonds, on a hinged trifurcated frame, mounted in silver and gold, amethyst approximately 13.75 carats, bangle inner diameters 5.0cm x 5.7cm, fitted case by D & J Wellby Ltd, Garrick Street, LondonFootnotes:From the Collection of the Ingilby Family of Ripley CastleLots 209 - 221 Located three miles from Harrogate on the edge of the Yorkshire Dales National Park, Ripley Castle has been the seat of the Ingilby family since the 14th century. Sir Thomas Ingliby (c. 1290–1352) married the heiress, Edeline Thwenge in 1308/9 and acquired the Ripley Castle estate with its medieval manor house as her dowry. While hunting, their eldest son, Thomas (1310–1369), saved Edward III from being attacked by a wild boar and was duly knighted with the boar's head incorporated into the Ingilby family crest (see lots 209 and 213). Subsequent generations of the Ingilby family have survived periods of political and religious turmoil and witnessed great societal change. Today, the Ingilby family still live at Ripley Castle and have been opening it to the public since 1954.For further information on this lot please visit Bonhams.com

Lot 218

DIAMOND CLUSTER BROOCH/PENDANT, MID 19TH CENTURYSet throughout with cushion-shaped and old brilliant-cut diamonds, the central cushion-shaped diamond, weighing approximately 1.45 carats, within an openwork surround with scrolling motifs, suspended from a detachable surmount, similarly-set with foliate detail, mounted in silver and gold, diamonds approximately 2.70 carats total, composite, length 4.0cmFootnotes:From the Collection of the Ingilby Family of Ripley CastleLots 209 - 221 Located three miles from Harrogate on the edge of the Yorkshire Dales National Park, Ripley Castle has been the seat of the Ingilby family since the 14th century. Sir Thomas Ingliby (c. 1290–1352) married the heiress, Edeline Thwenge in 1308/9 and acquired the Ripley Castle estate with its medieval manor house as her dowry. While hunting, their eldest son, Thomas (1310–1369), saved Edward III from being attacked by a wild boar and was duly knighted with the boar's head incorporated into the Ingilby family crest (see lots 209 and 213). Subsequent generations of the Ingilby family have survived periods of political and religious turmoil and witnessed great societal change. Today, the Ingilby family still live at Ripley Castle and have been opening it to the public since 1954.For further information on this lot please visit Bonhams.com

Lot 219

DIAMOND-SET LOCKET PENDANT, CIRCA 1880The heart-shaped pendant, centrally set with an old pear-shaped diamond, weighing approximately 1.35 carats, within a surround of cushion-shaped diamonds, hinged with a glazed compartment to the reverse, suspending from a similarly-set surmount, mounted in silver on gold, diamonds approximately 3.20 carats total, length 3.5cm, fitted case by Hancocks, 59 Bruton Street, London, Jeweller and Silversmith to the Principal Sovereign of EuropeFootnotes:From the Collection of the Ingilby Family of Ripley CastleLots 209 - 221 Located three miles from Harrogate on the edge of the Yorkshire Dales National Park, Ripley Castle has been the seat of the Ingilby family since the 14th century. Sir Thomas Ingliby (c. 1290–1352) married the heiress, Edeline Thwenge in 1308/9 and acquired the Ripley Castle estate with its medieval manor house as her dowry. While hunting, their eldest son, Thomas (1310–1369), saved Edward III from being attacked by a wild boar and was duly knighted with the boar's head incorporated into the Ingilby family crest (see lots 209 and 213). Subsequent generations of the Ingilby family have survived periods of political and religious turmoil and witnessed great societal change. Today, the Ingilby family still live at Ripley Castle and have been opening it to the public since 1954.For further information on this lot please visit Bonhams.com

