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A large amethyst pendant on chain, contains an octagonal step-cut amethyst of 19.6 x 15.9 x 14.2 mm, claw-set in a volute mount, to a plain bail, suspending from a fine cable chain completed with a tube clasp, yellow metal unmarked, testing 9ct, chain measuring 54.0 cm in length, total weight of item 13.5 grams.

19th Century German school, The Step Ages of Man, with German and Cyrillic labels, oil on canvas, framed, 61 x 78.5 cm

A hallmarked 9ct gold synthetic sapphire and cubic zirconia CZ. The ring set with a step cut  synthetic sapphire flanked by six round brilliant cut  CZ to plain shank. Weight 1.9g. Size I.

Roger Smith. A fine and exceptionally rare 18K gold manual wind wristwatch with power reserve indication and co-axial escapementModel: Series 2, Commission Piece No.20-CDate: Purchased January 2011Movement: 28-jewel English finished gilded and frosted manual wind, Co-Axial escapement, free sprung quadradjust balance, raised barrel bridge, gold chatons and cocks, hand engraved No.20-C and MMXIDial: Engine turned silver, black Roman numerals to brushed surround, outer minute divisions, subsidiary seconds at 6, up/down power reserve indication at 10, 18K gold pointed baton hands, blued steel power reserve handCase: Polished round, exhibition back secured by 6 screwsStrap/Bracelet: Tan brown Roger Smith alligator leatherBuckle/Clasp: Hand engraved 18K gold buckleSigned: Case, dial & movementSize: 38mm Accompaniments: Wooden Roger Smith display box made by Linley with silver plaque stamped No.20-C, Ownership & Service History booklet, yellow Service Return Box, Roger Smith leather pouch, spare black Roger Smith alligator leather strapFootnotes:Independent watchmaking has finally started to command the attention it deserves and it is with great pleasure we offer the current timepiece at auction by one of the most well respected living watchmakers - Roger W. Smith OBE.In 1986 Roger enrolled on a course at the Manchester School of Horology aged just 16. This proved to be a life changing moment for Roger as it was at the School that he first encountered the late George Daniels (1926-2011), considered the greatest watchmaker of the last century leaving a lasting legacy like no other. Aged just 22, Roger completed his first working pocket watch and was able to present it to George Daniels at his workshop on the Isle of Man. The sharp but constructive advice he received resulted in a further 5 and half years honing his skills. In 1998 Roger finally succeeded in impressing George Daniels and was invited to move to the Isle of Man to work on the Millennium series with Daniels directly. The Millennium was created over a period of 3 years with delivery made in 1999 ahead of the new millennium. This was the first collaboration between George and Roger and each watch was painstakingly hand-finished by the two of them in what is considered as an 'English style'. With just 48 examples made in yellow gold it is difficult to overestimate just how important these watches were to the advancement of independent Horology using the Co-Axial escapement - a movement that is considered a greater development than any other since the work of Thomas Mudge in 1755 and is quite simply phenomenal.After the success of the Millennium, George and Roger conspired to create a further collaboration with the Anniversary, a step further into fully hand created watches consciously creating a fully British born handmade watch. This was a true collaboration with Roger making changes and also improving on the Co-Axial design. They planned to create 35 Anniversary watches to signify the amount of years that had passed since George created his first hand created watch.The Series 2 was the first of Rogers watches to be entirely made in-house. Each watch comprises of 225 parts and have all been meticulously and lovingly finished to an exceptionally high standard. The current example is numbered 20-c and was the 32nd Series 2 to be delivered. In late 2011 Roger moved from a 38mm case to a 40mm case making this 1 of just 9 Series 2s that was housed in the early Phase 1 38mm case. This watch is particularly special as it is believed to be the last of the Phase 1s to have been cased in yellow gold. This Series 2 is in excellent condition having been kept safe since first received in 2011. Accompanying the watch are all the original accessories including a finely crafted wooden Roger Smith display box by Linley and the Ownership and Service History booklet. Limited to producing just 15 watches a year, obtaining one of Rogers works of art is a rare thing. Since Roger formed the company in 2001 he has made 128 RW Smith watches with 68 of them being a Series 2. This auction therefore represents an extraordinary opportunity to be the keeper of one his exclusive timepieces. As a British company we are also honoured to be offering a British made watch on British soil.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

