A Napoleon III ormolu mounted birds' eye maple, rosewood, tulipwood crossbanded, stained sycamore and fruitwood marquetry meuble d'appuiCirca 1870Of shaped and bowfront outline with rounded angles, the top inlaid with assorted flowers, above a triple tablet frieze incorporating a long floral inlaid centre, over a pair of panel mounted doors each inlaid with a shaped tablet of various flowers, enclosing one adjustable shelf, flanked by shaped panel ends with similar inlay each within a re-entrant surround, on shaped feet, 121cm wide x 40cm deep x 101cm high, (47 1/2in wide x 15 1/2in deep x 39 1/2in high)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
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A late 19th/early 20th century shell cameo brooch/pendant, the oval cameo carved to depict vestal virgins dancing before a monument, attending the eternal flame in honour of the goddess Vesta (Hestia), within a scroll and flowerhead gold surround, stamped ‘9CT’, width 6.5cm. £80-£100 --- Vesta (known as Hestia in Ancient Greece) was the Roman goddess of the hearth and family. She had a temple inside the Forum, in which a sacred fire burned which was never allowed to go out - if it did, the safety and security of Rome itself was thought to be compromised. The fire was attended by a college of priestesses called the Vestals or Vestal Virgins. The college comprised between 2 and 7 Vestal Virgins at any one time - daughters of aristocrats who were unbound from their families and the usual social obligations placed on women (to marry and bear children). Instead they undertook a 30 year vow of chastity and devoted themselves to the observance of the state rituals of their office - attending the sacred fire, preparing sacred foods used in rituals and caring/guarding sacred objects.
The Marlborough Iconographic Ring A late Medieval gold iconographic ring, circa 1400-1500, depicting St. Christopher and the Christ Child, the plain D-shaped hoop with flat oval bezel incised with the figure of St Christopher wading left through water, holding a staff in his right hand and carrying the child Jesus on his back, Jesus holding an orb and raising his right hand in blessing, the surround chiselled to receive enamel decoration, (traces only remain), internal diameter 16mm. £3,000-£4,000 --- St. Christopher was a man of great stature and height, who devoted his life to carrying travellers across a river. One day he carried a child who became heavier with every step. When questioned, the child revealed himself as Christ, bearing the weight of the world. This image is now believed to protect travellers, with St. Christopher revered as the Patron Saint of Travellers. St. Christopher’s story was recounted in the 13th century text, The Golden Legend.
A late 19th century hardstone cameo brooch, the oval agate cameo carved to depict a classical maiden in profile, in a gold surround with bead detailing and seed pearl highlights, French assay mark, partial maker’s mark, scratched inventory number to cameo reverse ‘458’, length 40mm. £300-£400
Two early 19th century memorial rings, the first with a central glazed hairwork compartment within a seed pearl surround between similarly-set bifurcated shoulders, cased by Bristol Goldsmiths Alliance, some seed pearls deficient, the second designed as an emerald and seed pearl cluster with a glazed hairwork compartment to the reverse, both mounted in gold, ring sizes M and E. £240-£300
A pearl and diamond combination jewel, circa 1900, the tiered cluster set with a central pearl within a surround of half-pearls and old brilliant-cut diamonds, the jewel converting to a brooch, pendant and hair pin, mounted in gold, pearls untested, original fitted case, length including bale 40mm. £600-£800
