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Los 17
* GRIGORIEV, BORIS (1886-1939) Portrait of Selma Alexander , signed. Oil on canvas, 91.5 by 71 cm. Provenance: Collection of Selma Alexander, Los Angeles. Bequest from the above to the present owner, c. 1982. Private collection, Australia. Authenticity of the work has been confirmed by the expert T. Galeeva. Exhibited: Paintings and Watercolours by Boris Grigoriev, Marie Sterner Gallery, New York, 17–29 April 1933. Literature: A. Klevitsky, “Amerika” Borisa Grigorieva”, Novyi zhurnal, No. 231, 2003, mentioned in the text. The Portrait of Selma Alexander, offered here for auction, is an outstanding example of the work by Boris Grigoriev, who in the 1920–1930s had a reputation in Europe and the USA as a master of the “Russian theme” and as a brilliant portrait painter. He was always attracted to human mysteries and the inner life of his sitters, which is why he focused primarily on their faces, expressive details and psychological characteristics. The sitter is depicted full-length, wearing an evening gown and expensive jewellery. The delicate figure appears to be simultaneously seated on a golden covered sofa but also standing elegantly, reminiscent of RenoirÂ’s Jeanne Samary. The stylish Selma Alexander, clad in a scarlet dress with embroidered white flowers and wearing tiny turquoise shoes, conjures up an image of a precious toy in a glittering wrapping. The free brushstrokes, complex textural surfaces and resonant bright colours of the work signal a shift in the painterly approach of the artist, who back in the 1920s, gravitated heavily towards Neoclassicism, with its precision of form and clarity of line. Presumably, the new traits evident in this portrait are connected both with the general changes in the artistÂ’s style but also with the status of his model –a society lady, then married to a well-known cultural figure in New York, the highly successful businessman, philanthropist and collector, Vladimir Bashkirov (1885–1969). Moreover, Selma Alexander sponsored an exhibition of GrigorievÂ’s paintings and watercolours in New York from the 17–29 April 1933 in the Marie Sterner Gallery. This show was an important milestone for the artist, as the gallery owner, Marie Sterner, was a keen supporter and promoter of modernism in the USA, having worked with such artists as George Bellows, Arthur Bowen Davies, Elie Nadelman, Marcel Duchamp, John Sloan and others. Besides, it was GrigorievÂ’s first exhibition in the USA after an eight-year hiatus (in the 1920s, he used to exhibit in the New Gallery). The artist exhibited 18 paintings and 30 watercolours, amongst which, the present lot. It is stylistically similar to another portrait included in the exhibition, that of Anna Robene, who was also a patron of the artists and whom he also depicted full-length and wearing a white dress. In the aftermath of the exhibition, GrigorievÂ’s interaction with Bashkirov and Selma peaked, as evidenced by his numerous letters to the couple written in 1933–1934. In addition to the portrait of Selma, Grigoriev also painted her husband. More crucially, Bashkirov acquired a few of GrigorievÂ’s works for his private collection of Russian art, part of which is now in the Metropolitan Museum in New York. Among them were Fishermen (1922), Portrait of the President of Czechoslovakia TomáÅ¡ Masaryk (1932), Still Life (1932) and others. Upon GrigorievÂ’s return from the USA, his friendship with the Bashkirovs grew even stronger. BashkirovÂ’s support, both financial and emotional, was essential to the artist at that time. In one of his letters to Bashkirov, written in his typically emotional manner, Grigoriev confides: “When I think of you, my heart shrinks –you are so far away. Not seeing you has become a great concern for me; honestly, it is hard. I hope you received my letter sent from the ship – as I travelled home, I was thinking more of you than of my home. My gratitude to you has no bounds, and this extends to your charming wife whom I remember fondly, please kiss her hands from me.” In 1933–1934, Grigoriev frequently invited Bashkirov and his wife to visit him in France at Cagnes-sur-Mer, but it seems the meeting never took place. In the mid-1930s, BashkirovÂ’s family circumstances changed when he left Selma for another woman. However, his correspondence with Grigoriev continued until the latterÂ’s death in 1939. The workÂ’s provenance is impeccable. After the 1933 exhibition, the portrait was displayed in SelmaÂ’s home in Los Angeles, where it was spotted by the present owner. Delighted by the impression it made on him, Selma exclaimed: “IÂ’ll bequeath it to you when my time comes!” And she kept her promise. In 1982, the Portrait of Selma Alexander made its way to Australia and became part of her close friend and future biographerÂ’s collection and where it has remained until now. Dr Tamara Galeeva, art historian.