Audemars Piguet. A mid-size 18K white gold and diamond set automatic calendar chronograph wristwatchModel: Royal Oak OffshoreReference: 25986CKZD02CA02, No.0151Date: Purchased 4th July 2004Movement: 37-jewel Cal.2385 automatic, No.569721Dial: Pale blue grid, applied polished dot hour markers, black outer minute divisions with luminous dot 5 minute markers, subsidiary dials at 3, 6 and 9 for seconds, 30 minute and 12 hour recording, date aperture between 4 and 5, polished baton hands with luminous inserts, centre chronograph handCase: Brushed and polished tonneau form, back secured by 8 screws, 8 screws to diamond set bezel, screw down crown flanked by twin chronograph buttons, No.F10269Strap/Bracelet: Fitted blue Audemars Piguet rubberBuckle/Clasp: Signed folding claspSigned: Case, dial & movementSize: 37mm Accompaniments: Audemars Piguet box, Certificate of OriginFootnotes:The Audemars Piguet Royal Oak series is regarded by many as the quintessential sports watch. The iconic design revered by horological connoisseurs is instantly recognizable with its structured strongbox case with structurally integral octagonal bezel secured by eight hexagonal screws. In 1993, Audemars Piguet took the next step in the evolution of the Royal Oak with the introduction of the Royal Oak Offshore. The first Offshore reference was the 25721ST and the larger dimensions of the watch earned it the nickname 'The Beast'. Over the years Audemars Piguet have released numerous modifications to the model whilst maintaining the key elements conceived first in the 70s by Genta and then in the 90s by Emmanuel Gueit.For further information on this lot please visit Bonhams.com

Audemars Piguet. A fine 18K rose gold and diamond set automatic calendar chronograph wristwatchModel: Royal Oak OffshoreReference: 26231ORDate: Circa 2010Movement: 37-jewel Cal.18C automatic, adjusted to heat, cold, isochronism and 5 positions, gold rotorDial: Silvered grid, applied gilt baton hour markers with luminous inserts, black outer minute divisions, luminous 5 minute markers, subsidiary dials at 3, 6 and 9 for seconds, 30 minute and 12 hour recording, date aperture between 4 and 5, gilt baton hands with luminous inserts, centre chronograph handCase: Brushed and polished tonneau form, back secured by 8 screws, diamond set bezel, crown flanked by twin buttons, No.J54885Strap/Bracelet: White Audemars Piguet rubberBuckle/Clasp: Signed 18K rose gold folding claspSigned: Case, dial & movementSize: 37mmFootnotes:The Audemars Piguet Royal Oak series is regarded by many as the quintessential sports watch. The iconic design revered by horological connoisseurs is instantly recognizable with its structured strongbox case with structurally integral octagonal bezel secured by eight hexagonal screws. In 1993, Audemars Piguet took the next step in the evolution of the Royal Oak with the introduction of the Royal Oak Offshore. The first Offshore reference was the 25721ST and the larger dimensions of the watch earned it the nickname 'The Beast'. Over the years Audemars Piguet have released numerous modifications to the model whilst maintaining the key elements conceived first in the 70s by Genta and then in the 90s by Emmanuel Gueit. The current example is a Ref:26231OR and features a diamond set 18K rose gold case and white rubber strap.For further information on this lot please visit Bonhams.com

