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Preisdatenbank abonnierenNeapolitan School, 18th CenturyPortrait of the artist, half-length, before his easel oil on canvas80.7 x 63.4cm (31 3/4 x 24 15/16in).Footnotes:ProvenanceThe Collection of Joseph F. McCrindle, from whom inherited by the present ownerFor further information on this lot please visit Bonhams.com
Attributed to Mary Beale (Barrow 1633-1699 London)Portrait of Thomas Sydenham (1624–1689), bust-length, within a carved stone oval oil on canvas76.2 x 63.7cm (30 x 25 1/16in).Footnotes:Another version of the present composition is now at the Royal College of Physicians, London, to whom it was presented in 1691 by William Sydenham.For further information on this lot please visit Bonhams.com
Follower of Charles Jervas (Dublin circa 1675-1739 London)Portrait of a lady, seated three-quarter-length, with a spaniel at her side oil on canvas119.5 x 91.6cm (47 1/16 x 36 1/16in).in an 18th century English carved, giltwood frameThis 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
Follower of Jacob Huysmans (Antwerp 1633-1696 London)Portrait of a young child holding a bow and arrow, within a painted oval oil on canvas76.4 x 63.4cm (30 1/16 x 24 15/16in).Footnotes:ProvenanceSale, Christie's, South Kensington, 24 January 2012, lot 272For further information on this lot please visit Bonhams.com
Circle of Benjamin Marshall (Seagrave 1768-1835 London)Portrait of a gentleman, said to be Lord Althorpe's huntsman, Charles King with his favourite hound, Ottoman oil on canvas91.5 x 86cm (36 x 33 7/8in).Footnotes:ProvenanceThe Collection of Sir Charles Knightley, Fawsley Daventry, NorthamptonFor further information on this lot please visit Bonhams.com
Circle of Hermann van der Mijn (Amsterdam 1684-circa 1741 London)Portrait of a young lady, said to be Tufton, daughter of Sir William Wray, three-quarter length in a white dress bears identifying inscription 'Tufton Daughter of Sr Wm. Wray/ Married to Ld Chief Baron Montagu.' (lower left) oil on canvas124 x 102cm (48 13/16 x 40 3/16in).Footnotes:ProvenanceSale, Christie's, South Kensington, 9 July 2010, lot 79Tufton Wray (1667-1712) was the daughter of Sir William Wray, 1st Bt., and Olympia Tufton. She married Sir James Montagu.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
Manner of Thomas Gainsborough, R.A., 19th CenturyPortrait of a lady, said to be the artist's daughter Margaret, within a draped painted oval bears inscription 'Margaret Gainsborough/ given to the Rev. W. Green by the sitter' (on the reverse)oil on canvas, unlined74.7 x 62.3cm (29 7/16 x 24 1/2in).For further information on this lot please visit Bonhams.com
English School, late 16th CenturyPortrait of a gentleman, half-length, in black; and Portrait of a lady, half-length, in black the former bears inscription and date 'AETATIS SVAE, 27/ 1595' (upper left) and charged with sitter's coat-of-arms (upper right); and the latter bears inscription and date 'AETATIS, SUAE 28,/ 1595' (upper left) and charged with sitter's coat-of-arms (upper right)a pair, oil on panel87.2 x 65.5cm (34 5/16 x 25 13/16in). (2)For further information on this lot please visit Bonhams.com
French School, late 18th CenturyPortrait of the Comte de Provence, later King Louis XVIII, bust-length, wearing the Star of the Order of the Saint'Esprit and the Order of Saint Lazarus; and Portrait of Marie Josephine, Comtesse de Provence, bust-length, in a pink and lace dress a pair, oil on canvas, ovals55.5 x 47.7cm (21 7/8 x 18 3/4in). (2)Footnotes:The portrait of the Comte de Provence is based on the mezzotint of 1778 by William Pether, after Elisabeth Vigée Le Brun's original portrait of him, which is now lost. The portrait of his wife, Marie-Josephine, is very loosely based on a portrait of her by François Hubert Drouais of which numerous versions are known.For further information on this lot please visit Bonhams.com