Lot 220

DIAMOND CLUSTER BROOCH/PENDANT, LATE 19TH CENTURYOf openwork form with quatrefoil and fleur-de-lys motifs, set throughout with cushion-shaped and old brilliant-cut diamonds, suspended from a similarly-set surmount, mounted in silver and gold, detachable brooch fitting, length 5.0cm, accompanied by a screwdriver, fitted case by R&S Garrard & Co, Goldsmiths and Jewellers to the Crown, Haymarket, LondonFootnotes:From the Collection of the Ingilby Family of Ripley CastleLots 209 - 221 Located three miles from Harrogate on the edge of the Yorkshire Dales National Park, Ripley Castle has been the seat of the Ingilby family since the 14th century. Sir Thomas Ingliby (c. 1290–1352) married the heiress, Edeline Thwenge in 1308/9 and acquired the Ripley Castle estate with its medieval manor house as her dowry. While hunting, their eldest son, Thomas (1310–1369), saved Edward III from being attacked by a wild boar and was duly knighted with the boar's head incorporated into the Ingilby family crest (see lots 209 and 213). Subsequent generations of the Ingilby family have survived periods of political and religious turmoil and witnessed great societal change. Today, the Ingilby family still live at Ripley Castle and have been opening it to the public since 1954.For further information on this lot please visit Bonhams.com

Lot 221

DIAMOND, RUBY AND NATURAL PEARL BOW BROOCH/PENDANT, MID 19TH CENTURYThe openwork ribbon bow with fluttering tails, set throughout with cushion-shaped diamonds, accented by a central row of similarly-shaped rubies, graduating in size towards the centre, suspending a 10.7mm x 21.0mm natural pearl drop, via a cushion-shaped diamond-set cap and surmount, mounted in silver and gold, detachable brooch fitting, diamonds approximately 5.10 carats total, length 5.5cm, fitted caseFootnotes:From the Collection of the Ingilby Family of Ripley CastleLots 209 - 221 Located three miles from Harrogate on the edge of the Yorkshire Dales National Park, Ripley Castle has been the seat of the Ingilby family since the 14th century. Sir Thomas Ingliby (c. 1290–1352) married the heiress, Edeline Thwenge in 1308/9 and acquired the Ripley Castle estate with its medieval manor house as her dowry. While hunting, their eldest son, Thomas (1310–1369), saved Edward III from being attacked by a wild boar and was duly knighted with the boar's head incorporated into the Ingilby family crest (see lots 209 and 213). Subsequent generations of the Ingilby family have survived periods of political and religious turmoil and witnessed great societal change. Today, the Ingilby family still live at Ripley Castle and have been opening it to the public since 1954.Accompanied by a report from The Gem and Pearl Laboratory stating that the pearl is of natural, saltwater origin. Report number 22299, dated 25th October 2022.For further information on this lot please visit Bonhams.com

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 26

TOPAZ AND DIAMOND BRACELETAlternately-set with oval-cut topaz in foiled closed-back settings, and cushion-shaped diamonds in pinched collets, mounted in silver and gold, diamonds approximately 4.00 carats total, length 18.0cmFor further information on this lot please visit Bonhams.com

Lot 38

KIESELSTEIN-CORD: AMETHYST BEAD NECKLACE, CIRCA 2003Alternately-set with spherical amethyst beads and a fringe of polished amphorae links, signed B.Kieselstein-Cord, length 41cm Footnotes:Born in Manhattan in 1948 and educated at Parsons School of Design and the American Craft Institute, Barry Kieselstein-Cord worked as an art director in advertising before pursuing a career as an artist-jeweller and founding his eponymous company in 1972. His jewellery is characterised by tactile matt-gold sculptural forms inspired by antiquity, Native American art and the natural world. Kieselstein-Cord designed his first sterling silver collection that same year, and in 1973, the collection was presented for sale at Georg Jensen's Manhattan flagship store. Through this partnership with the legendary Danish silverware firm, Kieselstein-Cord's work reached an international audience. It was also around this time that he began working with Calvin Klein. By the late 1970s, Kieselstein-Cord had begun to integrate gold and gemstones into his work and in 1977, he won his first award from the Council of Fashion Designers of America. Some of his most sought-after collections from the 1980s including 'Crocodile', 'Pompeii' and 'Borgia' are enjoying a resurgence today. Tom Hanks, Oprah Winfrey, Sir Elton John, Jack Nicholson, Barack Obama and Giorgio Armani are all known collectors of Kieselstein-Cord's work. His designs have found their way into the Louvre in Paris and his 'Women of the World' cuff bracelet is held by the Metropolitan Museum of Art in New York (accession number 1995.380.2).Lots 36-42 are from a Private Collection of Artist Jewellery.For further information on this lot please visit Bonhams.com

