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Lot 461

Three Silver Filigree Brooches all Stamped 925

Lot 462

Five Pairs of Silver Earrings with Coloured Stones

Lot 464

A Heavy Suite Silver Jewellery, London 1973 to Comprise Necklace and Bracelet, 127.8g

Lot 466

A Collection of Silver and White Metal Rings to Include Modernist Examples, Edwardian Pearl and Marcasite etc

Lot 469

A Heavy Silver Hinged Bangle Stamped AD 925

Lot 47

A Silver Banded Gents Umbrella by Johnathon Howle with Bamboo Handle, Hallmark Somewhat Rubbed

Lot 471

A Collection of Designer and Other Silver Charms to Include Thomas Sabo, Links of London etc

Lot 473

A Collection of Vintage and Other Items to Include Silver Charm Bracelet, Thomas Saho Heart Charm, Butler and Wilson Bracelet etc

Lot 72

An Edwardian Silver Plated Spirit Kettle Together with a Later Circular Salver, 32cm Diameter

Lot 79

A Silver Plated Claret Jug with Wooden Handle Together with a Monogrammed Card Tray "MKG June 21st 1921", Pepperpot and Long Handled Salt Spoon

Lot 81

A Reproduction Chinese Terracotta Figure, 28cm High (Head Glued) Together with a Circular Cloisonne Enamelled Box and a Copper Bowl with Remnants of Silver Plating

Lot 110

A tray containing costume jewellery, silver lidded glass dressing table pot, pocket watch chains, silver and other pocket watches, pair of cameo earrings etc

Lot 118

A basket containing a small quantity of costume jewellery, silver bangle, dress rings, marquisette pendant etc

Lot 134

A Tiffany & Co silver bangle, boxed. CONDITION REPORT: 36.3g

Lot 135

A tray of jewellery to include Links of London bracelet, Swarovski, pair of silver hoop earrings etc

Lot 137

A collection of Victorian and later silver and copper coins and banknotes, as illustrated. (Qty)

Lot 146

A silver three piece tea service, Josiah Williams & Co, London 1900, engraved with an inscription, teapot 16cm high. (3) CONDITION REPORT: 1184g gross.

Lot 158

A contemporary bevelled mirror in a silver coloured frame, 76 x 137 cm

Lot 179

A sterling silver Art Deco style ring set with a blue stone, size N.

Lot 215

A silver plated canteen of fish cutlery together with a pair of bookends made with stone from the houses of parliament

Lot 217

A tray containing silver plated swing handled basket, pewter ware including tankards, dishes etc

Lot 226

A box of costume jewellery including lady's watches, silver jewellery, cameo earrings, glass bottle of beads, Whitby Jet brooch

Lot 227

A quantity of assorted coins - Victorian silver crowns, silver Florins, Georgian six pences, uncirculated pound coin, crowns etc

Lot 37

A silver filled figure of a dachshund

Lot 38

A silver letter opener, Sheffield 1987, in a fitted box CONDITION REPORT: 58g

Lot 41

A Wedgwood Jasperware silver plated lidded biscuit barrel

Lot 45

A South African .500 silver 1964 50c coin

Lot 48

A silver cross medal dated 1867-1967

Lot 51

A silver bowl, Sheffield, 1924 on raised feet, diameter 14.4 cm CONDITION REPORT: 115g

Lot 52

A silver twin handled dish, London 1931, diameter including handles 18 cm CONDITION REPORT: 189g

Lot 57

A Franklin Mint John F Kennedy 1964 silver half dollar with certificate in folder together with a case containing a silver handled knife and a silver fork

Lot 62

A good quality silver rectangular box, with embossed cherub decoration and unusually also internally to the base, Edwin Thompson Bryant, London import mark 1895, height 32 mm x width 120 mm x depth 50 mm, weight 129.4g.

Lot 85

DC Comics Batman and Batgirl #396 Neal Adams cover 1970, among other Superman, Batman, Silver Surfer comics.

Lot 127

An Edwardian Oak Canteen of Silver Plated Cutlery for Six

Lot 140

A Collection of Silver Plated Bone Handled Cutlery, Berry Spoons, Various Patterns

Lot 198

A Mid 20th Century Canteen of Silver Plated and Stainless Steel Cutlery

Lot 115

The Infinity Gauntlet, No's. 1, 2, 4, 5, and 6; The Infinity War, No's. 1-6; Marvel Spotlight On Star-Lord, No's. 6 and 7; Silver Surfer, No's. 44, 45, 46, 47, 51, 52, and 53; together with other Marvel comics featuring Guardians Of The Galaxy and The Infinity Crusade.

