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534297 Los(e)/Seite
Los 399
A group of plated items, including a pair of oval entrées dishes, covers and handles, various other entrées dishes, a circular salver, a six-bottle cruet stand, fitted with six cut glass bottles, eight goblets and a twin scroll branch three-light candelabrum.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 79
Dorris Kirlew - 'Venice, Morning Light', watercolour with ink and gouache, signed recto, titled and dated 1954 verso, 29.5cm x 41cm, within a painted wood frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 4
David Eustace - 'Morning Light', 20th century oil on canvas, signed recto, titled verso, 52cm x 38.5cm, within a painted wood frame with applied plaque.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 409
A collection of plated items, including an Elkington ice bucket, a swing handled basket, a twin scroll branch three-light candelabrum, a circular salver and a part canteen of Mappin & Webb cutlery.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 1380
A George III circular silver vinaigrette case, bright-cut engraved decoration, by Cocks & Bettridge, hallmarks Birmingham 1813, diameter 2.5cmNice overall condition. Some surface scratches and light dents. The top in engraved and also monogrammed. The lid does sit fairly loosely and could either be a vinaigrette or snuff box.
Los 357
Collection of ceramic military figures and soldiers to include: Alfretto Porcelain Officer Dorse grenadiers, Officier des Chasseurs, Officier de la Garde, genuine Carrara marble Italian soldier figure, porcelain French cavalry officers, Alfretto porcelain officer light dragoons 1815, Soldat D'infanteris, etc. (4 trays) (B.P. 21% + VAT)
Los 350
Two boxes: boxed Sony Ericson Bluetooth headset, a Sony Ericson P910i mobile phone in box, Kenwood DPCMP727 MP3 portable CD player, Nokia 9300 mobile phone in original box, glitter water spinner LED lantern with snowman scene, Bright Ideas light up LED town square scenes, string of snowflake curtain lights, light up glitter snow man in telephone booth, LED stag lantern. (2)(B.P. 21% + VAT)
Los 286
Selection of glass light fittings and a vase in orange glass with a narrow neck. Glass fittings to include: two brass pendent light fittings together with a spherical white marbled glass shade, a spherical opaque glass shade with brass decoration and another white marbled glass shade with pendulous beads. (2) (B.P. 21% + VAT)
Los 77
A large and impressive panoramic view of the city of Lahore Punjab, Lahore, circa 1840-45watercolour with some gold on paper, 11 separate joined sheets of paper, identifying inscriptions in Persian on painted surface, in mount, framed 24 x 235 cm.Footnotes:The two peaks of Lahore's fortune as a great city were first under the early Mughal emperors, until the death of Aurangzeb, when it was adorned with palaces, gardens and tombs; and second, the period of Maharajah Ranjit Singh, the acme of Sikh power, from his triumphant entrance into the city in 1799 and the establishment of his regime, to the collapse of Sikh rule in the years after his death, and British control of the Punjab. Between those two events it had been captured twice, first by the Persian Nadir Shah, in his catastrophic invasion of India in 1739, and then again by the Afghan Ahmad Shah Durrani.In 1831 the British political officer and traveller, Alexander Burnes, capturing something of the ancient nature of the city, and its various layers of history, wrote:On the morning of June 18th we made our public entrance into the Imperial city of Lahore, which once rivalled Delhi. We moved among its ruins [...] In our evening at Lahore, we had many opportunities of viewing this city. The ancient capital extended from east to west for a distance of five miles, and an average breadth of three, as may yet be traced by the ruins. The mosques and tombs, which have been more stably built than the houses, remain in the midst of fields and cultivation as caravanserais for the travellers. The modern city occupies the western angle of the ancient capital, and is encircled by a strong wall. The houses are very lofty, and the streets, which are narrow, offensively filthy, from a gutter that passes through the centre. (Travels into Bokhara, London 1834).The city was first of all drawn by various European artists, including Frances ('Fanny') Eden (1801-1841), sister of the more famous Emily Eden, who recorded sketching it in her diary for December 1838 (so roughly contemporary with our painting). However, the European doctor, Martin Honigberger, who was in Lahore at the Sikh court between 1829 and 1833, and then again between 1839 to 1849, recorded that he sold a panorama of Lahore by an Indian artist to the Russian painter Prince Alexis Soltykoff. Honigberger apparently took home similar paintings, since in his illustrated memoir Thirty-Five Years in the East (1852) he included lithograph views based on