Six portraits of European officers and officials serving with the Sikhs Punjab, circa 1840-50gouache and gold on paper, each with white panel at top containing identifying inscription in Urdu in nasta'liq script, inner border with stylised intertwining motifs in gold on a dark blue ground, pink outer border with red margin rules, one inscribed Lawrence verso 240 x 153 mm. and slightly smaller(6)Footnotes:ProvenanceThe collection of Bryan Wilkins (1950-2021), son of Fraser Wilkins (1908-89), Inspector-General of the US Foreign Service 1964-71, US Ambassador to Cyprus 1960-64.The readings of the inscriptions, and hence the identifications of the sitters are not certain, given the difficulty of expressing unfamiliar European names in Urdu. The inscriptions (on five of the six) are as follows: A. shabih-i ajitan S-D-D-L sahib bahadur, 'Portrait of Adjutant [...] Sahib Bahadur'.B. shabih-i KH-S-B sahib bahadur, 'Portrait of Khosep [Joseph?] Sahib Bahadur'.A possible identification is Henri Joseph de Facieu, who is listed as the commander of a regiment in Ranjit Singh's army (see C. Grey, European Adventurers in Northern India, 1785 to 1849, Lahore 1929, p. 350). Jean-Louis Alexis de Facieu (1788-1843) was a French officer of cuirassiers who arrived in the Punjab in 1839 and enlisted in the service of the Lahore Durbar during the reign of Maharajah Kharak Singh. He held the rank of Colonel. (His son, Henry Joseph, served in the same regiment with the rank of Captain). He was accorded the honour of a full military funeral by the British authorities. His tomb still survives.C. shabih-i kaptan iklat sahib bahadur, 'Portrait of Captain Iklat [Quilette?] Sahib Bahadur'.This is probably a certain Quilette who is recorded as an instructor of Artillery in Ranjit Singh's army (see Grey, op. cit., pp. 350-351. D. shabih-i alaran sahib bahadur, Portrait of Alaran [Halloran] Sahib Bahadur'.This is probably the Irishman, Halloran, variations on whose name are found in records in connection with the army of Ranjit Singh (see Grey, p. 352). E. shabih-i dakthar sartand [?] sahib bahadur, 'Portrait of Dr. Sartand [Sergeant? Surgeon?] Sahib Bahadur.Three doctors are mentioned on the payroll of the Sikh army: the Transylvanian Johann Martin Honigberger, a Frenchman called Benet, and an Englishman called Harvey (see Grey, pp. 334-345).Six paintings, almost certainly from the same series (with the Urdu inscriptions within a panel, the same types of chairs, the distinctive striped carpets, the plain coloured backgrounds, and the same borders, were sold at Christie's, Art of the Islamic and Indian Worlds, 7th October 2008, lot 244. Two paintings, in a very similar style (featuring the same chairs), but with different background features, dated circa 1845, were sold at Christie's, Art of the Islamic and Indian Worlds, 10th April 2014, lots 182 and 183.Finally, for slightly different but related portraits of Sir Henry Fane (British Commander in Chief) and Frederick Currie (agent to the Governor-General, Lord Hardinge, and later Resident at Lahore), significant figures in British involvement with the Punjab, see Sotheby's, Arts of the Islamic World, 7th October 2015, lot 286. The model for such individual portraits may be larger works featuring a number of figures, such as the depiction of the signing of the Treaty of Bhairowal in December 1846, by a Punjabi artist, circa 1846-47, which depicts four English officers alongside the Sikh contingent (British Museum, 1948.10-9.0109; illustrated in S. Stronge (ed.), The Arts of the Sikh Kingdoms, London 1999, pp. 24-25, fig. 18).Lahore was full of European servicemen and adventurers. Davinder Toor, discussing a tulwar which once belonged to Colonel Francis Henri Mouton, who served with the Sikhs and took part in the Anglo-Sikh Wars, comments as follows:Mouton was among the last of a bevy of foreign (firangi) mercenaries and adventurers who travelled to Lahore in search of fame and fortune in the service of the Sikhs. The French contingent was particularly well represented. Besides Mouton, its cavalry officers included General Allard, Commander de la Roche, Mr Garron (or Carron), Messrs de Facieu (father and son) and Captain Argoud. The infantry wing was served by Captain de la Font, Mr Amise, Mr Dubuignon, Mr de la Ust and Mr Gervais, while General Court oversaw artillery operations. Finally, Dr Benet served briefly as Maharajah Ranjit Singh's medical physician and the surgeon-general of the Sikh army.Every one of them had to agree to certain pre-conditions of employment, including the growing of their beards, abstaining from eating beef, marrying locally and promising to remain loyal to the Sikh court, even if it meant going to war against their countrymen. Besides adopting a blend of European and Punjabi dress, many of them also chose to wear Punjabi-made weapons.