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Click here to subscribeA collection of assorted costume jewellery, to include a 9ct gold fox head bar brooch, a collection of French and British shoe buckles, various gilt metal brooches and pendants, a gilt metal and paste set heart shaped necklet, dress clips, marcasite brooch and pendant and a quantity of 1970s and later earrings. (qty)
A 19th century German porcelain (probably Meissen) porcelain urn and cover: the dome-topped reeded cover surmounted with a gilded open-winged eagle above a typical central vignette in enamels with lovers in 18th century dress in countryside surroundings with ruins; two arched gilded acanthus leaves as handles above applied flowerhead-style decoration in high relief; further gilt highlighted C-scrolls, vignettes of floral sprays and other decoration in high rocaille style. (34.5 cm high including cover.)(Firing cracks and some minor damage)
A small group of watercolour portrait miniatures: Continental, on ivorine, first half 20th century, one of a noblewoman in a ruff and blue and gold dress, 13 x 9.5cm.: and a pair of ladies in 18th century dress, 8 x 6.25cm., all in faux-tortoiseshell celluloid frames; plus a smaller miniature of an elegant lady in a white dress and wide brimmed sun hat, signed 'Tremont', inscribed 'Miss Stieler' to a label verso, in a turquoise jewelled gilt frame. (4)
An interesting selection of mostly costume jewellery to include: various silver rings;an enamel and paste studded brooches as sailing ships;a silver and marcasite brooch modelled as a rider and horse;a hallmarked silver ingot pendant;a hand planished pewter bangle by Robert Welch (original box);a small selection of various watches including a gentleman's Zenith quartz dress wristwatch with date aperture and moon phase at the 6 o'clock position;further pearls, brooches, pendants, rings and silver items.
A pair of late 19th century hard-paste hand-decorated porcelain figures: male in 18th century dress playing the fiddle and with attendant hound; the female with flowers and a lamb before her; each with a gold anchor mark to reverse of gilt highlighted base in high rocaille style (Probably Samson). (23 cm high)
Two early 20th century watercolour on ivory portrait miniatures of young ladies: one with long hair in ringlets, mounted in a foliate chased gilt-metal locket, with plaited hair behind glass inside the hinged case, inscribed to inside case back 'Mary', (the portrait 33 x 22mm); the other in a pale-blue and white dress and bonnet, in a chased gilt-metal pendant mount (the portrait 36 x 31mm). (Registration no 7XG1SQG)
A pair of decorative wall-hanging tapestries in Brussels style: 1. an exterior scene of revelry and dancing in the park of a grand country house and with a portrait painter at work.2. an interior salon scene with figures in 18th century dress conversing, taking tea and a lady giving a piano recital.(Each approx. 153 x 55.5 cm)
An early 20th century 1827 Pattern Royal Navy officer's dress sword: the shagreen handle with a lion's head terminal and cast anchor and crown in high relief, minus hilt guard, 74.5 cm oxidised blade. (88 cm) Please note - bladed weapons will not be sold or released to persons under the age of 18
A post WW2 East German DDR officers dress dagger.Chromed fittings with a pebbled pommel and yellow plastic grip.Complete with original hanging straps, green card box, and warranty certificate.Notes: the accompanying certificate has a corresponding number to the blade and the sticker on the outside of the box.The certificate is also dated 18th January 1985.Approximately 39.5cm length.Condition: very good.The item appears to have little to no use.The box has a couple of light edge scuffs.