Follower of Johann Kerseboom (active circa 1680-circa 1708 London)Portrait of a lady, bust-length, in blue, within a carved stone oval oil on canvas75 x 64.4cm (29 1/2 x 25 3/8in).Footnotes:ProvenanceSale, John Nicholson, Haslemere, 15 July 2010, lot 1262For further information on this lot please visit Bonhams.com
Circle of Michael Dahl (Stockholm 1659-1743 London)Portrait of a lady, said to be Lady Godstone, half-length, in a blue dress, her hands resting on a chair oil on canvas95.4 x 74cm (37 9/16 x 29 1/8in).Footnotes:ProvenanceAshton House, Beetham, Cumbria and thence by family descentAccording to family tradition the present lot and lot 223 depict two early visitors to Ashton House who were so charmed by their visit that they commissioned the portraits and presented them to the occupiers and that they remained with the family thereafter.For further information on this lot please visit Bonhams.com
German SchoolPortrait of Magdalena Fugger, Gräfin von Helfenstein inscribed with date 'Ao. 1590' (upper right) and bears inscription 'MAGDALENA FVG**/*ERIN GEBORNEVO**/HELFENSTEIN:' (reverse)oil on copper, oval9.9 x 7.2cm (3 7/8 x 2 13/16in).Footnotes:The present work is derived from an engraving by Domenicus Custos, from a series of engravings titled Fuggerorum et Fuggerarum.For further information on this lot please visit Bonhams.com
A selection of Bohemian and Czech coloured glass, various dates 19th and 20th centuries, comprising; two similar ruby flashed and gilt scrolled ground flasks, each cut with white overlaid glass portrait medallions, circa 17 and 18cm high, and a selection of later Czech glass comprising six ruby and green flashed cut glass goblets, 22.5cm high, an engraved ruby flashed goblet by Eggerman, 16cm high, and an Eggerman slender oval section ruby flashed and engraved vase on four scroll feet, 17.5cm highCondition Report: Of the two Bohemian pieces the gilt ground is a little rubbed to bothOtherwise no serious damages notedCondition Report Disclaimer
A Dutch stipple engraved opaque-twist wine glass decorated with a portrait of Johann Wolfgang von Goethe (1749-1832) after Johann Heinrich Lips (1758-1817), the engraving circa 1790, the glass perhaps earlier and an English import, the funnel bowl engraved in the manner of the Dutch glass engraver David Wolff or one of his contemporaries such as 'Alius' and inscribed GOETHE, supported on a double-series stem and a conical foot, 17cm highNote: Johann Wolfgang von Goethe, German writer, politician, humanist, scientist, and philosopher 28 August 1749 - 22 March 1832. The portrait source taken from the engraving by Johann Heinrich Lips, 1791.Of the four major Dutch stipple engravers working in the last quarter of the 18th century, the identity of only two are known, namely David Wolff (1732-98) and Jacobus van den Blijk (1736-1814) because they signed a sufficient amount of their work. A third has been termed 'Alius' (the other) because there are a quantity of unsigned pieces by the same unidentified hand.Condition Report: Foot rim chip.Condition Report Disclaimer
HAMNETT, Nina, “Laughing Torso”, publ. 1932; SITWELL, Osbert, “Three-Quarter Length Portrait of Michael Arlen”, signed by the author, No. 220 of 520 copies, Windmill Press (1930); “Sitwelliana, 1915-1927”, Curwen Press 1928; & High House Press, Dorset: “Rymes of the Minstrels, Selected From a Manuscript of the Fifteenth Century”, No. 91 of 230 copies, publ. 1927.
After W Douglas Macleod, 'River Arno', a signed etching, 19 x 34.5cm, titled label verso, after J McIntosh Patrick, 'A Quaint Corner of Avignon', 22 x 16cm, signed and numbered 40/75, other engravings, two books, 'A History of Shrewsbury School 1552-1952' by J Basil Oldham and 'A Portrait of Shrewsbury School' by Adolf Morath, together with a scrapbook of HM Queen Elizabeth II's visit to the school in 1952, (7).