(Davinder Toor, In Pursuit of Empire: Treasures from the Toor Collection of Sikh Art, London 2018, pp. 194-195).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
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Lady Login, Sir John Login and Duleep Singh, rare first (and only) edition, in original blue cloth embossed with the coat of arms of Maharajah Duleep Singh London, W. H. Allen & Co., 1890580 pp., lithographed frontispiece portrait of Sir John Login, introduction by Colonel G. B. Malleson CSI, blue cloth binding, embossed in gold, bookplate of George Whitley (pencil superscription of Gabriel Ludham), 230 x 160 mm.; and Original Papers of the Norfolk and Norwich Archaeological Society, including 'An Account of Blo' Norton Hall', by Prince Frederick Duleep Singh, inscribed by Prince Frederick for Herbert Hudson, 1925-26, Norwich 1914, the article on pp. 211-260, various plates and diagrams, paper covers 225 x 150 mm.(2)Footnotes:In 1909, after some years spent house-hunting, Prince Frederick (1868-1926), a younger son of Duleep Singh, bought the 16th Century moated house, Blo' Norton Hall, near Thetford in Norfolk. He was a keen antiquarian, having read History at Cambridge, and he was particularly interested in the Stuarts and Charles I. He was a member of numerous historical societies, but was most associated with the Norfolk & Norwich Archaeological Society, joining in 1897 and becoming its President in 1924.For a stand-alone, bound version of the same account of Blo' Norton Hall, and also inscribed to Herbert Hudson, see the sale in these rooms, Bonhams, Islamic and Indian Art, 30th March 2021, lot 137.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
The Tomb of Maharajah Ranjit Singh, Lahore by R. Morse (British, late 19th/early 20th Century)watercolour on paper, signed lower left 277 x 390 mm.Footnotes:The mausoleum (samadhi) of the Sikh ruler Maharajah Ranjit Singh lies just within the area of the walled city of Lahore, and the viewpoint of this painting seems to be just outside the walls. Ranjit Singh died on 27th June 1839 and was cremated the next day. Work on the samadhi began in August of the same year, though after inital progress the work became bogged down, largely as a result of internecine faction fighting. By 1849 it had fallen to the British to put up the money to complete the building, which after some delay they did, and the work was completed in 1851. See F. S. Aijazuddin, Lahore: illustrated views of the 19th Century, Ahmedabad 1991, pp. 87-92. For a watercolour painting of the Tomb from a similar viewpoint, by an unknown British artist, dated April 1914, see the sale in these rooms, Bonhams, Islamic and Indian Art, 4th October 2011, lot 427.For further information on this lot please visit Bonhams.com
GURU RAM DAS (1574-81), THE FOURTH SIKH GURU, SEATED ON A THRONE, THE GOLDEN TEMPLE IN THE BACKGROUND by Dwarka Dass (India, second half of the 20th Century)oil on card laid down on board, signed lower right 50 x 52 cm.Footnotes:The fourth Sikh Guru is seated on a throne nimbus, holding prayer beads in silent contemplation. Behind him through the window can be seen the Golden Temple, the land for which he acquired along with the pool, carrying on Guru Amar Das' designation of the location as serene and suitable for contemplation.For a very similar composition, this time by the Amritsar artist Vir Singh, see the sale in these rooms, Bonhams, Islamic and Indian Art, 30th April 2019, lot 203.For further information on this lot please visit Bonhams.com