Lot 28

Marvel Graphic Novels: The Silver Surfer, The Agent, The Punisher, Power Pack and Cloak and Dagger; three other Marvel Magazines; and The Haunt of Horror Illustrated Story Book by Marvel/Curtis, Wolverine and Nick Fury, Arena, Ax, Power Pack and Cloak and Dagger, Excalibur, Dreamwalker, Wolfpack, Greenberg The Vampire, Who Framed Roger Rabbit, and The Agent; together with FOOM, No. 16, cents only copies. (19)

Lot 294

Silver Surfer, Vol. 2, No. 1; Powerman and Iron Fist, No. 50; Hercules Limited Series, No's. 1 and 2; Machine Man, No's. 1 and 3; Hawkeye Limited Series, No. 1; Cable, No. 1; Silver Sable, No. 1; and sundry other Marvel comics. (44)

Lot 73

Spider-Man, No's. 1 (silver and gold variants), and No's. 2-71.

Lot 88

Silver Surfer, Vol. 2, No's. 1 (1982), 5, 8-21, 23, 26, 27 and 35; and ROM Spaceknight, No's. 35, 36, 37, 41, 42, 48-75.

Lot 124

OF COLLECTORS' INTEREST: A late George II carved mahogany drop-leaf table1755-1760, the oval top above a plain arched frieze, on opposing C-scroll, rocaille and acanthus clasped cabriole legs with foliate scrolled ears, terminating in claw and ball feet, 54cm wide x 116cm deep x 74cm high, (21in wide x 45 1/2in deep x 29in high)Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor. A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website. The offered drop-leaf table is illustrated in R. Edwards and P. Macquoid, The Dictionary of English Furniture, Vol. III, the revised and enlarged edition by R. Edwards, 2000, New York, fig. 26, p. 220. It is even noted in the Dictionary as being 'from Mr Ralph Edwards' and is dated therein to circa 1750.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to aid the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Lot 125

OF COLLECTORS' INTEREST: A William and Mary walnut, oyster veneered and sycamore banded chest1690-1705, the top with an ovolo edge and inlaid with concentric roundels and pollard oak, flanked by two circular tablets and quarter spandrels, above two short and three long graduated oak-lined drawers, on later (probably 18th century) bracket feet, 96cm wide x 59cm deep x 92cm high, (37 1/2in wide x 23in deep x 36in high)Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor. A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website. Significantly, the offered chest is illustrated in R. Edwards and P. Macquoid, The Dictionary of English Furniture, Vol. II, the revised and enlarged edition by R. Edwards, 2000, New York, fig. 29, p. 40. It is even noted in the Dictionary as being 'from Mr Ralph Edwards' and is dated therein to circa 1715, although it perhaps more accurately belongs to a slightly earlier era which is essentially 1690-1710.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to aid the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than no... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Lot 127

OF COLLECTORS' INTEREST: A George I giltwood and gilt gesso girandole or mirrorCirca 1725, the bevelled plate within a rosette-embedded and entwined strapwork moulded surround, surmounted by a shaped shallow-relief carved acanthus and punched pediment carved with foliate wrapped volute scrolls and two opposing eagle busts, centred by an overlapping scallop shell cresting, with a similar shaped apron centred by a scallop shell mounted with two later brass scrolled candle arms, 127cm high x 78cm wide.Footnotes:ProvenanceThe present mirror formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor. A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings on the wall is the offered mirror, which is located above the chimneypiece. An original of this striking photograph is available for the eventual buyer of this lot. A further image of Edwards whilst he was in Venice is also on our website. This mirror appears illustrated in R. Edwards and P. Macquoid, The Dictionary of English Furniture, Vol. II, the revised and enlarged edition by R. Edwards, 2000, New York, fig. 51, p. 332. The mirror is even noted in 'The Dictionary' as belonging to 'Mr Ralph Edwards' and is dated there to circa 1715, although it is perhaps more realistically circa 1725 in line with more modern analysis of such pieces.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to help the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Lot 128