Lot 39

KIESELSTEIN-CORD: 'ANGEL IN MY WINDOW' CUFF, CIRCA 1997The openwork cuff with central rectangular window containing the figure of an angel amongst diamond-set scrolls, signed B. Kieselstein-Cord, diamonds approximately 0.40cts total, internal diameter 5.3cm Footnotes:Born in Manhattan in 1948 and educated at Parsons School of Design and the American Craft Institute, Barry Kieselstein-Cord worked as an art director in advertising before pursuing a career as an artist-jeweller and founding his eponymous company in 1972. His jewellery is characterised by tactile matt-gold sculptural forms inspired by antiquity, Native American art and the natural world. Kieselstein-Cord designed his first sterling silver collection that same year, and in 1973, the collection was presented for sale at Georg Jensen's Manhattan flagship store. Through this partnership with the legendary Danish silverware firm, Kieselstein-Cord's work reached an international audience. It was also around this time that he began working with Calvin Klein. By the late 1970s, Kieselstein-Cord had begun to integrate gold and gemstones into his work and in 1977, he won his first award from the Council of Fashion Designers of America. Some of his most sought-after collections from the 1980s including 'Crocodile', 'Pompeii' and 'Borgia' are enjoying a resurgence today. Tom Hanks, Oprah Winfrey, Sir Elton John, Jack Nicholson, Barack Obama and Giorgio Armani are all known collectors of Kieselstein-Cord's work. His designs have found their way into the Louvre in Paris and his 'Women of the World' cuff bracelet is held by the Metropolitan Museum of Art in New York (accession number 1995.380.2).Lots 36-42 are from a Private Collection of Artist Jewellery.For further information on this lot please visit Bonhams.com

Lot 22

A late Victorian silver locket, A late Victorian silver locket, the oval hinged locket with embossed detailing, bearing hallmarks for Birmingham, 1880, suspended from a white metal fancy link chain, length of locket 6.3cm, length of chain 48cm, gross weight 36.6g.Overall condition fair to goodLocket - hallmarks worn, several shallow dents to reverse, closes toChain - unmarked, clasp delicate, in working order but tongue loose

Lot 3

A silver enamel bracelet by David Andersen, A silver enamel bracelet by David Andersen, the red enamel leaf links with spring clasp, maker's marks for David Andersen, stamped 925S, length 18.8cm, gross weight 12.8g.Overall conditon good to fairClasp in working orderMarks clearA couple of links with scratches and abrasion to enamel, visible with the unaided eye

Lot 31

A suite of silver Montblanc 'Star' jewellery, A suite of silver Montblanc 'Star' jewellery, including a necklace, bracelet and earrings, designed with the maker's star logo and multi chain detailing, Swiss assay marks, 184.3g. With maker's boxes.Overall condition good to fairEarrings length 5.3cmBracelet length 20.8cmNecklace length 76cm, toggles at 30 and 75cm

Lot 4

A silver enamel bracelet by Turner & Simpson, A silver enamel bracelet by Turner & Simpson, designed as a series of vari-shade enamel panels commemerating the silver jubilee, hallmarks for Birmingham, length 19.2cm, gross weight 17.5g.

Lot 59

A selection of items, A selection of items, to include a silver pocket watch, a base metal pocket watch, a gold plated pocket watch, a silver cigarette case, a silver bangle, a silver ring, a silver cased wristwatch, a Maple leaf brooch, two medals, a silver fruit knife, loose cultured pearls, and three pairs of cufflinks, gross weight of solid silver items 219.7g.