them (see F. S. Aijazuddin, Lahore: Illustrated Views of the 19th Century, 1991, pp. 48-49, no. 15). Woodcut versions, apparently derived from such paintings, but in a much more naive style, were also being produced in the latter half of the 19th Century: for an example, see F. S. Aijazuddin, op. cit., 1991, pp. 84-85, no. 39. At a similar date, panoramas of Delhi, and other highly detailed topographical studies of the city, were being produced by artists such as Mazhar Ali Khan, at the tail end of Mughal power, and Mughal art (for which see J. P. Losty, 'Depicting Delhi: Mazhar Ali Khan, Thomas Metcalfe, and the Topographical School of Delhi Artists', in W. Dalrymple, Y. Sharma (edd.), Princes and Painters in Mughal Delhi 1707-1857, New York 2012, pp. 52-59.)For another example of such a panorama, see Christie's, Arts of India, 10th June 2015, lot 101 (previously at Sotheby's, Exotica: East Meets West, 1500-1900, 25th May 2005, lot 139), which appeared in the exhibition Interaction of Cultures: Indian and Western Paintings 1780-1910, The Fine Arts Museum of San Francisco, 1998, cat. no. 71 (pp. 278-80). For a smaller example from a similar viewpoint, see Christie's, Art of the Islamic and Indian World, 4th October 2012, lot 221.An example of similar size with both English and Persian inscriptions is in the Singh Toor Collection: for a good discussion, along with a survey of the locations and buildings depicted, see D. Singh Toor, In Pursuit of Empire: Treasures from the Toor Collection of Sikh Art, London 2018, pp. 96-101.The monuments identified identified in the inscriptions include (ten have not been fully deciphered):The Shah's tower.The Tower of Rajah Ranjit Singh, construction of which began in 1839, not completed until 1851.The Shah's Tower of Yakki Gate.The Royal (Padshahi) Samman Tower.The Black Gate.The Gate of Light (Roshnai Gate) (illuminated at night).The White (Jasmine) Gate of Jawahir Singh Jiv.The Masti Gate.The Kashmiri Gate (facing in the direction of Kashmir).The Khizri Gate.The Royal (Padshahi) Mosque.The Old Mosque.The Mosque of Vazir Khan.The Hazuri Garden. The Mazhar 'Ali small garden.The Royal Summerhouse.The Sleeping quarter.The Large Sleeping quarter.The Mansion of [...] Nau Nihal Singh Jiv.The Mansion of Sardar Thij [?] Singh.The Mansion of the officer of the army, Khoshhal Singh.The Mansion of Sardar Ahlu Waliyah [?]. The Mansion of Sardar [...] Singh.The Arsenal [?] of Mazhar 'Ali.The Akbari District.The Akbari stable.For further information on this lot please visit Bonhams.com
Los 80
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
Los 81
Swarup Singh, the Rajah of Jind (reg. 1834-64), seated on a terrace in a European-style chair, the painting presented to George Carnac Barnes, Governor of the Cis-Sutlej States, after the Umballa Durbar of 1860 North India, circa 1850-60gouache and gold on paper, inner borders finely decorated in colours and gold, outer border with stylised floral motifs within lobed cartouches in gold on a light pink ground, backboard with typewritten label Portrait of the Raja of Jhind given to GCB after the Umballa Durbar of 1860, in original frame, late 19th/early 20th Century 375 x 290 mm.Footnotes:ProvenancePresented to George Carnac Barnes CB (1818-61), Governor of the Cis-Sutlej States, after the Umballa Durbar, 1860.Thence by descent in the same private UK collection.In 1834, Swarup Singh's predecessor and second cousin, Raja Sangat Singh (1810–1834; r. 1822–1834) died of alcoholism after a profligate and repressive 12-year rule that had brought Jind to the brink of financial collapse; he left no sons. The Government of India (then the East India Company), selected Swarup Singh as the next ruler.During the Anglo-Sikh War, Swarup Singh fought on the side of the British. During the Mutiny or Uprising he defended the British cantonment at Karnal, then saw action at Alipur and at the battle of Badli-ki-Serai. He fought alongside the British forces during the siege of Delhi for which he was mentioned in despatches in 1858, and received the Indian Mutiny Medal. In 1858, as a result he received several honours from the British, and in 1860, was granted a further title, an eleven-gun salute, the territory of fourteen villages and the Delhi properties of a Mughal prince. In 1863 he was appointed a Knight Companion of the Order of the Star of India.The durbar at Umballa in 1860 was attended by Narinder Singh, the Maharajah of Patiala (reg. 1845-62), and several senior British officers and officials: Earl Canning, Viceroy of India and Governor-General; Sir Robert Montgomery KCB, Lieutenant-Governor of the Punjab; Lieutenant-General Lord Clyde GCB (Sir Colin Campbell), the Commander in Chief; The Right Reverend G. E. L. Cotton, Bishop of Calcutta; and George Carnac Barnes CB, Governor of the Cis-Sutlej States. A watercolour by an unknown European artist (in the possession of the seller, and reproduced here) records the scene. Umballa (modern