An illustration from a Ragamala series: Ramkari Ragini, depicting a prince begging forgiveness from a maiden on a palace terrace Murshidabad, circa 1760-70gouache and gold on paper, laid down on an album page with ivory borders and margins ruled in gold 230 x 190 mm. with bordersFootnotes:ProvenanceChristie's, Islamic, Indian, Southeast Asian Manuscripts, Miniatures and Works of Art, 4th July 1985, lot 170 (illustrated).With Eyre & Greig, London, 1987.Private collection, Virginia, USA, 1987-2013.With Oliver Forge & Brendan Lynch: see Indian Painting, 1580-1850, New York 2013, p. 42, no. 22.For a very similar painting depicting Ramkari ragini in the British Library (Add. Or. 7), see J. P. Losty, L. Y. Leach, Mughal Paintings from the British Library, Indar Pasricha Fine Arts, London, n.d., no. 22; see also T. Falk, M. Archer, Indian Miniatures in the India Office Library, London 1981, no. 368 (iv). This (and our painting is closely related) was one of a group of thirty-six paintings originally collected by Sir Elijah Impey, of which eight are in the British Library, and others in the Victoria and Albert Museum, London, and the Chester Beatty Library, Dublin. (For an example of the series in the V and A (IS 71.1954), see Arts of Bengal: the Heritage of Bangladesh and Eastern India, London 1979, no. 77). In the Impey example, the maiden has turned her face away from the prince, and there is also a female attendant. For the ragamala subject, see K. Ebeling, Ragamala Painting, Basel 1973, nos. 195-197.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
The Devi enthroned with royal devotees holding the attributes of Vishnu Pahari, circa 1830-40gouache and gold on paper, in a painted oval, cornerpieces with cartouches on a red ground, gilt-decorated grey floral border 245 x 173 mm.Footnotes:ProvenancePrivate UK collection: collected by the seller's father and in their family for at least 50 years.For a similar throne supported by lions, this time bearing the goddess Bagalamukhi, see Sotheby's New York, Indian and Southeast Asian Works of Art, 19th September 2008, lot 224.For further information on this lot please visit Bonhams.com
A nayika in discussion with a companion as a storm approaches Pahari, Mandi or Kangra, circa 1840-50gouache and gold on paper, floral border 277 x 193 mm.Footnotes:ProvenancePrivate UK collection: collected by the seller's father and in their family for at least 50 years.The style, and in particular the landscape and the stormy sky, can be compared to a work by Mohammadi, a pupil of Sajnu, sold in these rooms, Bonhams, New York, Indian, Himalayan and Southeast Asian Art, 19th March 2018, lot 3106 (with the samvat date equivalent to 1854); and to another painting, attributed to Kangra of Guler, circa 1840: Christie's New York, Indian and Southeast Asian Art, 18th September 2013, lot 363.For further information on this lot please visit Bonhams.com
Four Timurid cuerda seca pottery Tiles Persia, 15th Centuryeach of square form, variously decorated in yellow, white and black outline on a blue reserve, with part inscriptions in floriated kufic and flowerheads 19.4 x 19.4 cm.(4)Footnotes:ProvenanceBonhams, Islamic and Indian Art, 19 April 2007, lot 89.The inscriptions include the word li'llah or 'For God'.These four tiles relate in style, decoration, design and colour scheme to those embellishing the mausoleum dome of the madrasa of Gawharshad in Herat, built circa 1432 (Thomas W. Lentz and Glenn D. Lowry, Timur and the Princely Vision, Los Angeles, 1989, fig. 31, p.89).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
An Uzbek or Mongol warrior reclining against a large Chinese vase in a landscape, laid down on an album page with a verse couplet above Persia, perhaps Qazwin, late 16th Centurypen and ink with some gouache on paper, two lines of verse in nasta'liq script in black ink within cloudbands within a panel at top, inner margins ruled in colours and gold, outer borders with stylised floral motifs in gold on a blue ground main image within inner margins 168 x 90 mm.; visible album page 198 x 117 mm.Footnotes:ProvenanceMilo Cleveland Beach: acquired from the San Francisco dealer R.E. Lewis, circa 1960 or 1961.ExhibitedFogg Art Museum, Harvard, Massachusetts (on loan, date unknown, label on backboard).The poet of the couplet in the upper part of the page has not been identified. The text is as follows:buseh kardeh saghar-e ma bar sar-e khod mi-nahandsar-e shast-e naw mey parastan khatt-e dawr-e jam-e maTranslated roughly as:They kiss our cup and put it on their headThe fortune of the wine-worshippers is the writing around our cup[i.e. they will become poor, like the artist claims to be in the following inscription].The inscription on the band around the bowl held by the sleeping man reads:bandeh-ye faqir muhammad sharif mosavver, 'The poor servant [of God], Muhammad Sharif, the painter (musavvir)'. The painter has not been identified. On the backboard of the frame are handwritten comments by Beach: Banda-i-Qasr, Muhammad Sharif Musavvir BNG (1976). 