Los 127
* SAMOKHVALOV, ALEXANDER (1894-1971) Fireworks. Vasilievsky Island . Oil on canvas, 95.5 by 70.5 cm. Executed in the 1950s. Provenance: Collection of the artist’s family. Private collection, Europe. Authenticity of the work has been confirmed by Maria Samokhvalova, the artist’s daughter. Authenticity has also been confirmed by the expert Yu. Rybakova. Fireworks. Vasilievsky Island was painted in 1944 on Alexander Samokhvalov’s return to Leningrad after his evacuation, at a time when the artist had enthusiastically embarked upon depictions of the city he loved. Apart from his canvasses, which are permeated with the pathos of victory and the urgent construction effort – Leningrad Rises Again, Warriors Remember, Friends Meeting, – the portrait he creates of the hero-city of his birth is a romantic one. The artist’s Leningrad of the 1940s and early 1950s is almost always eventful. He is interested not just in sketching views, but in the very pulse of life in the city. Sometimes he addresses the theme of Soviet public holidays – Morning on 1st May, In the Park, – but in his most inspired and lyrical work he prefers the everyday reality of his beloved Vasilievsky Island. Here, after all, on a side street called Tuchkov pereulok, was the studio that Samokhvalov had inherited after the death of the famous graphic artist Pavel Shellingovsky. Samokhvalov always took pride in this succession, feeling that the genius loci srought him close to one of the masters he most respected and held most dear. Fireworks. Vasilievsky Island is one of the canvasses he painted in the neighbourhood of his studio. There are several known compositions in the legacy left by Samokhvalov that have the title On Bolshoi Prospekt, Vasilievsky Island and in all probability Fireworks is a continuation of this subject. Samokhvalov uses a great many different gradations of hue, leading into one another and finding their place in the massive lilac and blue-grey buildings and chimneys of the thermal power plant, the glare in the sky and its blueness, the muted painting of the human figures, the red roof of the house and the broad, grey-brown expanse of the paved ground. All the objects and details of the urban scene – the houses, tram lines, motor vehicle, street lamps and even passers by – are, as it were, shrouded and seen through the haze of a special light that envelops them. This light that suffuses the picture lends a unity to all the colours within it. Samokhvalov’s close associate at the studio, Yuri Pimenov was right when he said: “Samokhvalov was one of the best artists of that time – his pictures had the rhythm of contemporary life…”
Los 128
* LEBEDEV, VLADIMIR (1891-1967) Portrait of the Artist`s Wife, Ada Lazo , signed and dated 1958. Oil on canvas, laid on panel, 75 by 50.5 cm. Provenance: Collection of the artist’s wife, A.S. Lazo, Leningrad, until 1993. Thence by descent. Collection of A.A. Saltykova (Lazo), St Petersburg. Acquired directly from the above by the present owner. Private collection, Europe. Authenticity of the work has been confirmed by A.A. Lazo (inscription on the reverse). Authenticity has also been confirmed by the experts T. Levina and T. Mikhienko. Literature: V. Petrov, Vladimir Vasilievich Lebedev, 1891–1967, Leningrad, Khudozhnik RSFSR, 1972, p. 240, illustrated, incorrectly dated 1954; p. 266, listed under works from 1958. Vladimir Lebedev, perhaps one of the most striking painters of the Soviet era, is represented here by a remarkable portrait of his wife, Ada Lazo. Lebedev’s work travelled a long way from Constructivist compositions to Post-Impressionist portraits and sensitively rendered nudes. He was repeatedly accused of formalism, “alien” bourgeois influences and an unwillingness to create genre paintings on Soviet themes. However, his talent was so great that his contemporaries could marvel at the diversity of his creative pursuits – from the exploration of formal technique, to his study of female beauty and his work as a children’s book illustrator – and even willingly overlook the shortcomings, by Soviet standards, of his behaviour. It was while working for the Soviet children’s book publisher, Detgiz, that Lebedev met Ada Lazo, daughter of the revolutionary hero, Sergei Lazo. Ada, the chief editor, had an excellent knowledge of literature and was a specialist in children’s book illustration. She was to become Lebedev’s wife, friend and muse of many years. Lebedev painted this portrait in his usual soft pastel tones. The restraint in the colour and mobility of the brushstrokes are reminiscent of early Renoir, whom the artist idolised and viewed as a source of inspiration. But meticulous respect for drawing is not always characteristic of the French Impressionists, whereas delicate emphasis of form is a particular hallmark of Lebedev’s style. At the same time, the colour accents of the yellow chiffon collar and the book in the sitter’s hand remind us of Lebedev’s refined taste as a colourist, his ability to manage the pictorial spot of colour, which sets the overall tone of a work.