Amballa) is in Harayana, not far from Patiala and Chandigarh, and was the site of a large British military cantonment from the 1840s.A contemporary British official report described the gathering:In the course of his progress through these provinces, the Viceroy and Governor General held a durbar at Umballa on the 18th January, which was attended by all the chiefs of the Cis-Sutlej States. On this occasion, a question of precedence, which has long been contested between the Rajahs of Jheend and Nabha, was settled in favour of the former. The debt contracted by the British Government to the Maharajah of Puttiali and the Rajah of Nabha, amounting to 28,82,000 rupees, has now been redeemed, under an arrangement which increases the territory and revenue of the two States, and at the same time relieves our administration of the outlying pergunnahs of Kanoudh and Boodwanah, and permits of the amalgamation of the two districts of Rohtuck and Jhujjur, and of a permanent reduction of expense. In the same way, the domains of the Rajah of Jheend have been augmented on his payment of a nuzzurana of 4,20,000 rupees. These chiefs are gratified by the addition to their territories; and the arrangement is not inconvenient to the British Government, either in a financial or administrative point of view.In December the daughter of the Maharajah of Puttiala was married to the Maharajah of Bhurtpore. Both families are of the Jat tribe. Hitherto neither has sought alliances beyond its own neighourhood. The estimation in which the Maharajah is held by the British Government, on account of his services during the mutiny, has elevated him in the eyes of the native nobility [...] The ceremony was celebrated with much pomp, but the Commissioner, Mr. G. C. Barnes, was able to procure the omission of the 'Barah', a custom which obtains at the marriage of great personages in India, better honoured in the breach than the observance.It was stated in last year's report that the Hindoor State, in the Simla Hills, had lapsed to the British Government, but, in consideration of the service of the head of the family (one of great antiquity) during the Goorkha war of 1814, and in accordance with the wishes of the Home Authorities, the Viceroy at the Umballa Durbar, restored the sovereignty in the person of Ugger Singh, an illegitimate son of the late rajah, subject to the payment of 5,000 rupees annual tribute.(Statement Exhibiting the Moral and Material Progress and Condition of India, India Office, London 1861).George Carnac Barnes (1818-61) was born in Bombay and died in Hazarubaugh, Bengal. He married Margaret Diana Chetwynd-Stapylton in 1856. His mother was a Rivett-Carnac, one of the foremost families of India's British rulers and administrators. In his story The Tomb of his Ancestors (1897) Rudyard Kipling wrote, 'If there were but a single loaf of bread in all India, it would be divided equally between the Plowdens, the Trevors, the Beadons and the Rivett-Carnacs'.His son, George Stapylton Barnes (1858-1946) continued the family tradition in the Government of India, becoming Joint Permanent Secretary at the Board of Trade, and member of the Viceroy's Executive Council from 1916 to 1921.For further information on this lot please visit Bonhams.com
Los 86
A group of glass replicas of historic diamonds including the Koh-i-noor in its former and current state Europe, first half of the 20th Centurycomprising fourteen glass diamonds, one blue, in fitted case, each with printed label, the box with retailers label to front for 'Jos. H. Lehmann, Jeweler, Portland, Ore.' the case 28 x 18.3 x 4.3 cm. Footnotes:The replicas include the Grand-Mogul, Orloff, Regent, Grand Duke of Tuscany, Star of the South, Koh-i-noor (old cut), Koh-i-noor (new cut), Shah, Piggot, Nassack, Sancy, Pasha of Egypt, Blue and the Polar Star.Replica gem sets of this kind were created for diamond promotion purposes and for gemmological education. The present set contains a replica of the famous Koh-i-noor (Mountain of Light) diamond. The stone is known to have been in the possession of Mughal emperors, including Shah Jahan, where it was set into his Peacock Throne. The name was given to the stone by the Persian ruler Nadir Shah after he captured Delhi in 1739 and it soon came to symbolise supreme power in the region. The Koh-i-noor later became the possession of Queen Victoria following the Treaty of Lahore, after which time it was re-cut by Prince Albert, resulting in the loss of 40% of the stone's weight. Both the original and the re-cut versions of the diamond are replicated in this set. For further discussion on the stone, see D. Toor, In Pursuit of Empire: Treasures from the Toor Collection of Sikh Art, London, 2018.For a similar replica gem set sold in these rooms, see Bonhams Islamic and Indian Art, 25 October 2021, lot 336.For further information on this lot please visit Bonhams.com
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534297 Los(e)/Seite