'BNG' refers to B. N. Goswamy and his translation of the inscription on the bowl.While Uzbek or Mongol warriors (often prisoners) appear not infrequently in Persian painting of the 15th and 16th Century, this more relaxed figure seems to owe something at least to the archetypal Chinese figure of Li Bai. Li Bai (AD 701-762), also referred to as Li Po or Li Bo, was the foremost poet of the Tang dynasty (AD 618-907) and, together with Du Fu, remains one of the most famous poets in Chinese history. His ambition to serve the Emperor Huizong as a statesman was thwarted when the Emperor employed him as a palace poet composing mundane lyrics for the Court. Frustrated, he left the Court and spent the rest of his life wandering the country and indulging in his love for wine. See for example a quartz figure of Li Bai of the 18th-19th Century, sold at Christie's New York, Chinese Art from The Art Institute of Chicago, 12th September 2019, lot 777.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
A rare Mamluk engraved-brass basin from the reign of Sultan Qaytbay (reg. 1468-1496) Egypt, late 15th Centuryof rounded multifaceted form, the sides tapering towards an inverted rim, the underside of rounded form with hammered s-shaped grooves leading to a central rosette, the sides profusely engraved with alternating panels containing inscriptions and rosettes formed from interlaced tendrils, all on a ground of vegetal and geometric interlace, the foot with vegetal interlace, the interior with roundel containing a heraldic blazon 36.5 cm. diam.Footnotes:Inscriptions: mimma 'umila bi-rasm al-maqarr a/ al-maqarr al-karim a/ al-karim(?) al-'ali/ al-'ali al-mawlawi/ al-amiri al-kab[iri]? / al-maliki al-makhdumi/ al-makhdumi al-humami .../ ... al-nizami/ al-'adili al-ghaz[i] /al-'alimi al-'adi[li]/ al-'amili al-humami/ al-sayyidi al-sayyid al-mal[iki] / al-maliki 'azza ansarahu, 'One of what was made for the authority, the honourable authority, the high, the high, the lordly, the great commander, the possessing, the masterful, the masterful, the valiant .../ ... the administrator, the just, the holy warrior, the learned, the just, the diligent, the valiant, the masterly, the Sayyid, the possessing, the possessing, may his victories be glorified'.The present lot displays the complex decorative language typical of the late flowering of Mamluk metalwork towards the end of the 15th Century. The division into compartments, filled with designs or inscriptions, is a recurrent theme of Royal Mamluk and Veneto-Saracenic metalwork of the time. Other examples of bowls displaying this scheme are a Basin dedicated to Qaytbay in the Museum of Islamic Art in Cairo, a basin dedicated to Nasir al-Din Sidi Muhammad, son of Saif al-Din Uzbak, Atabek of Qaytbay, in the Victoria & Albert Museum (inv.no.206.1892) and a bowl in the M.C. Collection (see Malikian Chirvani Cuivres inedits de ;'Epoque de Qa'itbay in Kunst des Orients, Vol.6, H.2, 1969, pp. 99-133.For further information on this lot please visit Bonhams.com
A 'Veneto-Saracenic' silver-inlaid pierced brass incense burner Syria, 14th/ 15th Centuryof spherical form in two parts, engraved and decorated in silver inlay with a band of alternating cartouches and roundels filled with geometric and vegetal interlace, bands containing undulating floral vines, the top and bottom with large roundels containing interlaced foliate tendrils, traces of enamel, numerous drilled holes 12.6 cm. diam.Footnotes:This type of incense burner, sometimes described as a handwarmer, was inspired by armillary spheres produced in China as early as the Tang dynasty for use by astronomers. They were thought to have been made in the Mamluk empire for export to European cities with colder climates and were imitated by Venetian artists in the 16th Century. Other examples are in the British Museum (1878,1230.683) and the Freer Gallery of Art (see Esin Atil, W.T. Chase and Paul Jett, Islamic Metalwork in the Freer Gallery of Art, Washington, 1985, p. 171, no. 23). The geometric designs on the present lot simulate plaited kufic inscriptions like those on the Freer gallery example.For further information on this lot please visit Bonhams.com