Plath (Sylvia). An autographed Christmas card from Sylvia Plath to Alan and Nancy Jenkins, [December 1962], folding colour printed American card with a reproduction of a painting by A. Blanch titled The Pilgrims, issued by Unicef, with handwritten text inside by Sylvia Plath in ink: 'Dear Alan & Nan - Ever since our arrival at Yeats' place life has been heaven. I am eating in my old piggish & hearty fashion & the children are so happy - they peer out the window at cats, people & pony carts, from dawn on, Frieda telling Nick stories about what is passing & Nick, finding them very comical. The weather's been fine, clean & blue & I in the Park with them every day - painting floors to Bach cantatas at nightfall. You make the thought of my return to Devon in spring so pleasant. - and your blessed Sue is responsible for my finding this wonderful flat & being so happy. Christmas wishes to all Sylvia', 117 x 143 mm (folded)QTY: (1)NOTE:Provenance: Sue O'Neill-Roe, children's nurse to Sylvia Plath and Ted Hughes's children Frieda and Nicholas from the autumn of 1962 until mid-December the same year, when she returned to her post as a nurse at Great Ormond Street Children's Hospital. On December 9th, Sylvia Plath closed her Devon home Court Green and moved to 23 Fitzroy Road in London's Primrose Hill. Sylvia continued to meet up with Susan and her then boyfriend Corin Hughes-Stanton (a journalist who lived nearby) through December that year and January 1963 until Plath took her own life on the 11th of February. This card is written to Susan's mother and step-father, Alan and Nancy Jenkins, who lived nearby to Plath's Devon home, and typically accentuates the positives in Sylvia's life, although it is well known that she was struggling to keep herself mentally afloat at this period.

Exquemelin (Alexandre Olivier). Bucaniers of America: Or, a True Account of the most remarkable assaults committed of late years upon the coasts of the West-Indies, by the Bucaniers of Jamaica and Tortuga, both English and French. Wherein are contained more especially, the unparallel'd exploits of Sir Henry Morgan, our English Jamaican hero who sack'd Puerto Velo, burnt Panama &c., 1st edition, 3 parts [of 4], Printed for William Crooke at the Green Dragon, 1684, engraved frontispiece to part 1, incomplete with 2 engraved plates only (folding map of Panama present), ownership inscription of 'Charles Amcotts 1742' to title, occasional light dust-soiling, concomitant wormholes to upper margins of most leaves, endpapers renewed, modern mottled sheep gilt, green morocco title label, 4toQTY: (1)NOTE:Provenance: Charles Amcotts (1729-1777), M.P. for Boston from 1754 to 1777. He inherited Kettlethorpe Hall from his father's step-brother, Charles Hall, who had built the original house in the early 1700s. The cleaning of the moat at Kettlethorpe by its owner the M.P. Douglas Hogg, is now the most famous example of the MPs' expenses scandal which erupted in 2009.

Harmsworth natural history, volumes 1, 2, 3, also with London in the 18th Century, 19th Century, Animal Life of the British Isles, Edward Step and Garden Rubbish and other Country Bumps, W.C Steller and R.J. Yeatman 

A Victorian mahogany step commode, with a green and gilt leather lined top, on bobbin turned legs, 43cm high, 47cm wide, 41cm deep.

A set of aluminium folding steps together with a further folding stool step, a plastic toolbox and a wicker basket containing brushes, garden tools, hockey sticks, walking sticks etc.

A four-tread folding step ladder with double hand rail

An emerald and diamond three stone ring, the step cut emerald flanked by evenly sized round brilliant cut diamonds, in 18ct gold, London 1992, 2.7g, size M Good condition

An unmounted step cut amethyst, 37 x 44mm, 200ct  A Private Collection of Jewellery, lots 300-345 Of pleasing saturated colour and not chipped or scratched

D&S Models kitbuilt 00 Gauge GER Special Coach and other Rolling Stock, sand 4-wheel Coach No 2 with Verandahs, and CR dark maroon Horse Box and BR Eastern Region Gresley maroon Brake Coach and bogie Van and LNER Third/Brake Clerestory Coach, all built and finished to an excellent standard, VG-E, Horse box, step loose (3)

Westside Model Company H0 Gauge Great Northern H-7 4-6-2 Pacific, Samhongsa, Korea, unpainted, in original box, some tarnishing, one tender step missing, one repaired