A late 19th century enamel and gem-set brooch, the central oval blue enamel plaque with engine-turned decoration and set with an old brilliant-cut diamond, in a garland surround of floral design, set throughout with old brilliant and rose-cut diamonds and with circular-cut ruby highlights, mounted in silver and gold, with locket compartment to reverse, length 28mm. £500-£600
A diamond cluster ring, the central brilliant-cut diamond of yellow tint within an undulating surround of brilliant-cut diamonds, diamonds untested for natural colour, principal diamond weight approximately 1.05 carats, remaining total diamond weight approximately 0.8 carat, ring size J½. £1,200-£1,500
A pair of emerald and diamond earrings, of Art deco style, the central panels composed of graduated rectangular-cut emeralds within a geometric surround of step and brilliant-cut diamonds, flanked either side by a marquise-cut diamond collet, to post and clip fittings, total diamond weight approximately 3.52 carats, length 21mm. £3,000-£4,000
An emerald, diamond and cultured pearl collar, the five rows of graduated cultured pearls interspersed with oval-cut emeralds and reeded bead spacers, leading to a trefoil frontispiece set with a central old brilliant-cut diamond, the petals formed of vari-shaped emeralds each in a surround of brilliant-cut diamonds, with lozenge shaped clusters to either side, stamped ‘18K’ and ‘750’, principal diamond approximately 1.25 carats, remaining total diamond weight approximately 3.20 carats, length adjustable. £4,000-£6,000
A Georgian aquamarine pendant / brooch and earring suite, set with a cluster of cushion-shaped mixed-cut aquamarines, in an openwork surround of cannetille design, the ear pendants en suite, mounted in gold, later brooch fitting, unassociated cable-link chain, cased, pendant length 50mm, ear pendant length 40mm. £600-£800
An Art Deco diamond dress ring, circa 1920, set with two old brilliant-cut diamonds in a pierced plaque surround set throughout with similarly-cut diamonds and with calibré-cut sapphires to the corners, the tapering shoulders similarly-set, mounted in platinum, principal diamonds approximately 1.00 carat each, remaining total diamond weight approximately 0.70 carat, ring size H. £5,000-£7,000
A French gem-set combination necklace, circa 1970, the triple strand of polished ruby beads and cultured pearls leading to a detachable frontispiece, set with a pear-shaped turquoise cabochon within a tiered wraparound surround set with brilliant-cut diamonds, the clasp further set with a turquoise bead, French assay marks, maker’s mark ‘Sté E’, total diamond weight approximately 3.25 carats, length 45cm, frontispiece length 32mm. £1,200-£1,500 --- The lozenge-shaped maker’s mark, ‘Sté E’ featuring a snowflake between, is seen on jewellery retailed by both Van Cleef & Arpels and Mauboussin amongst others.
A diamond dress ring, set with an old cushion-shaped diamond weighing 2.99 carats, in a circular plaque surround decorated with bead and wirework fruiting vines and flowers, the flowerheads set with circular-cut rubies, the shank similarly decorated, case by Marocchino Gioielliere, Torino, ring size L - M. £6,000-£8,000
A pearl and diamond bar brooch, circa 1915, set with an old brilliant-cut diamond within a pierced surround of lozenge design, millegrain set with single and rose-cut diamonds and two bouton-shaped pearls, mounted in platinum and gold, pearls untested, principal diamond approximately 0.55 carat, length 6.2cm. £700-£900
An early 20th century ruby and diamond cluster ring, the oval-cut ruby within a surround of old brilliant-cut diamonds, to a fine reeded hoop, mounted in platinum and gold, total diamond weight approximately 0.75 carat, ring size K. £700-£900 --- According to a verbal report from GCS, the ruby is of Thai origin with no indications of heating. Report number 5783-016.