Los 133
* UDALTZOVA, NADEZHDA (1886-1961) Nude . Oil on canvas, 108.5 by 83.5 cm. Executed in the 1930s. Provenance: Private collection, Europe. Authenticity of the work has been confirmed by the expert Yu. Rybakova. Exhibited: Vechnaya zagadka, Novyi Manezh, Moscow, 23 August–13 September 2006, No. 85. Aleksandr Drevin i Nadezhda Udal’tsova, Dom Naschokina Gallery, Moscow, 24 January–23 March 2008. Literature: Exhibition catalogue, Vechnaya zagadka, Moscow, 2006, p. 59, illustrated; p. 142, No. 85, listed. Exhibition catalogue, Aleksandr Drevin i Nadezhda Udal’tsova, Moscow, Virtual Gallery, 2008, p. 82, illustrated and listed. Nude is a picture by Nadezhda Udaltzova, an artist whose name stands alongside those of Kazimir Malevich, Vladimir Tatlin, Olga Rozanova and Lyubov Popova in the history of Russian art. This work postdates Udaltzova’s period of avant-garde experimentation, Cubist decomposition and her part in the Suprematist movement. She had instead returned to figurative painting, using Post-Impressionist forms and seeing her main object as working with colour. The then officious demands for “thematic pictures” and accusations of “formalism”, which arose in the 1930s drastically limited the scope of activity by the criticised artists, but simultaneously greatly enlarged the role of private aspects of creativity. The result for Udaltzova was the creation in the 1930s of a long series of portraits and self-portraits, landscapes in Altai and Armenia, floral still-lifes, genre pictures and nudes. Udaltzova’s pictures of the naked human form, often of imposing size, are far more than technical studies. These are finished, stand-alone paintings, valuable for their deep, almost psychological qualities as portraits. This depiction of a naked woman with a scarf around her neck is a fine example. The large and beautiful figure of the model seems to emerge from a neutral space, although the colour relationships between the graded background, and the warm body, render figure and space inseparable. This work is an absolutely individual portrait, with its own particular mood. The melancholy of the model, “the exhaustion of being”, expressed in her gaze and the apparently minimalist colour palette, are redeemed by the consummate artistry of the technique and by “incidental” colour inclusions. A continuous line, sometimes tense and sometimes free-flowing, encircles the bare arms of the model, her hands locked together behind her head, the silhouette of her shoulders and the hips. The result is a harmonious balance between linear and rhythmic ease, on the one hand, and a palpable density of mass, on the other.
Los 173
* KUSTODIEV, BORIS (1878-1927) Girl with a Cup (Portrait of Maria Shostakovich) , signed and dated 1922. Pencil and crayon on paper, 17 by 16.5 cm (image size). Provenance: Private collection, USA. Exhibited: Posmertnaya vystavka proizvedenii B. M. Kustodieva, The State Russian Museum, Leningrad, 1928. Literature: Exhibition catalogue, Katalog posmertnoi vystavki proizvedenii B. M. Kustodieva, Moscow, Glaviskusstvo-Glavnauka, 1929, listed. M. Etkind, Boris Kustodiev, Moscow, Sovetskii khudozhnik, 1982, p. 282, No. 1295, listed. Related literature: For another version of this work, see: M. Etkind, Boris Kustodiev, Moscow, Sovetskii khudozhnik, 1982, p. 202, No. 530, listed. Boris KustodievÂ’s delicate, lyrical watercolours and drawings will enrich any, even the most exclusive collection. It is not without reason that such collectors as Isaak Brodsky, Feodor Notgaft, Petr Kornilov, Boris Suris and many others prided themselves on the works they owned by this illustrious member of the World of Art group. The portrait of Maria, the sister of the great composer Dmitri Shostakovich, is another version of the well-known oil painting, which is also in a private collection. The image of the girl is reminiscent of the artistÂ’s celebrated paintings of merchantsÂ’ wives drinking tea, which were popular amongst his admirers and brought Kustodiev considerable recognition at exhibitions. This artistÂ’s drawings are distinguished by a striking feeling of moderation and taste. The delicate, indistinct colour is not the dominant element here, being utterly and completely subordinate to the elegance of the elemental graphite line.