A Gauge 1 clockwork Bing (for Bassett-Lowke) MR 4-4-0 Locomotive and Tender, with two-speed mechanism and plain coupling rods, finished in lined Midland Railway crimson with No. 2631 to right side of cab only, F-G, mech tested okay, both headlamps, cab fall-plate and front coupling link missing from loco, one axle, three axlebox covers, one front step and coal rails missing from tender, paintwork/varnish generally crazed with some chipping/playwear, damage to smokebox around chimney and cab roof around whistle, dent to brass dome, tender buffers replaced (2)

Four Tri-ang TT Gauge T95 BR green Diesel Shunters, all in original boxes, F-E, one with a broken step, boxes F-G, one written on (4)

Tri-ang TT Gauge Salt and Cement Train, BR green Diesel Shunter (one step broken), red Cement wagons (6), green Salt wagons (3) and Guards Van,

Tri-ang and Tri-ang Hornby 00 Gauge Transcontinental Diesel Locomotives, Tri-ang, R155 yellow Switcher (2, one boxed), unboxed black (2) and red (2) Dock Authority Diesels and TC red Diesel without buffers (one front step melted), T/H R0553 CP Rail orange single ended Diesel (2, one boxed), R0551 CN red, black and silver single ended Diesel, in original box and unboxed Canadian Pacific grey with maroon roof and band single ended Diesel (band glossed to protect transfers), F-VG, boxes F-G (11)

Corgi 1:50 scale models including Hauliers of Renown, comprising CC11912 ERF EC Series step frame Curtainside - K & P Iddon Transport Ltd., window boxed with tachograph certificate, Limited Edition No.1909 of 2,500 distributed Worldwide; CC13402 ERF ECT Curtainside - Torridge Transport Ltd., window boxed with tachograph certificate, Limited Edition No.0371 of 2,700 distributed Worldwide (2)

A large 20th century country pine French kitchen armoire display cabinet. The cabinet having pediment top over twin glazed doors opening to reveal curved step shelves to interior, all raised over bun feet. Measures 188cm x 126cm x 38cm.

A vintage 20th Century mahogany scientific beaker test tube holder rack. Rectangular form, step front with sectional hole interior with a drawer to side. Measures approx. 22cm x 32cm x 22cm

Pair of Regency stipple engravings after Adam Buck by L Dupont - 'First Steps in Life' and 'Step by Step', 17 x 19 cm (2)

A Meissen porcelain group of a maid and a gallant by a pedestal, 19th century, underglaze blue crossed swords and asterisk mark and number 30, 22cm high, crack to base***CONDITION REPORT***Crack to the base of the pedestal visible by the lady’s skirt hem, below the seated gentleman, and extending to the step base of the pedestal, also visible underneath. Typical small losses to the encrusted flowers, some occasional wear to the gilding, otherwise in reasonable condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Madrid School of the second half of the 17th century."Virgen de la Fuencisla".Oil on original canvas.It presents restorations.Measurements: 128,5 x 96 cm; 133 x 100 cm (frame).The work shows the image of the Virgin Mary with the Child in her arms. Due to the clothing and the large crown on her head, the image is reminiscent of the invocation of the Virgin Fuencisla, similar to the sculpture of the image of Our Lady of Fuencisla located in the Sanctuary of the said Virgin in Segovia. This is the place where she is venerated.The Madrid school emerged around the court of first Philip IV and then Charles II, and developed throughout the 17th century. Analysts of this school have insisted on considering its development as a result of the binding power of the court; what is truly decisive is not the place of birth of the different artists, but the fact that they were educated and worked around and for a nobiliary and religious clientele based next to the royals. This allowed and favoured a stylistic unity, even though there were the logical divergences due to the personalities of the artists involved. The origins of the Madrid school are linked to the accession to the throne of Philip IV, a monarch who made Madrid an artistic centre for the first time. This was an awakening of the nationalist conscience as it allowed a liberation from the previous Italianate moulds and a leap from the last echoes of Mannerism to Tenebrism. This was the first step taken by the school, which gradually progressed towards a more autochthonous Baroque language linked to the political, religious and cultural conceptions of the Habsburg monarchy, before dying out with the first outbreaks of Rococo in the work of the last of its representatives, A. Palomino. The techniques most commonly used by these painters were oil and fresco. Stylistically, the starting point was naturalism with a notable capacity for synthesis, leading in due course to the allegorical and formal complexity characteristic of the decorative Baroque. These artists showed a great concern for the study of light and colour, as we can see here, initially emphasising the interplay between extreme tones characteristic of tenebrism, which were later replaced by a more exalted and luminous colouring. They received and assimilated Italian, Flemish and Velázquez influences. The clientele determined the fact that the subject matter was reduced almost exclusively to portraits and religious paintings.