OF COLLECTORS' INTEREST: A Regency mahogany Pembroke tableThe top with a reeded edge above one frieze drawer, on ring turned tapering legs terminating in castors, 53cm wide x 87cm deep x 73cm high, (20 1/2in wide x 34in deep x 28 1/2in high)Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor.A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website. Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to aid the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he maintains his position among the very highest echelons of academia within the broad domain that is art history. LiteratureN. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316 & 319.... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Lot 129

OF COLLECTORS' INTEREST: A George II painted pine dummy board1720-1750, the shaped board decorated with an elegantly attired young lady holding a fan in one hand, later reduced in height, 94cm high.Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor.A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website. Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to help the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he maintains his position among the very highest echelons of academia within the broad domain that is art history. LiteratureN. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316 & 319.... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Lot 131

OF COLLECTORS' INTEREST: A late George II carved mahogany concertina-action card table1755-1760, the hinged crossbanded top enclosing a baize playing surface, above one mahogany-lined frieze drawer, on four scallop shell and bellflower clasped cabriole legs each carved with C-scroll ears and scrolled foliate spandrels, 87cm wide x 42cm deep x 71cm high, (34in wide x 16 1/2in deep x 27 1/2in high)Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor.A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to help the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he maintains his position among the very highest echelons of academia within the broad domain that is art history. LiteratureN. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. ... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Lot 278

A Heraldic family hangingVan Wassenaer dynasty, probably 18th centuryon golden ground, with silvery threads and possible remnants of silver crushed velvet, each panel with eight pairs of rearing lions, each lion above a smaller cowering creature, mounted in later frames,117cm x 63cm without the frames (2)Footnotes:ProvenanceThe Baroness Turk van Wassenaar tot St Pancras, bequeathed to her daughter Mrs Hudig-Turk thence by descent to the present vendor.Van Wassenaer is the name of an old Dutch noble family (the name first appears in records as long ago as 1200 in Holland). The family coat of arms including the rearing lion, are, by repute, borrowed from an Arabian banner that a member of the van Wassenaer family acquired while taking part in a Medieval crusade.For further information on this lot please visit Bonhams.com

Lot 370

Attributed to Thomas Compigne (Franco-Italian, fl. late 18th century): A collection of six Louis XVI embossed gilt, silver and polychrome tinted and varnished, decorated foil pictures of topographical views together with a similar circular embossed gilt profile miniature bust portraitcirca 1775-1790the topographical panels comprising three rectangular pictures comprising a view of The Chateau De Saint Hubert, a view of The Palais Bourbon and a view of The Palais Royal, the latter two within decorative mounts, and three circular topographical views comprising two pictures depicting views of The Chateau Des Tuileries and a further unknown view of a river bank scene with buildings and a ruin, the bust portrait depicting a profile of a gentleman, possibly Voltaire, all mounted in later glazed frames, the view of The Chateau De Saint Hubert probably trimmed, the rear backboard of its frame with old titled ink inscription dated 1871 and with references to Madam Dubarry and the Baron de Pauville, largest two pictures, 28.cm x 35.5cm overall, the smallest circular profile portrait, 8.5cm diameter overall (7)Footnotes:Famed for his jewel-like pictures, Thomas Compigne depicted castles, town views, pastoral scenes and real and exotic imagined 'capriccio' harbour and landscape views executed in gold, silver and various coloured varnishes on pewter foil or tortoiseshell grounds. Originally from Italy, Compigné worked in the Rue Grenetta, Paris at the 'Roi David' and attracted a fashionable clientele with his precious works of art which include caskets and all manner of 'objets de vertu'. He was listed in various contemporary gazettes published between 1766 and 1773 which described his wares as 'très beau' complimenting on their precious metallic and polychrome decoration and his his success was further re-enforced in 1773 when Compigné presented Louis XV with views of his favourite hunting lodge, Saint-Hubert which he subsequently reproduced in an edition series for his patrons.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 466

A silver novelty desk paperweight in the form of a scimitar swordSearle & Co Ltd, London 1935The simulated wrapped handle with scroll quillon, with broad curving blade, height 33cm, weight 20oz.Footnotes:ProvenanceProperty from an International Private CollectionThis 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 469

A set of six silver and enamel small dishesH S Benzie, London 1933, underside incuse stamped BENZIE COWESCircular, shallow curved form with narrow linear band and enamelled to the centred with a flag, enamelled in yellow, blue and black, on bracket feet, diameter 10.2cm, weight 15.8oz. (6)Footnotes:H S Benzie of Cowes, Isle of WightFor further information on this lot please visit Bonhams.com