A 1922 pattern, Inter War period, Seaforth Highlanders tunic, kilt, sporran, spats, socks, glengarry, and tam o’ shanter.A fantastic original set, as worn by 2810148 L/Cpl Sidney Hunt.Comprising of: the 1922 pattern tunic, with brass Seaforth Highlanders buttons, brass shoulder titles, lance stripe to each arm, a good conduct stripe to the lower left sleeve, a Lewis Gunner badged to the right sleeve, and braided lanyard to the left shoulder.The tunic also features the traditional cut away skirt to the front to allow the wearing of the dress sporran.The set is complete with its original leather, brass, and horsehair sporran, with an applied brass badge for the Seaforth Highlanders applied to the front.Plus, a Seaforth Highlanders kilt with leather securing straps (this is named to a different soldier and likely reissued to L/Cpl Hunt), a woollen glengarry cap with diced band, red pom-pom, silk rosette with white applied metal badge, leather sweatband, and silk tails.Additionally there are a pair of woollen socks, spats, sock ties, and a Tam O’ Shanter (the latter being unbadged).Notes: the set was inherited by the niece of Sydney Hunt and has been in storage for many years.To the best of our knowledge, all the individual elements that make up the set have been together since the interwar eraThe tunic has the remnants of a paper label to the inside, but what remains is unreadable.There is a government War Department ink stamped code to the inside of the tunic, which is 62 over WD and broad arrow, with a letter P underneath.The glengarry cap is more akin to the WW1 issued caps - it calfskin leather band is more indicative of a WW1 or interwar issued piece.According to published records, there is a TS Hunt of the 1st battalion Seaforth Highlanders with the same 2810148 service number listed under other ranks discharged 1921-1939.The post WW1 numbering system for soldiers, starting in 1920, gives a range from 2809001-2865000 for this regiment, and L/Cpl Hunt’s number is only 1147 from the start of this range, which suggests his service reckons from the early 1920’s.Condition: varies across pieces.The tunic is in excellent condition, with only minimal wear and apparently no moth damage.The kilt is similar to the tunic, in good order with only minimal wear.The leather securing straps on the kilt are supple and work as they should.The glengarry has moderate service wear to the main body of the cap - there are some pulls to the fabric on the diced band, plus some minor moth tracking and nibbles.The silk tails have perished and are fraying in places.The sporran is good, with all elements being in good condition and showing only normal service wear.The spats show staining and service wear, notably to the inside.The sock are good, with minimal soiling.The Tam o’ shanter has a small moth hole to the crown and a tear to the lining.
Cold War era Russian naval dress dagger, with associated belt and hanging straps.Yellow celluloid grip with brass fittings and leather scabbard.8-1/4 inch blade with makers mark and 1960 date.S shaped quillon with push button blade release.Fouled anchor engraved motif to the scabbard, and the metal belt fittings and buckle.An ink stamp to the belt would suggest a manufacturing date of 1962.Approximately 34cm in length (when in scabbard).Condition: generally very good.The blade is bright and clean, with the brass fitting having tarnished a little.Minor contact marks to the leather part of the scabbard.The push release button for the blade seems to be ineffective, and the blade may be pulled from the scabbard without using it.The belt has some minor soiling, mainly to the inner side from wear.The reverse of the buckle has some minor corrosion, and there are some small spots to the front of the buckle, but this does not affect the overall appearance.
A vintage East German NVA jacket / work fatigues with associated matching trousers, and an elasticated red tie, and canvas belt.Enamel badge to left breast and embroidered badge to left sleeve.Plus, a vintage East German NVA dress uniform tunic and matched trousers6 items.Condition: generally good condition.Some very minor soiling and thread pulls to the dress tunic.
A WW2 era Kriegsmarine Naval Officers dress dagger, by Paul Weyersberg & Co of Solingen.Brass cross guard with fouled anchor to both sides, a push button blade release.Ivory white celluloid grips with wire twists, eagle and swastika to the pommel.Blade etched with fouled anchor and dolphins to both sides.Etched maker marked to the ricasso.Standard brass scabbard with engraved lightning flash detail, oak leaf banding and 2 suspension rings.Notes: according to information supplied by the vendor, the dagger was acquired by his father from an officer from the German battleship, Scharnhorst.Approximately 41.3cm length including the scabbard - blade length 24.9cm.Condition: some cracking to the celluloid handle, but the grip remains solid and without movement.Minor darkening to the blade and some very minor pitting near the ricasso.Some minor denting to the scabbard near the chape.
A WW1 / Weimar era German cavalry officers dress sword.Brass cross guard with lions head detail.Knuckle guard with cast oak leaf detail.Wire bound black celluloid grip with decorative back strap and lions head pommel.Languet to both sides, one with crossed sabres, and other with plain oval cartouche within a laurel wreath.Fullered, slightly curved steel blade, with no apparent makers marks.Complete with black painted scabbard.Approximately 98.8cm length including scabbard.Condition: generally good.The brass guard is good, retaining a good shape and level of detail.Many of the recesses have ingrained old polish from cleaning.The steel blade has darkened in places and has some areas of light surface corrosion.Some light nicks to the cutting edge of the blade in places.The scabbard is good, and shows only light paint loss from use.