Lot 111

Whittington Press.- Craig (John) Britten's Aldeburgh, number IV of 28 deluxe specially-bound copies with an additional suite of engravings and signed by the author/artist, from an edition limited to 440, printed in ochre and black, wood-engraved illustrations and 3 tipped-in folding colour linocuts by Craig, bound in half pale turquoise morocco with transparent vellum over seascape-printed boards and thin vertical onlaid red morocco lines and lettering in silver, by James and Stuart Brockman to a design by John Craig and James Brockman, yapp edges, concave spine lettered in silver, silver edges, vellum slightly marked and yellowed, spine a little faded, 11 additional wood-engravings all signed and dated in pencil, one hand-coloured, loose as issued in printed wrappers, together with binder's printed note on binding in cloth drop-back box with wooden edges, 4to, Risbury, Whittington Press, 1997.⁂ James Brockman's note describes the binding design, "...The red onlaid leather lines and endbands are similar in colour to the boat marker buoys found at Aldeburgh. The colour and use of materials is intended to suggest the atmosphere of the East Coast...I invented the rigid concave spine in 1994 and this is the first time it has been used on an edition of special bindings".

Lot 302

Embroidered binding.- Bible, English.- [New Testament], defective, contemporary boards covered in satin, rebacked, preserving part of original backstrip, covers and spine with central floral decorations embroidered in coloured silk threads, those of the covers within wide foliage and filet border in silver and white threads, silver threads dulled, soiled, rubbed, g.e., binding 111 x 61mm., no place, no printer, [first half of 17th century]. sold as a binding and not subject to return.

Lot 365

Churchill (Sir Winston Spencer).- Beaton (Cecil) Sir Winston Churchill at 10 Downing Street, silver gelatin print, c.513 x 411 mm., photographer's ink stamp and number in pencil on verso, a couple of minor bumps to edges, tipped into mount, framed, [c.1940].

Lot 390

Fleming (Ian) The Spy Who Loved Me, first edition variant issue with quad mark on title, original cloth, lettered in silver, dagger design to upper cover blocked in silver and blind, slight bumping to spine tips, dust-jacket, small nick to foot of upper joint, light rubbing to extremities, but a fine copy otherwise, preserved in custom morocco-backed drop-back box, 8vo, 1962.⁂ The scarce variant issue with the quad mark appearing on title due to a printer's error. Gilbert estimates that as few as one copy in ten from the first impression exist in this state.

Lot 391

Fleming (Ian) On Her Majesty's Secret Service, first edition, original board, spine lettered in silver, white ski-track motif to upper cover, slight bumping to spine tips, dust-jacket, faint creasing to head of spine, light rubbing to extremities, but a bright, fine copy overall, with the spine lettered bright, housed in custom morocco-backed drop-back box, 8vo, 1963.

Lot 392

Fleming (Ian) You Only Live Twice, first edition, second state with "March 1964" on copyright p., original boards, silver lettering to spine, Japanese characters in gilt to upper cover, dust-jacket, light creasing to head and foot, very short tear to head of upper panel, else fine, housed in custom morocco-backed drop-back box, 1964; The Man with the Golden Gun, first edition, second state plain boards, lettered in gilt on spine, dust-jacket, very small patch of browning to head of lower joint, minute spot to foot of lower panel, but a fine, bright example generally, housed in custom morocco-backed drop-back box, 1965; and a near-fine copy of Octopussy and the Living Daylights, 8vo (3)

Lot 415

O'Casey (Sean) The Silver Tassie, first edition, signed presentation inscription from the author to Joe Cummins on endpaper, portrait frontispiece, light browning to endpapers, original cloth-backed boards, spine a little browned, 8vo, 1928.⁂ Joseph Cummins worked as a surgeon at the Royal Victoria Eye and Ear Hospital in Dublin, where O'Casey was treated for an ulcerated cornea when in his early twenties. Cummins took a personal interest in the young writer and the two remained friends afterwards.

Lot 415

A WALNUT AND NEEDLEWORK WALL SCONCE EARLY 18TH CENTURY AND LATER Gros and petit-point inset panel with figure beneath a flower bower, fitting for branch below 36.5cm high, 17cm wideProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: lacks candle branch- some suggestion of varnish used to indicate greater age to 'dirtier' edges of mouldings under UV. Small lifting to veneer and dent to top> mild pulling to fabric and slightly dirty- small edge loss- boots and buckles possibly silver threadCondition Report Disclaimer

Lot 548

A COCONUT CUP WITH ENGRAVED SILVER COLOURED MOUNT 17TH CENTURY Engraved "Friendship love & wine united, From all ills defend the mind" 9.8cm high, the top 7cm open diameter Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: The silver is unmarked and untested- some typical shrinkage cracks and old polish depositWear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