Los 177
I. Jones after Thomas Duche (18th/19th century) Portrait of Charles Wildbore Esq, secretary to the corporation of Trinity House for 32 years, published originally in 1794, black and white engraving, 42 x 34 cm, **contained within an elaborately decorated gilt plaster frame, within an outer period gilt plaster moulding.
Los 439
ENGLISH SCHOOL, 19TH CENTURY IDEALIZED PORTRAIT OF JENNY LIND THE `SWEDISH NIGHTINGALE` three quarter length standing before an open window with mountains beyond, zinc, 19.5 x 16cm++In good unrestored condition, the varnish yellowed with the passage of time and one or two minor surface digs and scratches
Los 494
W WILSON, EARLY 19TH CENTURY PORTRAIT OF GEORGE WHEATLEY OF CSTLE STREET LUDLOW SHROPSHIRE bust length in a black coat and white stock, signed with initials, signed again with initials and in full verso and inscribed London and ...Field, pastel, 26.5 x 22.5cm, unframed Provenance: The sitter, thence by descent to the present vendor.++In fine condition, laid down on the original backing and light wood stretchers
Los 529
FOLLOWER OF JOHANN RUDOLF HUBER PORTRAIT OF SAMUEL FRISCHING (1638-1721) AGED 62 OF RUMLIGEN BERNE bust length in a black gown with bands, charged upper right with his arms, bears early inscription verso, board, 29 x 21.5cm++Some old restoration, peripheral chips, scratches and minor faults, the three line inscription verso undamaged and also with old 19th c handwritten translation label
Los 537
BRITISH SCHOOL, 17TH CENTURY PORTRAIT OF ANANIAS DE HENNEZEL (B. C1570) bust length in a lawn collar, charged with his coat of arms upper left and with old inscription, Ananias De Hennezel de la Maison de Henezell tout pre la Village de Darnall en le pre del Lorraine and a lineal descendent of Henri de Hennezel Ecuyer, Seigneur of Bonvillet and Betrupt who was living Anno 1349. Owing to the persecution of the Huguenots he quitted Lorraine and settled in England and was distinguished amongst those who introduced the making of broad window glass, an art then esteemed so curious in Lorraine that persons of gentle blood were allowed to work at it, 62 x 49cm Ananias de Hennezel, a Huguenot was one of about four families of gentilhommes verriers from Lorraine who settled in the weald of Kent in the late 16th c, bringing with them the secret of making `glass for glazing such as is made in France` (W A Thorpe, English Glass, third ed, 1961, pp87-88). They soon migrated to Shropshire, the Forest of Dean and elsewhere, in particular Stourbridge, the North East and Ireland According to E G Clark (Glass making in Lorraine) Ananias de Hennezel was the first to establish broad glass manufacture in Stourbridge. His son Joshua had his own son, another Ananias, baptised at St Mary`s church, Kingswinford in October 1618. Provenance: By descent in the family of the sitter to the present vendors.++Lined and restored when presumably placed into present 18th c style giltwood and composition frame in the first half of the 20th c by, assumed from the trade label, A Whitcombe & Co Ltd, Cheltenham
Los 556
THOMAS RICHMOND, JNR (1802-1874) PORTRAIT SIR WILLIAM STEVENSON, KCB seated three quarter length, a globe by his feet, signed (Thos Richmond pinxt) and dated 1863, board, arched top, 63.5 x 49.5cm, sold with a letter to Sir William Stevenson signed by Radama II, King of Madacascar (1829-1863) Antananarivo, November 29 1862, 1.5 sides expressing the wish that Queen Victoria will permit Stevenson to wear the Order of Radama that he had recently bestowed upon him (2)++The portrait in what could be the original shabby gilt and repainted frame, the work in well preserved condition with the odd minor scratch but apparently unrestored. The letter rare and in apparently very good condition, laminated/encapsulated
Los 560
HENRY FREDERICK LUCAS LUCAS (1848-1943) EQUESTRIAN PORTRAIT OF ADMIRAL EARL BEATTY ON ""STAR"" signed, dated and inscribed verso with the title and painted by H:f:Lucas Lucas Rugby April May 1932, 55 x 44.5cm++In fine unrestored original condition, not torn or damaged, requiring a light clean in c1970`s cheap gilt frame
Los 568