STEPHEN WEBSTER: KUNZITE AND GEM-SET DRESS RING, 2002 The oval-cut kunzite within a surround of brilliant-cut diamonds, the gallery set with scattered circular-cut pink sapphires, mounted in 18 carat white gold, kunzite approx. 31.0cts, signed Webster, maker's mark SW, London hallmark, one pink sapphire deficient, ring size approx. L For further information on this lot please visit Bonhams.com
COLLECTION OF JEWELLERY, LATE 19TH - EARLY 20TH CENTURY 1st: The bar brooch set with a cabochon opal and seed pearls, 2nd: The opalescent polychrome enamel flower brooch set with seed pearls, a circular-cut ruby and cushion and rose-cut diamonds, 3rd: Three 3.7mm pearl dress studs, 4th: The ring set with a cushion-shaped sapphire between old brilliant-cut diamond shoulders, 5th: The ring set with a 6.5mm cultured pearl and step-cut emeralds, 6th: The ring set with a cushion-shaped ruby and trios of rose-cut diamonds, lengths: 1st 5.3cm, 2nd 2.9cm, 3rd 1.0cm, 4th ring size approx. N, 5th ring size approx. K1⁄2, 6th ring approx. P, 3rd cased by Spink & Son, London (6) For further information on this lot please visit Bonhams.com
ENGLISH SCHOOL (CIRCA 1700)PORTRAIT OF A LADY, IDENTIFIED AS SUSANNA WHITE, LATER LLOYD (d. 1762), HALF-LENGTH IN A BLACK DRESS, FEIGNED OVALOil on canvas71.1 x 61cm (27 x 24 in.) Provenance:The Crawley-Boevey family Sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1375Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley Abbey Susanna Lloyd, née White (1684-1762) was the only child of John White and Susanna Ayleway. She married John Lloyd in 1709 and was the mother of Susanna Lloyd (1712-1762) who married her first cousin Thomas Crawley in 1743. Thomas Crawley had earlier inherited Flaxley in 1727 from Catherine Boevey. It is likely that this portrait entered the Flaxley collection upon her death in 1762. She was buried on the same day as her daughter.Condition Report: The canvas has been relined and is on a later stretcher, providing good support. Inspection under UV reveals some retouched craquelure in the sitter's face as well as retouching in all four corners of the canvas and a repair to the left of the sitter's head in the brown background. Condition Report Disclaimer
ENGLISH SCHOOL (17TH CENTURY)PORTRAIT OF JOANNA BOEVEY, FULL-LENGTH IN A BLACK AND BROWN DRESS WITH EMBROIDERED SLEEVES HOLDING A PAIR OF GLOVESOil on panelInscribed 'ANNO 1616/ ANNO BOEVE/AETATIS SVAE 11-' (upper left)143.5 x 95.3cm (56¼ x 37½ in.)In an 18th Century carved giltwood frame. Provenance:Probably commissioned by Andreas Boevey (1566-1625), and by descent at Flaxley Abbey, Gloucestershire, until sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1296Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley AbbeyLiterature:Arthur W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester, Bristol, 1912, p. 11, no. 1; p. 12 In the 1960 sale of the house contents of Flaxley Abbey, Gloucestershire, this painting was ascribed to 'Sandvort'. The portrait represents Joanna Boevey (1605-64) as a young girl, aged 11, daughter of Andreas Boevey (1566-1625), a Dutch Huguenot emigré, merchant, financier and elder of the Dutch church at Austin Friars. Joanna married Abraham de Clerke (also Dutch, anglicised to Clarke). After 1654, James I transferred the Flaxley estate to Joanna's brother, William Boevey, who gifted a share to his sister, and directed that the remainder be sold after his death for the benefit of his wife. In 1661, Joanna bought out her sister-in-law, and lived at Flaxley with her son, Abraham Clarke the younger. On Abraham's death in 1683, he bequeathed the estate to his cousin, also named William Boevey (1657-92), son of his half-uncle, James (J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - I: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 29 March 1973, pp. 844-845). A second painting of Joanna as an adult is recorded at Flaxley in 1912, and at this date was tentatively attributed to Cornelius Jansen (1585-1638) (A.W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester, Bristol, 1912, p. 11, no. 2; p. 13). Condition Report: Panel supported on the reverse by horizontal batons, some of later date. The picture is made of three panels, two vertical panel joins which have been secured in the past but have now separated, with some associated flaking. There are a number of vertical cracks to the two outer panels, they have received some support verso. Each panel has started to bow slightly. Some scuffing and abrasion throughout, predominantly to the framing edges and a more pronounced area of surface scratching to the stripes in the sitter's skirt. Some retouching is visible in natural light, particularly to the aforementioned cracks. UV reveals further retouching throughout. Craquelure throughout, this is heavier in some of the darker pigments and is creating an uneven surface. Surface dirt and discolouration of several uneven varnish layers. Condition Report Disclaimer