FOUR KIK STEP INDUSTRIAL STOOLS

A small collection of Walt Disney figures from the 'Classics' and 'Showcase' collections. To include Mickey Conductor, Snow White Dancing Partners and Lively Step Pinocchio. Millennium Mickey: On top of the world, without box.

Two boxes of tools and a plastic step

THREE SETS OF ALUMINIUM STEP LADDERS AND 1 SET OF TRIPPLE WOODEN LADDERS

A DRESSING TABLE MIRROR AND 2 STEP LADDERS

Family owned for 25 years, ex-Slick 50 period race car.Family owned for some 25 years and now infrequently usedSuccessfully raced in the Slick 50 Series (road-legal cars) in the early 2000sRace-prepared (for that race series) but still fun on the road with an MOT until 09/10/2023Engine rebuilt to 1800cc, balanced and lightened, race cam, race pistons and a gas-flowed headFitted with a fully compliant roll cage, fully adjustable Koni race suspension, Sparco seats, Willans harnesses (interested parties are advised to check the currency and championship compliance of any safety equipment - seats, harness, cage, extinguishers etc.)The subject of a total refurbishment two years ago back to as near-original specification and topped off with a quality, glass-out repaintLovely combination, smart appreciating Mk1 Golf GTi on the outside and a well prepared, rorty little racer when you step aboardSpecificationMake: VOLKSWAGENModel: GOLFYear: 1982Chassis Number: WVWZZZ17ZCW522216Registration Number: EFW 254XTransmission: ManualEngine Number: EG385935Drive Side: Right-hand DriveOdometer Reading: 142000 MilesMake: RHDInterior Colour: RedClick here for more details, condition report and images

A yellow metal signed Cartier London citrine, topaz and diamond clip brooch, comprising a central tapered bar channel set with 17 graduated step cut brown topaz, dimensions between approx 6.1 x 3.5 x 3.5mm and 7.21 x 4.31 x 3.2mm, total weight estimated as 11.31 carats, within a border of 13 round faceted citrines in claw settings, diamond each approx 7.3 x 3.7mm, total weight estimated as 14.43 carats, and 14 Old European cut diamonds in between, diamond each approx 2.85 x 1.6mm, total weight estimated as 1.12 carats, diamond assessed mounted collectively colour I to J and clarity SI1 to SI2, brooch dimensions 50 x 35mm, gross weight 21g, stamped 750 OR Cartier London, tested as 18ct No serial number apparent, marked as per stated in lot description.One topaz is fractured.Otherwise all stones good.Metal good.

Heavy Brass Corinthian Column Standard Lamp on square step base with four lion paw feet, 162cm high

Corgi Foden Alpha Step Frame Curtainside - William Armstrong/Gretna FC

Corgi Foden Alpha Step Frame Curtainside - William Armstrong/Gretna FC

A wooden step ladder and two aluminium step ladders.

An old pair of Stephens and Carter wooden step ladders, broad arrow mark and G R ciphers.

Herbert Dicksee etching LUCKY DOG: Girl sitting on step and patting dogs head, with 6 ducks waiting to be fed. Measuring 50cm x 36cm. Published by Frost & Reed date unknown, described as rare.

AN EMERALD & DIAMOND CLUSTER RING set with a 6.1mm x 6.4mm x 4.4mm step cut emerald, and estimated approx 0.48cts of eight cut diamonds. Finger size M, weight 4.6gms Condition Report:Emerald a nice colour, mainly transparent with striations and inclusions indicative of emerald, including two surface reaching metallic spots probably pyrite, which can only just be seen by eye. There is one small chip oppersite this on the table facet edge also, just eye visible, and a surface reaching inclusion to one of the step facets. Diamonds all look bright and clean, mount light general wear.