An Art Deco emerald and diamond clip, the tapering clip with foliate detailing and set with three step-cut emeralds, within a pierced surround set with cushion-shaped and old brilliant-cut diamonds, mounted in platinum, total diamond weight approximately 2.00 carats, length 32mm. £1,200-£1,500
A ruby and diamond cluster ring, set with an old brilliant-cut diamond within an octagonal target surround set with calibré-cut rubies and single-cut diamonds, between similarly-set shoulders, stamped ‘PLAT’, signed ‘JoAq’, principal diamond approximately 0.35 carat, ring size W. £1,000-£1,500
A Magnificent Victorian 18ct gold Racing Trophy Centrepiece: The 1877 Ascot Gold Cup, won by Lord Lonsdale’s ‘Petrarch’, by Charles Frederick Hancock, London 1876, the 18ct gold cup and cover of vase-shaped baluster design, the cover of wrythen lobed form, with cast finial of a rearing stallion attended by a classical youth, the twin handles both modelled as figures of Winged Victory, the rim fitting inscribed ‘RIDDEN BY T. CANNON 6 STARTED’, the knopped stem within a surround of four young male figures, kneeling, two holding wreaths, two holding shields engraved: ‘ASCOT GOLD CUP 1877 WON BY EARL OF LONSDALE’S ‘PETRARCH’ 4YRS’, on stepped foot, the trophy placed on circular stand chased with a border of amorini and horses, spaced by female masks, the centre engraved with the Royal Arms and inscribed: ‘ASCOT GOLD CUP 1877. WON BY EARL OF LONSDALE’S PETRARCH’ 4YRS, contained in a shaped and fitted dark green velvet case, within outer conical wooden carrying case, stencilled to the exterior ‘THE EARL OF LONSDALES TRUSTEES, PLATE CASE NO.1, trophy height 47.5cm, diameter of stand 36cm. £100,000-£120,000 --- The Ascot Gold Cup: “The most prestigious prize in flat racing since 1807” Gold has traditionally been associated with sporting glory and there is no more famous race at the Royal Meeting than the Ascot Cup. First staged in 1807, the inaugural race took place in the presence of King George III and Queen Charlotte. Originally open to horses aged three years and older, and taking place in June each year, the race was run over 2 miles 3 furlongs and 210 yards. The winner of the first race, Master Jackey, was awarded prize money of 100 guineas. In 1844, the race was attended by Emperor Nicholas I of Russia, who was making a state visit to England. That year's winner was unnamed at the time of his victory, but he was given the name ‘The Emperor’ in honour of the visiting monarch. In return Nicholas offered a new trophy for the race — the Emperor's Plate — and this became the title of the event for a short period. Its original name was however restored after nine years, in 1853. Today the race is the first leg of Britain’s Stayers’ Triple Crown followed by the Goodwood Cup and the Doncaster Cup, the last horse winning all three prestigious races in the same year being ‘Stradivarius’ in 2019. The 1877 race numbered six runners including the four-year-old bay Petrarch, ridden by Tom Cannon, trained by Joe Cannon, and owned by Lord Lonsdale. A contemporary account gives commentary on the race itself: “Considerable interest was occasioned on Cup Day by the presence of the Princes Albert Victor and George, it being their first appearance at a race meeting. Cannon rode a fine race for the Gold Cup on Lord Lonsdale’s Petrarch. When passing the Hotel turn, Petrarch attempted to stop, and made as if he would go to the stables, but Cannon managed him splendidly; and although at Swinley Bottom he was six lengths behind, fortune favoured him. At this point, Sugar Loaf bolted and jumped the ditch, and Petrarch slipped into third place, increasing his advantage until at the bend into the straight, he took the lead from Skylark and Coomassie and won easily by four lengths”. Regarding the winning owner’s trophy cup, The Auckland Star (6 September 1877) enthused: “This year the cup is of real gold, and a most magnificent piece of plate, worth, with the stakes, £2,070”. The magnificent gold trophy was one of only three Royal Ascot races where the winner’s cup was retained in perpetuity by the winning owners (the Royal Hunt Cup and the Queen’s Vase being the other two). ‘Petrarch’ Petrarch was foaled in 1873, his