JOSEPH WRIGHT OF DERBY (BRITISH 1734-1797)PORTRAIT OF FRANCIS FOX (1724-1789), BUST-LENGTH, IN A BROWN COAT; AND PORTRAIT OF DOROTHY FOX (1733-1793), IN A BLACK AND WHITE DRESS AND HATOil on canvas75 x 62cm (29½ x 24¼ in.) (2)Provenance:By descent through the sitters' family Exhibited:Derby, Corn Exchange, A Catalogue of the Art and Industrial Exhibition..., 1866 (nos. 206, 209), lent by Rev. S. Fox Literature:Benedict Nicolson, Joseph Wright of Derby : Painter of Light, London, Paul Mellon Foundation for British Art, 1968, nos. 62 and 63In his 1968 Catalogue Raisonné Benedict Nicholson suggests that it is more likely that the sitters represent Mr. and Mrs. William, however this was presumably based principally on the location of the Fox portraits entry in the account book, where it appears directly above entries for various views in the Lake District of the mid-1790s. However, Wright's account book does not follow a strict chronological order and is not a reliable mechanism for dating purposes. In addition, the identities of the sitters are confirmed not only by the old labels attached to the stretchers, but also by their provenance, by direct descent from Francis and Dorothy Fox to the present owner. Both works are to be included in Martin Postle's forthcoming catalogue raisonné.
Wheeler (J. Talboys). Hand-Book to the Madras Records. being a report on the public records preserved in the Madras Government Office previous to 1834. With chronological annals of the Madras Presidency, Madras: reprinted by the Superintendent, Government Press, 1907, xx, 48 pp., contemporary brown cloth, spine lettered in gilt, large slim 8vo, together withGovernment of Madras. List of the Army for 1787, corrected up to 1793, Madras: printed by the Superintendent Government Press, 1909, [iv], 95, ix pp., 20th-century maroon cloth, spine lettered in gilt, with original printed wrappers bound in (some soiling to title now relined), slim folio, plus other historical reference works, various, including George W. Forrest, Selections from the Letters Despatches and other State Papers preserved in the Military Department of the Government of India 1857-58, volumes I & II only (first volume lacking general map and plan of Delhi in pocket at rear and second volume similarly lacking map and plan of Lucknow in rear pocket), later cloth/contemporary half calf respectively, some wear to the second volume, both thick 8vo, Government of India Army Department Dress Reglations (India), 2 copies 1926 & 1932, Alexander Cunningham, Four Reports made during the years 1862-63-64-65, (archilogical survey of India), volume II, Simla: Government Central Press, 1971, & Report of a Tour in the Central Provinces and Lower Gangetic Doab in 1881-82 , volume XVII, Calcutta: Office of the Superintendent of Goverment printing 1884, lacking front endpaper, original blue cloth, rubbed and some wear to lower half of spine, first volume bound in modern blue cloth, second work bound in original blue cloth, rubbed and some wear with portion of spine missing, boh 8vo, etc.QTY: (23)
* Armand Marseille Doll. A bisque headed doll, early 20th century, with articulated eyes, closed mouth, rear of head incised 'AM Germany 6(?)41/2', composite body dressed in contemporary christening dress, underskirt, and bonnet, with modern long fitted bloomers, 28.5 cm high, together with a wooden rocking cradle (37 x 30.5 cm), cream pillow and duvet, plus a wax over composite doll, mid to late 18th century, heavily crazed with some loss to nose, lower left cheek and top of left hand neck, wig partially detached, blue kid leather forearms, dressed in contemporary white linen dress with blue lining, two petitcoats and trousers, black satin boots (some fading), 38 cm high, and three other modern ceramic dolls dressed in various styles comprising: punk, flower girl and Oriental style clothing, approximately 40 cm high QTY: (6)NOTE:White p. 142.