A RETRO WHITE METAL AQUAMARINE BRACELET the galleried diamond shaped links with all over crosshatched texture, and each set with a step cut aquamarine of approx dimensions 9.5mm x 6.89mm x 4mm. Approx length 18cm, weight 19.7gms Condition Report:Craftsman made, tubed gallery, gauge of metal, thin and crisply made, too fine to be gold? No hallmarks or makers marks. Aquamarines good quality, only one has has very slight linear inclusions. Clasp good.

A FANCY LINK AMETHYST BRACELET the box clasp stamped 18k, and set with seven step cut amethysts with the approximate dimensions of 10.8mm x 9mm x 6mm, length 19.5cm, weight 26.6gms  Condition Report:Light general wear, just needs a light clean, box clasp ok, natural inclusions in the amethysts that confirm they are amethysts

A SAPPHIRE AND DIAMOND CLUSTER RING set with a step cut sapphire with the dimensions 9.8mm x 6.3mm x 4.3mm, surrounded with estimated approx 0.60cts of brilliant cut diamonds, the mount is stamped 750, and is finger size U, weight 8gms Condition Report:Straight linear zoning visible with a loope, a few minor flea bites to the top facets only visible with a loope. Deep coloured well cut sapphire. Diamonds bright and clean

A PERIDOT & PEARL EDWARDIAN PENDANT made in bright yellow metal, the central peridot is step cut and approx 7.5mm x 7mm x 5.7mm, surrounded by four full button fresh water pearls. Dimensions 4.3cm x 2cm. With a vintage 9ctgold chain, length 42cm, weight together 5.1gms Condition Report:Pendant needs a gentle clean, peridots have inclusions indicative of peridot and visible double refraction, light scratches to the surface, but no chips. one tiny pearl missing from the bail. Otherwise good, chain ok, clasp sticks a bit, but works.

AN ART DECO DIAMOND & SAPPHIRE PENDANT set throughout in 18ct white gold and platinum with floral detailed mount, set with a 6.6mm x 3.8mm step cut sapphire, eight cut and brilliant cut diamonds, largest diamond approx 0.06cts. Length of pendant 4.6cm, weight 5.5gms Condition Report:Zoning visible in the sapphire, please see condition report photos, light general wear throughout

A SAPPHIRE & DIAMOND RING set throughout in platinum, with a step cut sapphire of approximate dimensions 8.6mm  x 6.3mm x 4.6mm, further set with step and brilliant cut diamonds to an estimated approximate total of 0.78cts, finger size R, weight 4.1gms Condition Report:Available upon request

XIX Century Mahogany Two High Library Steps, the top step with hinged lid, on turned supports, 44cm high.

A step cut Amethyst cocktail ring in yellow metal setting stamped 18ct, size O, gross weight approximately 5.8gm

BRACELET EMERAUDES ET DIAMANTSOrné d'émeraudes taille rectangulaire et de diamants taille brillant, poinçon français d'occasion pour l'or 18K (750°/00), longueur 17.0 cm, poids brut 42.89 g.Footnotes:EMERALD AND DIAMOND BRACELETSet with step-cut emeralds and brilliant-cut diamonds, French assay mark for 18 carat gold, length 17.0 cm, gross weight 42.89 grams.For further information on this lot please visit Bonhams.com

COLLIER EMERAUDE ET DIAMANTSOrné d'une émeraude carrée à pans coupés entourée de diamants taille brillant, baguette et marquise, poinçon français d'occasion pour l'or 18K (750°/00), longueur 45.0 cm, poids brut 29.00 g.Footnotes:Accompagné d'un certificat partiel LFG indiquant l'origine de Colombie et la présence mineure d'huile dans les fissures pour cette émeraude. Certificat no. BDO32679/1 en date du 22 novembre 2022.EMERALD AND DIAMOND RINGSet with a step-cut emerald framed by baguette, brillant-cut and marquise-shaped diamonds, French assay mark for 18 carat gold, length 45.0 cm, gross weight 29.00 grams.Accompanied by a partial report from LFG stating that the emerald is of Colombian origin, with minor oil treatment. Report no. BDO32679/1, dated 22 November 2022.For further information on this lot please visit Bonhams.com