A Plethora of Railway and WW2 Aircraft Furnishing Prints, including 'Duchess of Hamilton' (Weston), 'Morning Delivery' (Breckon), 'The Lickey Incline', 'Castles at Tyseley' and 'Queen of the Belgians' (all Cuneo), 'A Portrait of Power' (Beyer-Garratt 47992, LE print 262/500 by David Weston, and numerous others, a few Aircraft prints including 'Swordfish Attack' (John Hamilton, signed) and 'Lancaster at Metheringham', varying G-E, all rolled and most in card tubes, (approx. 50 prints and posters, various sizes)
BOB DYLAN - LP COLLECTION. A smashing collection of 31 LPs by Bob Dylan. Titles include In 1966 There Was: Live In Concert (GSR1, Live in Manchester 17/5/1966. Includes A4 insert. Record Ex/ sleeve VG+), John Wesley Harding (CS9604), Another Side Of Bob Dylan (32034), Political World (6556436), Saved (86113), Under The Red Sky (4671881), Down In The Groove (CBS4602671), Knocked Out Loaded (5099708632618), Shot Of Love, New Morning, Nashville Skyline, Blood On The Tracks, A Rare Batch Of Little White Wonder Vols 1, 2 & 3, Desire (x2), Street Legal, Greatest Hits (x2), Real Live, Infidels, Pat Garrett & Billy The Kid, Hard Rain, Self Portrait, More Bob Dylan Greatest Hits (x2), Baby Stop Crying, S/T (SUA15994), Planet Waves. Condition is generally VG to Ex.
JAZZ BOP LEGENDS - MODERN REISSUE LPs. A superb pack of 10 jazz LPs. All modern reissue pressings. Artists/ titles include John Coltrane inc A Love Supreme (GR-155), Ballads (GR-156). Miles Davis inc Kind Of Blue (NOTLP220), Miles & Monk At Newport (MOVLP962), Kind Of Blue (6785405), Rubberband EP (603497862474), Kind Of Blue (MOVLP 019) & Someday My Prince Will Come (771725). Bill Evans inc Portrait In Jazz (771687) & New Jazz Conceptions (FSST 100LP). Condition is exceptional Ex+/ Archive.
BERNARD, W D & W H Hall: Narrative of the Voyages and Services of the Nemesis from 1840 to 1843; and of the Combined Naval and Military Operations in China. Two volumes. H Colburn, 1844, first edition. PP: xvi, 450; x, 522+ Frontis portrait, 3 folding Maps and 5 plates. Later full morocco; VG (2)
1- LOUDON, F L: Hortus Britannicus A Catalogue Of All The Plants Indigenous, Cultivated In, Or Introduced To Britain, in 2 parts. For Longman, Rees, 1830, 1st. edn. Cont. half leather; rubbed; 2- Forsyth, W: A Treatise on the Culture and Management of Fruit Trees. Longman, 1818, With a portrait frontis plus 13 plates (11 folding). Cont. half leather; rubbed; 3- Lindley, J: An Introduction to Botany. Longman, 1839. With 6 Plates plus text illustrations. Cont. half leather; rubbed; 4- Edible & Poisonous Fungi. Ministry of Agriculture Bulletin #23. 1934. 1- PIDSLEY, WEH: Birds of Devonshire, with a Map and one colour plate. Gibbings, 1891, 1st. edn. Original gilt pictorial cloth; tear to the fold of the map (without loss); 2- Kearton, R: Birds’ Nests, Eggs & Egg-Collecting. Cassell, 1903, with 22 colour plates. Full calf prize binding; little rubbed; small ink stain to one plate. (6)
A fine and unusual double-sided album page from the Imperial Mughal Library during the reign of the Emperor Aurangzeb, with scenes from the life of the Sufi Shaykh Majd al-Din Baghdadi Herat, 16th Century, with Deccani and Mughal additions of the second half of the 17th Centuryrecto, six scenes in gouache and gold on paper, perhaps excised from a manuscript of Jami's Nafahat al-Uns, laid down on an album page with an inner silver-sprinkled light blue border, nasta'liq inscriptions within gold cloudbands in upper and lower border, outer border with undulating foliate motifs in gold on a light pink ground, seal impression of Mughal Imperial Librarian at lower right corner; verso, a circular painting of a noblewoman, Mughal, late 17th Century, laid down on sections from Deccani and Mughal gilt-decorated album page borders of the late 17th-early 18th Century, gold-sprinkled inner borders, fine marbled border outside