sire Lord Clifden was the St Leger winner of 1863, his dam Laura was a successful brood mare whose other foals included the Doncaster Cup winner Fraulein and the Craven Stakes winner Laureate. Petrarch was described as an extremely handsome rich bay horse. Alexander Scott, author of Turf Memories of Sixty Years, remarked, "Whenever I am asked to give my opinion of the grandest looking Thoroughbred of the past sixty years, I always declare unhesitatingly for Petrarch." Petrarch was bred by J. E Gosden at Midhurst, West Sussex, and as a three-year-old, stood 15.3 hands high. The colt was sent into training with John Dawson, the younger brother of Mathew Dawson, at Warren House stables at Newmarket, Suffolk. Dawson was best known as the private trainer of Prince Batthyany, for whom he trained the 1875 Epsom Derby winner Galopin. Between October 1875 - October 1878 Petrarch ran sixteen times and won eight races. In 1875, Petrarch won the Middle Park Stakes on his only appearance of the season. In 1876 he won two of the three races which comprise the Triple Crown, taking the 2000 Guineas at Newmarket and the St Leger at Doncaster. During the winter of 1876, he was purchased by Lord Lonsdale and as a four-year-old in 1877, he won three races including the two and a half mile Ascot Gold Cup which at that time was regarded as the most important weight-for-age race in the world. Petrarch was troubled with recurring kidney ailments, making his health precarious at times. Dawson, his trainer, remarked on his successful four-year career competing at the highest levels of racing, as being “testament to his courage and quality”. Petrarch retired to stud in 1878, where he became a successful sire of winners. Lord Lonsdale St George Henry Lowther, 4th Earl of Lonsdale (1855 – 1882) was the eldest son of Henry Lowther, 3rd Earl of Lonsdale, and had a keen interest in travel, science and racing. During the winter of 1876, Lord Lonsdale purchased Petrarch from Viscount Dupplin, and lost no time in securing successes for the four-year old in 1877, winning at Newmarket, at Epsom in the High Level Handicap, and easily taking the Ascot Gold Cup. Petrarch finished just a head behind Snail in the Liverpool Summer Cup. In 1878 at the age of just 23, after the death of his father, St George inherited the earldom and the Lowther Estates in Westmorland. He died just a few years later in 1882, and was succeeded to the earldom by his younger brother Hugh.
A fine George III silver gilt Racing Trophy Cup: The Lincoln Gold Cup, 1823, won by Thomas Houldsworth’s ‘Palatine’, by Rebecca Emes & Edward Barnard, London 1823, the silver gilt twin-handled trophy cup and cover of campana form, the cover mounted with a cast horse and foal finial, applied to a leaf and flower border, above fluted surround, the cup with egg and acanthus rim, the twin handles of organic oak leaf and branch form extending into a cast oak leaf and acorn border, the knopped stem and fluted base decorated with rising acanthus and floral detail, the front engraved: ‘LINCOLN RACES, 1823, JOHN WILLIAMS ESQ.r, M.P.,WILLIAM MILES ESQ.r STEWARDS’, the interior rim inscribed ‘THE GOLD CUP, WON BY MR THOMAS HOULDSWORTH’S PALATINE [BY FILHO DA PUTA] LINCOLN, SEPT. 26TH 1823’, height 40cm. £4,000-£5,000 --- The Lincoln Gold Cup The Lincoln Gold Cup was a four mile flat race run annually between 1805 and 1844. In the 1823 race, ‘Palatine’, a brown filly, ridden by Holmes, and bred and owned by Thomas Houldsworth, beat Sir W. Milner’s ‘Angler’, Mr Gascoigne’s ‘Violet’ and three other runners to win the Cup, valued at 100 guineas in the Racing calendar. The filly had been unnamed when winning her first race earlier that year, the Palatine Stakes, at Chester. Thomas Houldsworth then named her Palatine, in commemoration of this victory. The Lincoln Gold Cup of 1844 was the final running, with an attempt to revive the race made in 1846 which proved unsuccessful. Palatine Palatine was a brown filly foaled in 1820, her sire Filho Da Puta, her dam being Treasure. She was bred and raced by Thomas Houldsworth, who also owned her famous sire. Palatine won two other races in 1823, a Handicap Sweepstakes at Manchester and a Sweepstakes at Pontefract. In 