BAGUE AIGUES-MARINESSertie d'une importante aigue -marine taille rectangulaire épaulée de petites aigues-marines taille rectangulaire, poinçon français d'occasion pour l'or 18K (750°/00), tour de doigt 53 1/2, poids brut 21.96 g.Footnotes:AQUAMARINE RINGSet with an important step-cut aquamarine flanked by similarly-cut smaller aquamarines, French assay mark for 18 carat gold, size M 1/2, gross weight 21.96 grams.For further information on this lot please visit Bonhams.com

BRACELET EMERAUDES ET DIAMANTS, VERS 1925Les maillons géométriques ornés d'émeraudes rectangulaires et de diamants taille 8/8, poinçon français d'occasion pour le platine (950°/00), longueur 16.5 cm, poids brut 24.90 g, fermoir à réparer.Footnotes:EMERALD AND DIAMOND BRACELET, CIRCA 1925The geometrical links set with single-cut diamonds and step-cut emeralds, French assay mark for platinum, length 16.5 cm, gross weight 24.90 grams, clasp to be repaired.For further information on this lot please visit Bonhams.com

TORRI: COLLIER EMERAUDE ET DIAMANTSLe pendentif orné d'une émeraude rectangulaire et de diamants taille brillant et émeraude, poinçon français d'occasion pour l'or 18K (750°/00), longueur 41.0 cm, poids brut 21.21 g.Footnotes:TORRI: EMERALD AND DIAMOND NECKLACEThe pendant set with a step-cut emerald, brilliant-cut and step-cut diamonds, French assay mark for 18 carat gold, length 41.0 cm, gross weight 21.21 grams.For further information on this lot please visit Bonhams.com

André Derain, French 1880-1954 - Baigneuses dans un paysage, c.1946-50; oil on canvas, signed lower right 'Derain', 25 x 39.2 cm (ARR) Provenance: Stefanos Zifos, Greece and thence by descent to private collection, UK Note: this work is accompanied by the original photo-certificate from The Comité Derain, dated the 14th March 2022, signed by Madame Geneviève J. Taillade. Stefanos Zifos was the son of the grand lady of Athens Irena Manoussi-Maximou. His step father was Alexander Michalinos, a Greek ship-owner who built "Megaron Maximou" in Athens, which today is the residence of the Greek Prime Minister. Zifos spent most of his life in Paris, where he built his art collection and developed an interest in Derain. While most known for his key role in the development of Fauvism alongside Henri Matisse (1869-1954) and Maurice de Vlaminck (1876-1958), after serving in World War I Derain returned to a more classical style of which his work would remain. This change in style can perhaps be seen as a quest to find a timeless art. Bathers is a subject matter Derain explored frequently over the course of his lifetime (see an early example - The Bathers, 1908), popularized by Cezanne. Fresh to market, 'Baigneuses dans un paysage' shows an influence of Jean-Baptiste-Camille Corot in both subject matter and subtle colour palette. He has also imbued this later work with the narrative of Greek mythology (see also Les Bacchantes, c.1945, Troyes, musee d'Art moderne). For a time, he was heralded for upholding a renewed Classicism which led to designing many ballet sets with the Ballet Russes.

Gem Report Antwerp certified natural sapphire of 1.40 ct. Indication of heat treatment. Cut: Emerald step cut, color: Yellow, clarity: Transparent, weight: 1.40 ct. (6.23 x 5.33 x 4.31 mm). Light superficial signs of use on facet edges. Certificate number: 1830007234 AN. Estimated revenue: €400 - €600.

Lot of 4 ALGT certified natural emeralds of 2.17 ct. in total. Cut: Octagon emerald step cut, clarity: Transparent, color: Green to intense green, weight: 2.17 ct. in total, approx. 0.54 ct. each (approx. 5.5 x 3.9 mm each). Minor to significant amount of oil in fissures. Oiling in emeralds is a common practice in trade. This enhancement is reversible at any time. Certificate number: 16465252. Estimated revenue: €100 - €150.