Lot 470

A set of Victorian novelty silver keys with mechanical pencil, fountain pen and boot hookFrench import mark post 1893, also incuse stamped STERLING Three realistically modelled skeleton keys on a round fob, a sliding mechanism on each, when pushed downwards a mechanical pencil, fountain pen and a boot hook are released, height 12cm, weight total 1oz.For further information on this lot please visit Bonhams.com

Lot 478

A Chinese silver vasemark of Chao (Zhao), circa 1900 Baluster form, the body featuring four medallions intricately pierced and chased with cherry blossom, blooming flowers and foliage, on a domed scallop-rimmed circular base, height 20cm, weight 7.6oz.For further information on this lot please visit Bonhams.com

Lot 486

A Victorian silver 'Armada' ewer and matched gobletMartin Hall & Co, Sheffield 1864, goblet Thomas Smily, London 1864The ewer with lever action hinged dome cover, elongated shaped neck with bands of acanthus leaves and flowers, the bulbous profusely chased body with flowers and leaf scrolls around two cartouches with inscriptions, 'Croxteth Hunt Meeting ... dated 1866' and 'The Ditton Cup won by Little Scamp, the property of John Woollright, Esq...', the cartouches flanked with applied male and female winged caryatids and lion mask to the front, on a spread circular foot, the handle with ivory insulators, the goblet with profusely chased ogee shaped bowl, with related inscription 'won by Little Scamp', height of ewer 36.5cm, weight 51.8oz. (2)Footnotes:'The Ditton Cup' was awarded to 'Little Scamp' who was the winner of the Croxteth Hunt Steeplechases held on Saturday 7th April 1866 at Tarbuck, near Liverpool. The race was somewhat controversial since 'Little Scamp' came in second but was awarded the race because 'Fisherman' finished first but was objected to because he ran the wrong side of the post. The owner of the horse was John Woollright, a local Liverpool businessman. Provenance: This presentation silver ewer and goblet set was passed down the family to his great-granddaughter Mary, from whose Estate this item is being offered for auction. Please note that from 19 January 2022, items containing ivory cannot be imported into the EU. The import of ivory into the USA is already prohibited.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com

Lot 493

A continental 19th century silver presentation casketunidentified marker's mark struck four times, possibly Viennese circa 1870 Of oval canted form, with hinged domed cover and filigree thumbpiece, deep construction using highly decorative panels, intricately embossed in high and low relief with theatrical emblems, commedia dell'arte masks, musicians, angels, fruit and various images of the Vienna State Opera House alongside classical temples, gilt interior, all on a spreading base featuring scrolls, fruit and foliage, atop a wooden plinth with a silver presentation plaque dedicated to the opera singer Adelina Patti in German, translated to 'In honour of the brilliant artist Adelina Patti from the members of the Vienna Court Opera, with grateful memories of her first performance there on 6th October 1873', height with stand 30cm, length 32cm, weight 52oz.Footnotes:The 'Vienna State Opera' is an opera house and opera company based in Vienna, Austria. This 1,709 seat Renaissance Revival venue was built from 1861 to 1869 following plans by August Sicard von Sicardsburg and Eduard van der Nüll, and designs by Josef Hlávka. The opera house was originally inaugurated as the 'Vienna Court Opera' (Wiener Hofoper) in the presence of Emperor Franz Joseph I and Empress Elisabeth of Austria. It became known by its current name after the establishment of the First Austrian Republic in 1921.When the internationally acclaimed prima donna Adelina Patti (1843-1919) first took to the stage there in 1873, it was a major coup for the Vienna Court Opera, which had not long been open. Patti was the Adele of her day, an operatic superstar, and for a new venue it was a fantastic PR opportunity. Hence the fuss made of Patti after her first performance there on 6th October 1873, when Director Steiner handed this especially commissioned silver presentation casket to her on stage. The press widely reported the event, and were told that the casket was 'an antique and over 400 years old', which appeared to be contradicted by the fact that it had views etched on it of the newly built Vienna Court Opera. Adelina Patti was born into a musical family in Madrid on the 19th February 1843, to a Sicilian father and an Italian mother, both of whom were opera singers. The family moved to New York in 1847, living in the Wakefield section of the Bronx, where her home still stands. Her parents recognised her vocal potential early and at the age of just seven Patti appeared in concerts across New York City. The child prodigy dazzled audiences, performing her first operatic role in 1859 aged just sixteen as the lead in Gaetano Donizetti's Lucia di Lammermoor, winning huge critical acclaim. Patti developed into a coloratura soprano with perfectly equalised vocal registers and a surprisingly warm, satiny tone. Her supreme talent derived from the quality of her voice and the 'vocal gymnastics' she was able to perform, apparently effortlessly. As a known beauty, she also shone as an actress, and achieved notable success in comedy operas such as Mozart's 'Don Giovanni'.Patti toured the musical capitals of Europe, travelling internationally as a major star for the next 20 years, not returning to the United States until the early 1880s. As the famous composer Giuseppe Verdi wrote in 1877, she was a 'stupendous artist', being perhaps the finest singer who had every lived - a view shared by music critics and social commentators of her era.When Adelina Patti performed in Vienna and received this casket, the Chicago Tribune wrote 'Vienna is just now in ecstatic bliss over the artistic singing and acting of Adelina Patti ... she stands now at the zenith of artistic perfection. Her still youthful appearance, coupled with the dramatic power which a long experience on the stage has imparted her, makes her, aside from her great vocal talent, the foremost of lyric artists of the day ... The price of admission is very high - 60 florins a box, and 10 florins for a seat; but when you hear her, you at once feel that your money has been worthily invested. What a rich harvest awaits her in the United States!'Patti's stratospheric career garnered huge riches; she was a shrewd business woman, a master of publicity, had impeccable contacts, and moved effortlessly in the highest echelons of Victorian society. Her personal life was also colourful, and with the public as interested in her private life as public life she was at the very forefront of the birth of 'celebrity'. Interestingly she lived the tail end of her life in Wales - at 'Craig-Y-Nos Castle', in the Brecon Beacons near Swansea. Today Adelina Patti is something of an enigma. The second most celebrated woman in the world in the year of 1900, after Queen Victoria, is today almost forgotten - unless of course you are an opera lover.For further information on this lot please visit Bonhams.com