GEORGE HILLYARD SWINSTEAD, RBA, RI (1860-1926) PORTRAIT OF MRS REUBEN HARRISON AND HER PEKINGESE DOG signed and dated 1921, with inscription in another`s hand on the stretcher Mrs Reuben Harrison, Lyndhurst, Watford, 120 x 78.5cm The sitter Ann Charlton Harrison, nee Corben (1856-1930) was the wife of Reuben John Harrison (1847-1918), described in the 1911 Census as a `Motor Body Builder.`++In beautifully preserved original condition, untouched beneath glass in the original 18th c style gilt frame, long in the present private family ownership and not hitherto offered for sale
Los 439
ENGLISH SCHOOL, 19TH CENTURY IDEALIZED PORTRAIT OF JENNY LIND THE `SWEDISH NIGHTINGALE` three quarter length standing before an open window with mountains beyond, zinc, 19.5 x 16cm++In good unrestored condition, the varnish yellowed with the passage of time and one or two minor surface digs and scratches
Los 529
FOLLOWER OF JOHANN RUDOLF HUBER PORTRAIT OF SAMUEL FRISCHING (1638-1721) AGED 62 OF RUMLIGEN BERNE bust length in a black gown with bands, charged upper right with his arms, bears early inscription verso, board, 29 x 21.5cm++Some old restoration, peripheral chips, scratches and minor faults, the three line inscription verso undamaged and also with old 19th c handwritten translation label
Los 537
BRITISH SCHOOL, 17TH CENTURY PORTRAIT OF ANANIAS DE HENNEZEL (B. C1570) bust length in a lawn collar, charged with his coat of arms upper left and with old inscription, Ananias De Hennezel de la Maison de Henezell tout pre la Village de Darnall en le pre del Lorraine and a lineal descendent of Henri de Hennezel Ecuyer, Seigneur of Bonvillet and Betrupt who was living Anno 1349. Owing to the persecution of the Huguenots he quitted Lorraine and settled in England and was distinguished amongst those who introduced the making of broad window glass, an art then esteemed so curious in Lorraine that persons of gentle blood were allowed to work at it, 62 x 49cm Ananias de Hennezel, a Huguenot was one of about four families of gentilhommes verriers from Lorraine who settled in the weald of Kent in the late 16th c, bringing with them the secret of making `glass for glazing such as is made in France` (W A Thorpe, English Glass, third ed, 1961, pp87-88). They soon migrated to Shropshire, the Forest of Dean and elsewhere, in particular Stourbridge, the North East and Ireland According to E G Clark (Glass making in Lorraine) Ananias de Hennezel was the first to establish broad glass manufacture in Stourbridge. His son Joshua had his own son, another Ananias, baptised at St Mary`s church, Kingswinford in October 1618. Provenance: By descent in the family of the sitter to the present vendors.++Lined and restored when presumably placed into present 18th c style giltwood and composition frame in the first half of the 20th c by, assumed from the trade label, A Whitcombe & Co Ltd, Cheltenham
Los 560
HENRY FREDERICK LUCAS LUCAS (1848-1943) EQUESTRIAN PORTRAIT OF ADMIRAL EARL BEATTY ON ""STAR"" signed, dated and inscribed verso with the title and painted by H:f:Lucas Lucas Rugby April May 1932, 55 x 44.5cm++In fine unrestored original condition, not torn or damaged, requiring a light clean in c1970`s cheap gilt frame
Los 568
GEORGE HILLYARD SWINSTEAD, RBA, RI (1860-1926) PORTRAIT OF MRS REUBEN HARRISON AND HER PEKINGESE DOG signed and dated 1921, with inscription in another`s hand on the stretcher Mrs Reuben Harrison, Lyndhurst, Watford, 120 x 78.5cm The sitter Ann Charlton Harrison, nee Corben (1856-1930) was the wife of Reuben John Harrison (1847-1918), described in the 1911 Census as a `Motor Body Builder.`++In beautifully preserved original condition, untouched beneath glass in the original 18th c style gilt frame, long in the present private family ownership and not hitherto offered for sale
Los 381
Superb portrait in silk of Tsarina Alexandra –Tsarina to Nicholas II^ assassinated by the Bolsheviks in the Russian Revolution fine portrait on a large leaf of silk showing her in full Royal regalia head and shoulders looking seriously to her right. By B Arnaud^ Lyon and Paris. In fine overall condition. Approx 56x48cm.