Lot 582

A GEORGE III MAHOGANY SILVER TABLECIRCA 1790The frieze decorated with a fine 'fiddleback' mahogany veneers 71.5cm high, 86cm wide, 57cm deepProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Table with the marks, knocks, scratches and abrasions commensurate with age and use. Various old chips, splits and losses - see images. Sun fading to timber.Two cracks running across the top. Old repairs and replacements to pierced spandrels. Some elements of the spandrels and detached but present, other elements are lacking. Old glued repair to one stretcher. Later supporting blocks to the underside of the top. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

Lot 615

Y A GEORGE III TORTOISESHELL OCTAGONAL TEA CADDY CIRCA 1780-1800 With silver coloured ball finial and engraved plaque to front, the whole with ivory stringing and bands, with key 14cm high, 13cm wide, 8cm deepProvenance: Property from the Phillip Lucas Collection, Spitalfields HousePlease note: Dreweatts have applied for a de minimis exemption licence for the ivory in this lot (Ref: 3JYLG4GZ)Condition Report: The silver unmarked and untestedLooks to have been cleaned and with restorations within last 30 years. Notably to lower banding, hinge points and around escutcheon- remains of interior metal lining. Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

Lot 557

A stylish Modernist pair of silver gilt stone set earrings by Tabra. Of bead fringe design, both signed, length 8.5cm.

Lot 566

Alexander McQueen, a black mixed cotton long coat with silver fruiting grape vine detail. Size 44.There are two missing buttons to the front of the coat.

Lot 6

A contemporary silver and gold applied oval brooch by Guy Royle. The design in yellow and green gold, Stamped GR, width 6cm, 18.9g.

Lot 64

A sterling silver and enamel butterfly brooch by John Atkins & Sons. In purple and green enamel, stamped JA&S STERLING SILVER, width 32mm.

Lot 66

Three 9ct stone set rings. Total weight 8.1g; together with a 9ct and silver band ring (4)The gold and silver eternity set with marcasite with several stones missing, size P.   Claddagh ring set with garnet and white stones, size J. Ruby and white stone, size O. Very dark sapphire cluster size N.

Lot 69

A pair of contemporary silver and green bead pendant earrings by Guy Royle. Both stamped GR, length of drop 6cm, 12.2g.

Lot 79

An interesting Arts & Crafts silver and mother of pearl set pendant. The rectangular plaque applied with sinuous leaves and stalks around the mother of pearl, height 38mm, on a 925 silver chain, 10.8g,

Lot 103

An 835 silver Arts & Crafts style moss agate set ring. The shoulders foliate cast, stamped 835, size T, 9.4g.

Lot 156

An Edwardian gold and silver set diamond, emerald and ruby bar brooch. The central square cut emerald measures 0.40ct approximately, star set and surrounded by small pink rubies, the six small old cut diamonds in an openwork setting, length 88mm, 7.7g.

Lot 166

A pair of contemporary 18ct white gold emerald set stud earrings. The cabochon emeralds measuring 0.20ct, stamped 750, 1.45g; together with a pair of 9ct cultured pearl set screw earrings, and a silver marcasite set lizard brooch (3)

Lot 188

A 1960's Geoffrey Bellamy silver brooch. The oval openwork brooch with two leaping springbok design, no. 400, signed, Birmingham 1960, width 43mm, 11.2g.

Lot 197

A contemporary silver and carnelian bead fringe necklace by Guy Royle. Stamped makers mark GR, length 47cm, 75.2g.There is a tarnished mark on the last bead before the clasp. Tarnishing all over but generally good.

Lot 272

A pair of Art Deco style silver onyx and crystal snake pendant earrings. Stamped 925, length 5cm.

Lot 278

A Georg Jensen silver pendant necklace, stamped mark for 1915-1930. Of double flower design set with malachite, design no. 15, on original necklace with T bar clasp, length of pendant 55mm, length of necklace 45cm, 16g.A silver backing on one cabochon is missing. Generally good vintage condition.

Lot 280

A box of costume jewellery. Including silver, semi-precious gem bead necklaces etc.

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