Lot 494

A matching pair of 19th century continental silver covered urns with puttiunmarked Of campana form, in the rococo style of Clodion (French, 1738-1814), ornate decoration in the round with Bacchanalian scenes of four individually cast winged putti frolicking, holding swags, goblets and ewers, the dramatic pull off cover featuring an animated cherub on top of a spread eagle, the upper section embossed in foliate designs in high and low relief, tapering outwards towards a gadroon border, the waisted mid-section featuring embossed overlapping chainmail style decoration, to the front an applied empty cartouche surrounded by elaborate scrolls, all on a spreading pedestal base, height 34cm, weight 118oz. (2)For further information on this lot please visit Bonhams.com

Lot 496

A 17th century silver-gilt seal top spoonprobably West Country, bowl stamped with a stylised Tudor Rose / six petalled flower, initialled to the centre possibly PC or RC conjoinedTapering hexagonal stem, fig shape bowl, the elongated terminal with double fluted baluster knop, the seal top with prick-dot date and initials, '1617 R*B over N', length 17.5cm, weight 2.1oz.Footnotes:ProvenanceThis lot was offered in the auction that was held by H Duke & Son at the Hardy family home Portesham House, Dorset, 17th June 1938, lot 128, also illustrated, catalogue entry also notes exhibited at the Six Counties exhibition, Wilton House, 1933. Sold for £10.10 shillings.Portesham House, Dorset, was up until 1807 the home of Vice-Admiral Sir Thomas Masterman Hardy (1769-1839).For further information on this lot please visit Bonhams.com

Lot 498

A Victorian silver salt for Magdalen College OxfordGeorge Maudsley Jackson, London 1894, also incuse stamped 'WALFORD.OXFORD' Of plain circular pedestal form, with rolled rim, the college arms engraved on the side with Latin motto and date below, 'COLL MAGD', 'HONI SOIT QUI MAL Y PINSE' and '1894', raised on a pedestal base with spreading circular foot, height 6cm, diameter 8cm, weight 6.2oz.For further information on this lot please visit Bonhams.com

Lot 507

A silver and shagreen photograph frameStokes & Ireland Ltd, Chester 1911 With portrait and landscape viewing options, rectangular form, with a narrow silver lattice design border around an inner shagreen band, removable wood back and easel, 27cm x 21cm.For further information on this lot please visit Bonhams.com

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