these, upper outer border with nasta'liq inscription, lower border with two lines of text in nagari script in gold (trimmed at right-hand edge), perhaps later, numbered 69 in Arabic at lower left corner each scene recto 100 x 95 mm. and slightly smaller; painting verso 103 mm. diam.; album page 390 x 278 mm.Footnotes:ProvenanceThe Imperial Mughal Library, apparently during the reign of the Emperor Aurangzeb (reg. 1658-1707).Private US collection, early 1970s-present.The seal impression in the lower right corner (recto) is that of a Mughal official, and reads: sohrab khan khaneh zad-e 'alamgir padshah, 'Sohrab Khan, born in the household of 'Alamgir Padshah'. The date is not clear, but it is clearly from the reign of Aurangzeb/'Alamgir I (1658-1707), and judging by the terminology, probably the early years of his reign. The seal impression of Sohrab Khan is found on other album pages including one in the Philadelphia Museum, while another was on a portrait of the Mughal nobleman Farrukh Fal, dated 1650-75, with Francesca Galloway (Indian Miniatures, London 2005, pp. 16-17, no. 6). This also had the same kind of nagari inscription indicating a Rajput collection, perhaps Amber. An album page with Sohrab Khan's seal impression, depicting a Mughal nobleman recto and with calligraphy by Javaher Raqam verso, dated to the third quarter of the 17th Century, was sold at Sotheby's, The Khosrovani-Diba Collection, 19th October 2016, lot 15.The Persian text verso consists of a couplet in praise of the beauty of a lady (perhaps by implication, that depicted in the painting below). The nagari text at the bottom also praises her beauty, comparing it to spring.The fragments of plants on a gold ground are reminiscent of imaginary plant studies in a dispersed manuscript of Indian philosophy, the Aparoksha Siddhanta, produced in the Deccan, at Aurangbad, and dated 1669 (see Francesca Galloway, op. cit., pp. 4-7, nos. 1, 2; also N. Haidar, M. Sardar, Sultans of Deccan India 1500-1700: Opulence and Fantasy, New York 2015, pp. 292-293, no. 169).Marbling is of course a technique strongly associated with the Deccan, and the example here in the outer border verso is particularly striking. The petal-like differentiated areas were probably created using some sort of stencil or resist-masking technique for blocking off sections (though there is some suggestion that the technique is decoupage). For examples of Deccani marbling, and a discussion of the technique, see Haidar and Sardar, op. cit., pp. 156-169, esp. p. 158.The absence of text makes it impossible to say if the paintings recto were excised from a manuscript of Jami's Nafahat al-Uns, or another text on Sufis, or were simply depictions of the life of Shaykh Majd al-Din, made in an album for a specific patron.Jami's Nafahat al-Uns told the lives of six hundred and eleven Sufi saints. Shaykh Majd al-Din Baghdadi was a pupil of Najm al-Din Kubra. Khwarazm Shah asked the Caliph of Baghdad to send him a physician and Majd al-Din was sent. The Khwarazm Shah threw him in dajlah (referring, it seems, to a river as large as the Tigris - a scene perhaps depicted at lower left). Examples of the complete text have appeared at auction a few times: the only illustrated instance was a single leaf, dated to Herat, circa 1500 (see Christie's South Kensington, Indian and Islamic Works of Art and Textiles, 11th April 2008, lot 102. For complete examples of the text, see: Christie's, Islamic, Indian and Armenian Art and Manuscripts, 12th October 1999, lot 80 (dated AH 910/AD 1504); Bonhams, Islamic and Indian Art, 5th December 2002, lot 496 (Afghanistan or North India, 17th Century); Christie's, Art of the Islamic and Indian Worlds, 31st March 2009, lot 138A (a Turkish translation, dated 1520).Important Notice to BuyersSome countries e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: * R* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Muhammad 'Ali Pacha, Khedive of Egypt and Sudan (reg. 1805-48), seated with a plan of the proposed railway between Cairo and Suez British School, after Thomas Brigstocke (1809-1881), mid-19th Centuryoil on canvas laid down on panel 121 x 78.5 cm.Footnotes:Muhammad 'Ali (1769-1849) was the Khedive of Egypt and Sudan, and is often cited as the viceroy who most reformed and modernised the state. In the lower right of the painting the partially unrolled plans outline the proposal for a railway between Cairo and Suez. This route was put forward in 1833, but postponed due to pressure from Linant de Bellefonds and the Suez Canal Company. After 'Ali Pacha's death in 1849, his successor, Abbas I, contracted Robert Stephenson to build a section between Alexandria and the Nile, which was completed in 1854 and was the first railway line in the Ottoman Empire, Africa and the Middle East.Thomas Brigstocke (1809-1881) was a British portrait painter. After some brief tuition at the studio of Henry Saas, he studied painting at the Royal Academy Schools, and was subsequently a pupil of Henry Perronet Briggs and John Prescott Knight. In 1847, he travelled to Egypt with a letter of introduction to Muhammad 'Ali Pacha. He stayed in Egypt for approximately sixteen months at the Palace of Shoubra, wherein he painted a number of portraits of the Pacha and his family. Between 1842 and 1865 he exhibited at the Royal Academy and at the British Institution. The portrait of the Khedive was engraved as a mezzotint in 1852 by George Raphael Ward (1799-1879).Another version (perhaps after the print), with the Khedive in the same pose and the with the plans at lower right, but replacing the landscape view at right with a blank wall, was painted by the Italian artist A. Lecchi (see Christie's, Art of the Islamic and Indian Worlds, 20th October 2016, lot 135). The Khedive was also painted by Sir David Wilkie in 1841 (the work is now in Tate Britain, London).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
An extremely rare and fine example of the Order of the Propitious Star of the Punjab (Kaukab-i-Iqbal-i-Punjab), INSTITUTED BY MAHARAJA RANJIT SINGH, SECOND CLASS, AWARDED BY THE SIKH COURT TO IMPORTANT COURTIERS, DIPLOMATS OR ENVOYS Lahore, dated [VS] 1894/AD 1837in the form of a radiating star in gold, in the centre a circular portrait of Maharajah Ranjit Singh seated on a chair holding a flower, in gouache and gold on paper under glass, the radiating arms consisting of five broad arms ending in a crescent shape and each inlaid with free-formed sectional tablecut diamonds, these interspersed with five narrower curved arms each inlaid with a principal tablecut diamond and tipped with a brilliant green cabochon emerald, the upper broad arm with small gold suspension loop below a gilded and enamelled bell- or parasol-shaped suspension, topped by a larger gold suspension ring, the reverse with a central roundel containing three lines of Punjabi text in nasta'liq script and the date in gold on a green ground, the broad arms with stylised floral motifs in gold on a green ground, the narrow arms cross-hatched in red enamel, in modern fitted case 9.4 cm. high overall; width 5.2 cm.; painting 20 mm. diam.; weight 57.8g.Footnotes:ProvenanceWith Spink & Son Ltd., London, 1965 (see below).Private collection, USA, acquired from Spink in 1965.Private collection, UK. PublishedSpink & Son Ltd., Numismatic Circular, 73 (September 1965), no. 5442 (illustrated).The inscription on the reverse reads:sri maharajah dehraj maharajah ranjit singh bahadur sat sri akal sahai 1894. 