Los 393
Napoleon III French broadside providing the biography of Napoleon III ‘representative of the people’ – the Grandson of Napoleon I who quite remarkably became both Emperor and President of France. With engraved portrait of him to head. On paper approx 56x45cm. On poor paper^ with slight fraying to edges and original folds with some weakness in folds^ but otherwise clean and legible throughout
Los 718
India – Sikh Lahore Durbar. A Rare Set of British Company School Portraits of the Sikh Lahore Durbar c 1850. A fine set of 19 Miniature paintings of members of the Lahore durbar^ 1850-1860.These types of portrait miniatures would have been painted for the British East India Company. They were also used for reference by British Authors reproducing them in engravings and lithographs in publications. The portraits would have been painted shortly after the annexation of Punjab in 1849. The set comes with an old label identifying the sitters in English^ the Ranjit Singh portrait appears to be missing. Some of the sitters include Maharaja Sher singh^ Maharajah Duleep Singh^ Queen Jinda (mother of Duleep Singh)^ Heera Singh. Lall Singh^ Goolab Singh^ Khurruck Singh (eldest son of Ranjit Singh)^ Dost Muhammad Khan of Afghanistan (enemy of Ranjit Singh)^ Akali Phoola Singh ( the head priest of the Akalee Sect) and many more. The portraits are only of the Lahore Court of the Sikh Empire. Approx. 6cm by 5cm each. Wrapped in old Christmas wrapping paper^ it reads to Peggey^ along with a handwritten note in English naming the sitters. Miniatures has some paint loss^ otherwise remaining portraits are in very good condition.
Los 969
India – Fine Miniature portrait of Tipu Sultan of Mysore 1840. A finely executed watercolour of the great Tipu Sultan circa 1840-1850 oval mount^ 9.5cm by 7 cm^ framed. Tipu Sultan was a farsighted person who could foresee East India Company’s design to get entrenched in India. He therefore negotiated with the French for help and also sought assistance from the Amir of Afghanistan and the Sultan of Turkey. The British were scared of Tipu’s growing strength and after their defeat in 1783 they formed an alliance with the Nizam of Hyderabad and Marhattas. As long as the British fought alone Tipu always defeated them. But he could not overcome their diplomacy conspiracy and intrigue. Thus he was defeated in his capital Seringapatam and was forced to sign a humiliating treaty on March 22 1792. As a result he had to concede half of his kingdom and pay an indemnity of 33 million rupees to the British and their allies. The alliance between the adversaries was soon broken and in 1795 the British after defeating the Nizam once again turned their attention towards Mysore. After the treaty at Seringapatam Tipu Sultan did not waste his time and made extensive preparations against the British. He had rebuilt his war machine in the shortest possible time with the help of the French. The British regarded it as a violation of the treaty and led to the start of the fourth Anglo-Mysore war in 1798 with the help of the Nizam. The French were unable to provide the needed support to Tipu Sultan. Tipu Sultan retreated to his capital and continued fighting till he breathed his last in May 1799. Tipu Sultan is buried at a mausoleum that he himself had built. An important piece of Indian History.
Los 974
British East India company school portraits of Sikh and Mughal rulers. A large collection of British east India company school portraits approx. 55 portraits^ of Sikh and Mughal rulers c1850-1860. Including very finely painted miniature portraits of Maharajah Ranjit Singh (x2) and Maharajah Sher Singh (x2). The collection also includes 3 paintings of the Golden Temple at Amritsar. Typed in English identifications on the back. Other portraits include members of the Lahore Durbar and other Mughal rulers and monuments. There is a particularly large miniature measuring 9cm by 7cm of the Bagan of Delhi. Also is a finely painted portrait of the coronation of Emperor Akbar Shah II (55)
Los 122
Ephemera – Queen Victoria’s Diamond Jubilee special Diamond Jubilee presentation playing card pack by Goodall & Son Ltd London 1897. Complete pack of 52 playing cards all with impressive portrait of Queen Victoria on the backs. The Court Cards are especially beautiful each with different portraits of earlier Kings Queens and Princes as are the Aces. In as new condition.
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283287 Los(e)/Seite