Four Diyarbakir pottery tiles Turkey, late 16th Centuryeach of square form, decorated underglaze in raised-red, cobalt blue, turquoise and black outline on a white ground with an interlace of large tulips overlaid with palmettes and foliate tendrils each 32.5 x 32.5 cm.(4)Footnotes:For two similar tiles sold at Christie's see Art of the Islamic and Indian Worlds, 23 October 2007, lot 126.For further information on this lot please visit Bonhams.com
An Aleppo pottery tile depicting St George by Musa ibn Stephan Ottoman Syria, dated AD 1699of square form, painted underglaze in cobalt blue, turquoise, manganese and yellow with black outline, depicting St. George slaying the dragon, the border with a repeat design of lozenges, the lower border with inscriptions in naskhi 15.9 x 16.1 cm.Footnotes:Inscriptions: 'The work of Musa ibn Stephan in the city of Aleppo, the year 1699 [AD]'.For similar tiles, see Christie's, Art of the Islamic and Indian Worlds, London, 17th April 2007, lots 316 and 318. Further examples are in the Keir Collection (Oliver Watson, 'Ceramics' in B.W. Robinson (ed.), Islamic Art in the Keir Collection, London, 1988, p. 278, C151a and b), and in the Hermitage Museum, St. Petersberg (see Mikhail B. Pitrovsky and Anton D. Pritula, Beyond the Palace Walls: Islamic Art from the State Hermitage Museum, St. Petersburg, 2006, p.118, pl.116).For further information on this lot please visit Bonhams.com
Hudson Oval Coffee Table Champagne Add A Splash Of Scandi Style To Your Home With The Hudson Oval Coffee Table From Gallery Direct The Effortless Cool Of Its Clean Design Is Complemented By Beautiful And Practical Detailing, Such As Tempered Glass And An Champagne Finish Two Oval Surfaces Deliver The Perfect Ornate Coffee Table For Easy And Elegant Entertaining The Neutral Tones Of This Piece Also Offer Opportunities To Showcase Art, Colour And Modern Life Sophisticated, Contemporary And Versatile, This Piece Has Been Designed For Lovers Of Fine Featured Furniture 112cm Wide, 61cm Deep And 51cm High (SR237) Ex Showroom Display
Leather Art Dining Chair - Mirrored Brass / Black Onyx Leather The Art Dining Chair Incorporates Aspects Of Industrial Design; Celebrating, Rather Than Hiding, Its Exoskeleton Frame And Visible Screw Heads, In Mirrored Steel An Arc Shaped, Upholstered Seat And Back Completes The Clean-Lined Silhouette 61 x 51 x 72cm (1402077) - Black Leather (Area F)
Jerome Massier - Vallauris - Majolica Jardinière Planter. Art Nouveau, large ceramic jardinière planter. The dramatic blue-green ground underneath, with hand-applied palette of green drip-glazes. Impress mark fop Jerome Massier to base. With plant!Height without plant 38 cms, diameter 33 cmsCondition report: No issues
A mahogany and marquetry armchair.The flower and leaf-inlaid shaped toprail above an oblong padded back within open looped uprights over a padded seat and shaped flat arms above cabriole legs.c. Probably circa 1900.An unusual design combining late 18th century boxwood-strung neo-classical-inspired details with Art Nouveau inlaid motifs and a distinctive looped frame.Height 107 cm; Length 59 cm; Depth 46 cm