Crystal Palace. The Great Exhibition "Wot is to Be", or probable results of the industry of all nations in the year '51. Showing what is to be exhibited, who is to exhibit it, in short how its all going to be done. By Vates Secundus [George Augustus Sala] ..., London: Published by the Committee of the Society for Keeping Things in Their Places, 1850, hand-coloured etched folding panorama of 23 panels, comprising full-page view (forming front pastedown) and two long continuous strips of satirical sketches (one above the other), on several conjoined sheets, upper edge close-trimmed (sometimes clipping text), some toning and occasional foxing, a few minor creases, some splits to folds repaired with archival tape, penultimate panel with lower inner corner torn away (resulting in loss only to background squiggles, not to main image or text), folded into original brown cloth, upper cover with hand-coloured etched pictorial title label (rubbed and browned), oblong 8vo (14 x 25 cm), contained in a custom-made green cloth solander box with gilt lettered spine labelQTY: (1)NOTE:A scarce and outrageous survey of fictional exhibits at the Great Exhibition of 1851, produced in the preceding year. A cheaper, uncoloured, version was also issued. The long procession of the arts and manufactures of various nations includes: a man naked save for spurs, tricorn hat, and nose ring, dubbed "A specimen of the Costume of the Sandwich Islands, a chief will attend in full dress"; Lord Palmerston appearing as Cupid; images of cannibals in New Zealand exhibiting "specimens of the art of cookery in that remote region"; caricatures of Alexandre Dumas, Victor Hugo, and Alexis Soyer; and an image of a slave and slave owner with a cat o'nine tails.
* Peg Dolls. Wooden peg doll, late 19th century, with painted hair, face and shoes, the lower limbs painted pale white, wearing a later floral dress with lace trim over, a petticoat with net border over a pair of check drawers, a little spotting to fabric round dolls neck, height 29 cm, together with: a Victorian wooden peg doll, with naively painted face and hair, the lower limbs painted pale pink, left arm and both feet restored, height 34cm, plus two Ernst Henback Koppelsdorf dolls both in contemporary outfits, one missing an earring and both eyes, nine other dolls including a Schutz Marke, four porcelain dolls and three fabric ones, various sizes and six doll wigsQTY: (1 box)
Icelandic & Viking. 30 volumes of Icelandic, Viking & Norse reference, including Skja, Iceland's Largest Volcano, With a Description of the Great Lava Desert in the Interior, and a Chapter on the Genesis of the Island, 1st edition,by Locke, published by the author, 1881, folding map to the front with a minor tear to the hinge, some light spotting, original boards, 8voLetters on Iceland: Containing Observations on the Civil, Literary, Ecclesiastical, and Natural History; Antiquities, Volcanos, Basaltes, Hot Springs; Customs, Dress, Manners of the Inhabitants &c, &c, by Banks, G. Perrin, 1780, folding map frontispiece, some light toning & spotting, new endpapers, modern brown cloth, boards slightly marked, 8vo Islendinga Sogur vols I-XII, 12 volumes, by Jonsson, Islendingasagnutgafan, 1946..., Icelandic text, bookplates to the front endpapers, some toning & spotting, contemporary black quarter calf, volume 6 cracked to one edge with loss to the head & foot 8vo, & further early medieval history and Icelandic topography reference, mostly original cloth, V/VG, 8voQTY: (30)Please note that lots 375-430 are off-site in Bourton-on-the-Water and can only be viewed online and any purchases collected from there by prior arrangement.