'Sri Maharajah Dehraj Maharajah Ranjit Singh Bahadur, may the Eternal Lord help him, [VS] 1894'.The date is Vikram Samwat 1894, which is equivalent to AD 1837.It is suggested in some sources that this Order, the Propitious Star of the Punjab (Kaukab-i-Iqbal-i-Punjab), was instituted in commemoration of the marriage of Ranjit Singh's grandson, Nau Nihal Singh. What is clear, however, is that in a more general sense, Ranjit Singh had become fascinated by the idea of European medals and orders, as a result of the well-known profusion of British and French officers and other figures at Lahore and in the Punjab more widely. Sir Henry Fane's medals had attracted the Maharajah's curiosity when he arrived at the court in 1837 for the marriage of Nau Nihal Singh (quoted in S. Stronge (ed.), The Arts of the Sikh Kingdoms, London 1999, p.229). General Allard, the French General in Ranjit Singh's service, also wore the Legion d'Honneur (instituted by Napoleon). In some accounts it was Fane who then suggested that medals be introduced at court. Other sources say that it was Captain C. M. Wade, Political Agent at Lodhiana, who developed the rules for granting the awards. But it was decided to make three fixed awards - the highest for Princes, the second class (as seen in our example) for 'relatives and brotherhood' of the Maharajah and the third for high dignitaries, colonels, and those providing honourable service. These would be differentiated by the quality of the stones: respectively, diamonds, diamonds and emeralds, or emeralds only. The recipient of our Order is unknown but its quality is of that intended for presentation to courtiers, sardars, governors of provinces, General officers, diplomats and envoys (see T. McClenaghan, Indian Princely Medals: a Record of the Orders, Decorations and Medals of the Indian Princely States, pp. 11-18; also discussed in Maharaja Ranjit Singh: First Death Centenary Memorial, Amritsar 1939, pp. 94-96).The portrait depicts Maharajah Ranjit Singh holding a flower, seated in one of the characteristic European-style chairs often seen in Sikh portraits (and here with the distinctive loop in the arm where it meets the backrest, as noted by Toor (for a painting of circa 1830-32 depicting Ranjit Singh with Hira Singh, in a similar pose and in such a chair, see D. Toor, In Pursuit of Empire: Treasures from the Toor Collection of Sikh Art, London 2018, pp. 80-81; see also another in the Kapany Collection, illustrated in S. Stronge, op. cit., p. 74, fig. 79). The present depiction seems to be unique amongst the known Orders (for which see below) in portraying the Maharajah full-length.Examples of these orders are very rare. A very similar medal, of the second class, which was presented to Lord Auckland in 1838, is now in the Sheesh Mahal Museum and Medal Gallery in Patiala (illustrated in S. Stronge (ed.), op. cit., p. 82, fig. 90). This has floral decoration on the reverse rather than an inscription.Another, of the third class, said to have been formerly owned by Duleep Singh, and which was sold at Christie's in 1981, is in the Victoria and Albert Museum (inv.no.IS.92-1981; illustrated in J. Guy, D. Swallow (edd.), Arts of India: 1550-1900, London 1990, p. 191, fig. 166).Two, of the third class, presented to the Political Agent General Henry Charles van Corlandt, are also in the Sheesh Mahal Gallery, Patiala.One, presented to Sir Frederick Currie, Bt. (1798-1875), who drew up the peace treaty after the First Anglo-Sikh War, appeared at Christie's, Islamic Art, Indian Miniatures, Rugs and Carpets, 28th & 30th April 1992, lot 138 (illustrated in the catalogue), and now in the collection of Gurshuran and Elvira Sidhu, San Francisco: illustrated in S. Stronge, op. cit., p. 187, fig. 215; see also note, p. 230). This had a miniature portrait in a more European style, after Emily Eden's portrayal), had fish and floral motifs on the reverse, and was lacking the bell and suspension loops.Another, one of a group of medals and swords presented to Colonel Sir Claude Martine Wade (1794-1861), was offered at Christie's, Art of the Islamic and Indian Worlds, 28th October 2020, lot 86, also dated VS 189[4]/AD 1838, but with the painting defaced or damaged, and with a cream and red ribbon.For further information on this lot please visit Bonhams.com
