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A gentleman's silver full hunter pocket watch, circular enamel dial bearing Roman numerals, subsidiary seconds dial, the case with engine turned decoration, stamped 935, together with a Victorian gentleman's silver pocket watch case, Birmingham 1900, and a lady's silver cased pocket watch, open faced, keyless wind, enamel dial bearing Roman numerals, the case with floral and foliate engraving, vacant shield reserve. (3)
A group of 19thC and later glass, to include a turquoise glass vase, enamel decorated with an insect and flowers, 25cm high, The Chris Comins glass scent bottle (lacking stopper), and an agate glass dressing table jar and cover, an Essence of Coffee and Chicory green glass bottle, Victorian end of day glass mug, moulded with birds and flowers, and a Heron glass vase. (a quantity)
A group of small silver, comprising an Edward VII cut glass pepperette with silver lid, Birmingham 1907, thimble, two button hooks, Scottish horn spoon with white metal collar and thistle terminal, and a George V silver and enamel commemorative tea spoon for Southwell Golf Club, Birmingham 1923.
An unusual enamelled silver-gilt box with moving erotic interior Lucknow or Hyderabad, 18th Centurythe box of rectangular form with hinged lid on a splayed foot with stepped band below the lid, decorated in green, blue and turquoise enamel with floral motifs, the lid opening to reveal a miniature painting of a mother and her child with applied painted bone moving elements behind a glass panel, small lever to lid which animates the scene when pulled 8 x 6 x 4 cm.; 181g.Footnotes:ProvenanceChristie's, Arts of India, 24 September 2003, lot 118. The miniature in the interior depicts a reclining lady with her child in her arms and a cloud with angels above. When the lever on the lid is pulled, the lady raises her child, revealing her nudity, while a man emerges from the cloud and descends towards her.For further information on this lot please visit Bonhams.com
An enamelled gilt-silver dish North India, probably Lucknow, circa 1750-80of shallow form with curved sides and everted rim, decorated in yellow, blue and green enamel with a central roundel containing a rosette surrounded by an interlace of floral and foliate motifs, the sides with a band of trefoil motifs alternately surmounted by paired split-palmettes, the base with three engraved inscriptions 16.8 cm. diam. max.; 258 g.Footnotes:ProvenancePrivate UK collection.Inscriptions: Mir Muzaffar Husayn Khan Sahib and Rahim al-Nisa Begum Sahiba, tola 21Mughal enamelled courtly objects from the 17th and 18th century are rare. The enamelled decoration of a central stylized flower and flowering plants on the base of a huqqa base in the Clive Collection at Powis Castle (inv. no. NFS 900) have similarities in colour and composition to the flowers in the well of our dish. It is likely that the Clive Huqqa was produced in Lucknow, and is known to have been acquired by 1766. Similarities in the decoration of the present lot can also be drawn with an enamelled pandan and huqqa base both dated to the early 18th Century and illustrated in Mark Zebrowski, Gold, Silver & Bronze from Mughal India, London, 1997, pp. 92-93, nos. 85 and 86.Rahim al-Nisa Begum (b.1842) was the mother of Mir Muzaffa Husayn Khan (b.1866), the Nawwab of Surat in Gujarat. A tola or tolaka is an Indian weight, equivalent to a suvarna.For further information on this lot please visit Bonhams.com
A pair of diamond-set enamelled gold bangles North India, 18th Centuryeach of circular form with hinge and screw clasp, the band consisting of a series of rectangular panels set with diamonds, surmounted by openwork foliate motifs set with diamonds, the interior decorated in green and red enamel with a band of flowerheads interspersed by trefoils surmounted by floral motifs 6.1 cm. diam. max.; 105 g.(2)Footnotes:Bangles hold a significant position in Indian culture, remaining one of the primary adornments worn by Indian women and often acting as an indication of marriage, their wear believed to be auspicious for a married woman. Metal bangles are popular because of their durability, the metal used being an indicator of the status of the individual (see O. Untracht, Traditional Jewelry of India, London, 1997, p. 186).A similar pair of bangles, dated to the 19th Century, is in the Susan L. Beningson Collection (see M. E. Aitken, When Gold Blossoms: Jewellery from the Susan L. Beningson Collection, London, 2004, p. 118, cat. 123).For further information on this lot please visit Bonhams.com
Edwin Lord Weeks (American, 1849-1903) The Golden Temple, Amritsaroil on canvas, signed and inscribed Golden Temple Amritsar lower left 51.5 x 76.5 cm.Footnotes:Weeks visited the Golden Temple at Amritsar on at least one of his expeditions to India, the best documented of which was in 1893. Of the island temple and its surrounds, Weeks wrote: From the border of the tank, which lies in the afternoon shadow, the Golden Temple gives one the impression of a glittering jewel, or of some rare old Byzantine casket wrought in enamel and studded with gems. Small and compact, glowing with colour and scintillating with light, its mirrored image reaching far down into the purple depths of reflected sky, it has at first sight a glamour of unreality, like an opium vision of De Quincey, or the 'pleasure dome of Kubla Khan'. Two colours predominate, the gold of the upper part and the clustered domes, and the white marble of its base, toned and softened by the faint colour of its inlaid flowers; the curtained doors and windows add flashes of scarlet [...] and the great baskets of the flower-sellers heaped high with roses and other flowers, among which great masses of odorous yellow jasmine predominate, add a note of yellow and orange, recalling the colour of the temple. (E. L. Weeks, From the Black Sea Through Persia and India (1896), pp. 186-188). Weeks was sufficiently impressed by the Golden Temple that he returned to the subject on several occasions and executed works in a number of formats, from simple grisaille illustrations to one of his most monumental paintings (measuring 213.4 by 302.3 cm.), taken from the same perspective as the present work. It is unclear if the present painting predates or postdates that monumental version, but it seems clear they are generally contemporary.With its foreground diagonal composition, its deft handling of shadow and light – particularly the harsh, unforgiving sun of India - and its distinct combination of precise draughtsmanship and loose, painterly style, the present painting is entirely characteristic of Weeks' work. It is a beautiful and important work from the artist's last period of Indian paintings. The authenticity of this work has been confirmed by Edward S. Levin, and a letter of authenticity will accompany the lot. The work is also to be included in the artist's catalogue raisonné.We are grateful to Edward S. Levin for his assistance in compiling this catalogue entry.For further information on this lot please visit Bonhams.com
WW2 INTEREST & OTHER COLLECTABLES - a pilot's log book for Jeffrey Alexander Boycott first dated 2nd March 1942, the aircraft being an Anson, 28 full page lists follow with the final date being 30/06/1945 aircraft type Sunderland, other aircraft include Wellington, Whitley, Rapide, Blenheim, Fairchild, Oxford and others, the employer listed as No 3 Ferry Pool Air Transport Auxiliary Hawarden Flintshire, an S-459 Certificate of Service for the Royal Navy, 1946 Release from Naval Service Order, 1939-45 War medal, Armed Forces Veteran and other enamel badges, ETC
Three items of Chinese porcelain, comprising an early 19th century re enamel glazed bowl, with mark to the base, 8cm H x 14.5cm W, a 19th century blue and white transferware plate depicting five men whispering, with a four character mark to the underside of the base, 21,5cm W, and a blue and white transferware tankard, 14cm H, all AF (3)

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