Box containing a quantity of dog bowls for water and food plus a quantity of step in harnesses and short leashes

Théodore Géricault (Rouen 1791-1824 Paris)A study for The wounded Cuirassier oil on canvas, unlined39.3 x 29.3cm (15 1/2 x 11 9/16in).Footnotes:The present hitherto unknown sketch for the Le Cuirassier blessé, quittant le feu (The wounded Cuirassier, fig. 1) offers us a further insight into the working process of the young Théodore Géricault. Executed in preparation for his finished work, which is now in the Musée du Louvre, Paris(inv. 4886), this small sketch represents the artist's first thoughts for one of his earliest major works, exhibited at the Paris Salon of 1814. In his early biography of Géricault in 1867, Charles Clément tells how the artist decided to paint Le Cuirassier blessé, quittant le feu as a type of pendant to his earlier Officier de chasseurs à cheval de la garde impériale chargeant (Charging chasseur), also now at the Musée du Louvre, Paris (inv. 4885), which he had shown, to great acclaim, at the Salon two years earlier at the age of just 21. Showing a mounted Napoleonic cavalry officer ready to attack, the heroic image of the Charging chasseur was painted at a moment of immense national pride with Napoleon's victories still fresh in the national memory. The wounded Cuirassier of two years later, however, comes after Napoleon's defeat in Russia and his eventual abdication. The absence of very obvious wounds on the soldier in the The wounded Cuirassier has led some to interpret the painting more as depicting the soldier's wounded pride. The genesis of the The wounded Cuirassier becomes even more interesting when one considers that Géricault had been requested to paint a very different work for the Salon of 1814. In January 1814, the artist, writer and diplomat Dominque Vivant, Baron Denon, had been requested by Napoleon himself to commission a work celebrating the courage of Eugène de Beauharnais during the Russian campaign. This subject was obviously commissioned with the idea of giving visitors to the 1814 Salon a sense of the courage of the French in the face of adversity. However, the political situation in France had shifted dramatically within a few months of this commission and the Bourbon king, Louis XVIII, was in Paris by May of the same year.The first stages of preparation for The wounded Cuirassier by Géricault can be found in the group of figure and horse drawings found in the Carnet Zoubaloff, also at the Musée du Louvre, Paris. A later, more finished sketch for The wounded Cuirassier, on a slightly larger scale than the present work, can now be found in the Brooklyn Museum of Art (acc. no. 43.81). As part of his working process, there are several differences between the present sketch and the later work in Brooklyn: Géricault has altered the angle of the figure's legs; he has added whiskers in the Brooklyn painting; the figure does not hold a sword in his left hand; and there are more significant changes to the background with a village appearing on fire beyond the horse in the final painting. Géricault appears to have used an old canvas to execute the present sketch as it is possible to see, in a band along the upper edge of the canvas, a wooden stool and a stone floor, suggesting some kind of interior scene. X-ray examination of the present study reveals a scene with figures seated in a stable interior (fig. 2). A further IR image also shows what appears to be some pots in the lower right corner of this painting (fig.3).The discovery of the present sketch provides a significant contribution to our understanding of Géricault's early working practices. It reveals an important step between the artist's initial drawings and his more fully worked sketch in Brooklyn and finally the finished painting of 1814.We are grateful to Bruno Chenique for confirming the attribution to Théodore Géricault and for his kind assistance with this catalogue note.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

Bridget Riley (British, born 1931)One Small Step (Schubert 70) Screenprint in colours, 2009, on wove, signed, titled, dated and numbered 259/300 in pencil, printed by Artizan Editions, Hove, the full sheet, 441 x 291mm (17 3/8 x 11 1/2in)(SH)Footnotes:ProvenanceTimothy Taylor Gallery, London.Acquired from the above by the current owner.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PAIR OF WHITE GOLD AMETHYST AND DIAMOND EARRINGS,the step cut amethysts with overlaid illusion set diamond section, in nine carat white gold, 3.8g