A portrait of Sir Ranbir Singh, Maharajah of Jind (1879-1948, reg. 1911-47), by the artist Toka Kam Punjab, early 20th Centuryoil on canvas, signed lower right 119 x 74 cm.Footnotes:The painting is based closely on a photographic portrait of 1906 by Lafayette Ltd., Bond Street, London.For further information on this lot please visit Bonhams.com
A double-sided page depicting a Persian nobleman wearing an elaborate late Safavid turban, from a dispersed album of Deccani rulers and noblemen Deccan, Golconda, circa 1680gouache and gold on paper, laid down on an album page with gilt-decorated floral borders, numbered 62 or 68 at top; verso, Gujari ragini, depicting a female musician seated in a palace garden, Deccan, late 17th-18th Century, with a single line of Persian text in nasta'liq above and below, inner and outer gilt-decorated floral borders, the page laid down on a later separate sheet paintings 197 x 118 mm., 160 x 117 mm.; album page 335 x 215 mm.Footnotes:Another folio from this album, with the same illuminated borders, is in the British Museum (1920,0917,0.69), dated to the early 18th Century. Zebrowski observes that 'it was the custom at Golconda for painters of modest talent to produce albums of Deccani and Mughal notables for sale in the bazaar to European and other foreign travellers' (M. Zebrowski, Deccani Painting, London 1983, p. 194). We might also compare in connection with both our painting and the British Museum example, two folios in the Los Angeles County Museum of Art (M. 81.8.9, and M. 87.20.1), of circa 1690: the first a Mughal-influenced portrait with the same light green background and flowers at the subject's feet; and an oval portrait in the same style and that of the British Museum. (See P. Pal, Indian Painting: a catalogue of the Los Angeles County Museum of Art Collection, Los Angeles 1993, vol. I, pp. 348-351, nos. 110 and 111.The nasta'liq script verso is a demonstration of how to join letters of the alphabet to others, and is not related to the painting.For further information on this lot please visit Bonhams.com
A portrait of the Sikh artist Ishar Singh (1860-1910) European School, signed by M. B., early 20th Centuryoil on board, signed M. B. lower left, label with nagari inscription pasted on backboard 37.5 x 33 cm.Footnotes:Ishar Singh Mahant was the son of Bhai Ram Singh mussavar (painter). He worked in a Kangra style and was responsible for the decoration of the interiors of many Sikh and Hindu temples in Amritsar. See K. C. Arayan, Punjab Painting, pp. 107-108, and Musarrat Hasan, Painting in the Punjab Plains, Lahore 1998, p. 146.For further information on this lot please visit Bonhams.com
Lt. Col. Alexander Beatson, A View of the Origin & Conduct of the War with Tippoo Sultaun G. & W. Nicol, London, 1800Comprising a Narrative of the Operations of the Army under the Command of Lieutenant-General George Harris, and of the Siege of Seringapatam, 433 pp., engraved portrait frontispiece, 4 folding engraved maps and plans (one hand-coloured), two folding tables, contemporary calf 4to, 270 x 220 mm.Footnotes:The tables and maps comprise:The Order of Battle of the army under the command of General Harris.A Plan of the Attack upon the North West Angle of Seringaptam.A Sketch of the Environs of Seringapatam.A Map of the Dominions of the late Tippoo Sultaun, exhibiting their Partition among the Allied Powers (hand-coloured).A Table of Revenues.An Abstract of Tipu's territories and their overseers, population, etc.Colonel Beatson was 'late aide-de-camp to the Marquis Wellesley, Governor-General of India, and Surveyor-General to the Army in the Field'.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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