1824 Palatine recorded four victories and was then sold to Mr Griffiths for whom she won fourteen races between 1825 and 1828. Her sire, Filho Da Puta, had been purchased by Thomas Houldsworth from his previous owner, Sir William Maxwell, in 1815, for the sum of 3000 guineas. This proved to be a shrewd investment for Mr Houldsworth, as the fine stallion was to be highly successful, winning 9 of his twelve races including the St Leger Stakes and Doncaster Gold Cup. The name apparently originated from the ire of Sir William Barnett, owner of the stud farm where the foal was born, who discovered at the time of the the foal’s birth, that his wife had been disloyal. Sir William, who lived in Portugal and knew the Portuguese language well, in a fit of rage gave this name to the future champion. In his final season, the stallion won the four-mile Richmond Cup and In 1818 he retired to stud. He became the leading sire in Great Britain and Ireland in 1828, standing at Mr Houldsworth’s stud at Farnsfield near Southwell until his death in 1835. Thomas Houldsworth Thomas Houldsworth (1771-1852) was a self-made entrepreneur. Apprenticed to a stocking weaver, he joined his brothers in a cotton spinning business in Manchester in 1793. He went on to became a prosperous Manchester cotton manufacturer and in the early 19th century purchased the landed estate, Sherwood Hall, in Nottinghamshire. He also had a passion for horse racing. He became a major owner and breeder and had horses in training from 1816 to 1841. His stud and racing colours of gold and green were famous on the race tracks of the early nineteenth century. He was also a conservative party politician, being a Member of Parliament for a total of 34 years between 1818 to 1852 - as MP for Pontefract from 1818-1830 and MP for North Nottinghamshire from 1830 to July 1852, when he stepped down from the House of Commons at the General Election, and died two months later aged 80. Many of Thomas Houldsworth’s champions appear in sporting pictures including the famous paintings by J.F.Herring of Filho Da Puta, painted in 1815 and Vanish with jockey Sam Darling, of 1830.
Italian, Lombardy, circa 1480 A.D. A carved and gilded wooden relief panel depicting the nimbate Virgin Mary seated on a throne wearing a copious draped robe, nimbate infant Jesus resting naked on her lap, four adoring angelic figures in the surround, dense foliage to the background; dais with reserved text to the forward edge 'SALVE R[EG]INA MATE[R]' (hail, queen [and] mother); heavy gilding across the surface. Cf. a similar ‘Madonna Orante’ (Praying Virgin) in the Torcello Museum, late 15th century A.D. in Polacco, R., Nepi Scire, G., Zattera, G., Museo di Torcello, Sezione Medioevale e moderna, Venezia, 1978, no.128. 1.04 kg, 37 cm high (14 1/2 in.). Private collection, Germany, until 2019. Devotional panels like this one were hung in churches but also at homes for private prayers. The inscription is the beginning of the well-known song 'Salve Regina, Mater Misericordia', created by Cluny abbots in the 12th century A.D. and also sung by the Templars as a battle hymn. [No Reserve]
A LATE 19TH CENTURY 18CT GOLD OPEN FACE KEY WOUND POCKET WATCH WITH KEY, engine turned case back with vacant shield shape cartouche and buckle surround, the white enamel dial with black Roman numerals, blue steel hands, subsidiary dial at six o'clock position, inner case stamped 18K, together with partial hallmark for London, case numbered 7144, case maker's mark CP, movement unsigned, case diameter approximately 47mm, approximate gross weight 72.9 grams (condition report: overall condition very good, repair mark to suspension loop, solder lines visible, rust to blue steel hands, pocket watch currently functioning, service marks to inner case, untested for time keeping, minor light scratches in keeping with age)
Slazenger wooden racket in press, assorted toys, card games, table ping pong, net and bats, puzzles, toys, assorted ceramics to include blue and white, raffia table mats, a small clock, a vintage mirrored firescreen painted with Christmas roses in brass-coloured metal surround and other items (3 boxes plus)
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79002 item(s)/page