Mahogany, Oak, brass, glass, and blued steel, Art deco era, two train spring driven,eight day time and hour/half hour striking mantel clock (movement #541), made by Smith’s Astral of Coventry, in the central highlands of England, circa 1935. Case: Mahogany mantel clock measuring 20 cm x 27 cm x 12 cm and having a shallow tambour or napoleon Hat type undulating pediment above the concentrically shaped facade of the case centering the zinc glazed bezel and the façade flanked by ebonized stop fluted pillars, one to either side. The base is built in two parts, the upper has horizontal dentil moulding above the concave moulded bracket feet with undulating apron between the front feet. The shape of the concave and dentil moulding continues on both sides of the base. The back of the case is stained and flat with a bulbous round and brass cross-hatched round door for access to the movement compartment. The door has a long hinge on the right and simple metal pull. . . . . Dial: Round silvered metal round dial with enameled Roman hours, closed bar minute track, steel Continental style hands. The dial is unsigned. . . . . Movement: A round solid brass movement with tubular posts connecting the plates and screwed together with metal washers at the rear plate to hold the gearing stable. The back plate is marked #541 and most importantly carries the logo of Astral clocks of Coventry /England. The logo is in the form of a clock key with the heart shaped handle above enclosing the word, Coventry and below the key the word Astral. Of significance is the use of a lever or anchor escapement in conjunction with the marine-type balance-wheel with single lever for adjusting the speed of the movement. The going barrel drives the clock for eight days and causes hour and half hourly striking on a coiled metal Cathedral gong. . . . . . Condition: Case – Tiny chips and splatters of white paint and wear to the case finish. Wear to the edges of the case. Case is fair to good condition. Dial: In good to very good condition with minimal signs of oxidation and slight darkened patina from age. Movement appears to be genuine, original and in good condition. c. Circa 1935.
{ Option of lots: 473, 474 } Deco Chair Black Leather This Art Deco Inspired Armchair Creates The Atmosphere Of An English Gentlemens Club In Your Living Room With This Club Chair Styled With A High Back With A Gentle Nod To The Art Deco Era 1 Seat Sabbath Black Leather 75 x 85 x 80cm (JHS062/89-90)
{ Option of lots: 473, 474 } Deco Chair Black Leather This Art Deco Inspired Armchair Creates The Atmosphere Of An English Gentlemens Club In Your Living Room With This Club Chair Styled With A High Back With A Gentle Nod To The Art Deco Era 1 Seat Sabbath Black Leather 75 x 85 x 80cm (JHS062/89-90)
Hudson Furniture Knight Acacia Table Acacia table with cast bronze base and walnut top with straight edge L2200 X W910mm H 762 mm In 2004, Barlas Baylar founded Hudson Furniture Gallery, a concept design showroom in New York Always inspired by the art, design and architecture of the art deco era nature, Baylar has delved into studies of modern classics to inform his unique design sensibilities. Each Hudson design is hand-sculpted in a one of a kind provenance, intended to be shared by generations to come, with many hours invested in each dedicated design, prior to its leaving the atelier and reaching the showroom.
Benwest Cocktail Drinks Cabinet Inspired By The Art Of Joinery, The Walnut Drinks Cabinet Is A Fusion Of Minimalist, Functional Design And Scandinavian Expression Featuring A Rich Walnut Wood Frame That Is Finished With Panelled Detailing The Addition Of Metal Base Gives The Illusion That The Unit Is Suspended Slightly Above The Ground 70 X 44 X 140cm
Benwest Sideboard Inspired By The Art Of Joinery, The Walnut Sideboard Is A Fusion Of Minimalist, Functional Design And Scandinavian Expression Featuring A Rich Walnut Wood Frame That Is Finished With Panelled Detailing The Addition Of Metal Base Gives The Illusion That The Unit Is Suspended Slightly Above The Ground 140 X 53 X 65cm
Benwest Console Table Inspired By The Art Of Joinery, The Walnut Console Is A Fusion Of Minimalist, Functional Design And Scandinavian Expression Featuring A Rich Walnut Wood Frame That Is Finished With Panelled Detailing The Addition Of Metal Base Gives The Illusion That The Unit Is Suspended Slightly Above The Ground 90 X 35 X 75cm
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Books - English Fashion & Costume - Calthop, Dion Clayton:English Costume decorative Art Nouveau binding; Handbook of English Costume in the 18th Century by C.W.&.P.Cunnington; American Fashion - a full year of bound editions of The Ladies Home Journal 1897 published by The Curtis Publishing Company, Philadelphia, bound in red leather and board; etc
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