* De La Rue, Thomas, and Co., publisher. The New and Diverting Game of "Golliwogg" consisting of Forty-Eight Pictorial Cards, Depicting the Most Famous Characters and Scenes in the Above Works. Adapted, drawn in fac-simile, and elaborately rendered in Colours from Florence K. Upton's Original Designs, c.1910, forty-eight colour-printed pictorial cards in sixteen sets of three (complete), includes rules booklet (repaired along spine), 90 x 63 mm (3.5 x 2.5 ins), contained in a blue printed slipcase box (not original), together with a duplicate copy with facsimile rules booklet, in a pink slip case, plusGolly Misfitz, a very amusing game, full of hilarious amusement, London: C.W. Faulkner & Co., circa 1906, fifty four chromolithographic pictorial cards in eighteen sets of three, showing doll characters in various traditional and national dress, each card 6.7 x 9.1 cm, original rules booklet (partially detached along spine), presented in original printed box (some closed tears to edges of box), and a small carton containing 28 other packs of cards including: Der Struwwelpeter; Little Grey Rabbit card game, A Pepys game; Highwayman, Chad Valley; Contack, John Waddington; Fairy-Tale Playing Cards, etc., QTY: (1 carton)
* Todd (Michael Justin, 1932-). It Was Neither More Nor Less Than a Pig, 1982, watercolour, depicting Alice holding a pig in a dress running along a path, the Cheshire Cat besides her a shocked looking frog dressed as a doorman sitting on the ground his hand on his head, signed and dated lower right, image size 28 x 21.2 cm, University College Collection label adhered to glass, mounted, framed and glazed (55 x 45 cm), published in Alice's Adventures in Wonderland by Lewis Carroll, London: Victor Gollancz Ltd, 1984QTY: (1)
Alivardi Khan, Nawab of Bengal, receiving a guest, circa 1760, opaque pigments on paper heightened with gold and silver, depicted seated on a terrace, with river and darkening sky behind, details of dress and textiles picked out in gold and silver, on a gold flecked album page, painting 22 x 15.5cm., folio 35.5 x 28.5cm. (VAT charged on hammer price)Provenance: Acquired from Waddington & Tooth, 1970sAlivardi Khan (1671 1756) was the Nawab of Bengal from 1740 to 1756. He toppled the Nasiri dynasty of Nawabs and assumed power himself. He is also known for his victory during the Battle of Burdwan against the Maratha Empire during the Maratha invasions of Bengal. Several fine paintings of him exist, one in the Victoria and Albert Museum with his nephews and grandson.See Skelton, R.: Murshidabad Painting, Marg, X.1, 1956, pp.10-13; Losty, J.: Towards a New Naturalism, Portraiture in Murshidabad and Avadh, 1750-80, Marg, LIII, 4, pp.34-37.
An illustrated folio from a Jain manuscript, Mewar, India, 17th century, opaque pigments on paper, with 14ll. of text to the right, the illustration depicting Krisha and cowherders with another figure possibly a merchant on a red ground, mounted, glazed and framed, painting visible, 22.7 x 11cm. Footnotes: The style of these paintings is similar to the Gem Palace Ragamala in the National Museum in Delhi and the Sursagar in the Kanoria Collection in Calcuta, both of which were probably painted by the artist of the Chitor Ramayana executed in 1651. Although the format is clearly drawn from Hindu and Jain traditions, the dress of the merchant and the prince are influenced by Mughal portraiture.No other copy of this text is known and Jain manuscripts produced in Mewar are very rare. Two other leaves of this manuscripts are in the Los Angeles County Museum and in the San Diego Museum of Art (Pal, The Peaceful Liberators: Jain Art from India, Los Angeles, 1995, no 94; Edwin Binney 3rd Collection, Archer and Binney, 1968, no 4).Condition Report: Unexamined out of frame, with some paint loss
A portrait of Jagat Singh II of Mewar (1734-1751) watching a Nautch, Mewar, Rajasthan, India, circa 1760, gouache heightened with gold and silver on paper, the haloed ruler shown beneath a parasol and smoking, his vivid red robes echoed in those of the dancer before him, the drum held be one of his performers and the dress of one of his courtesans, inscribed verso and recto, 30.2 x 20.7cm. Provenance: Private Collection of J.P. Losty (1945-2021), formerly curator of Indian Visual Materials at the British Library; acquired from the Pan Asia Collection, Sotheby's, October, 1990 Inscriptions: Recto in gold: 'Portrait of Maharana Sri Jagat Singji. Dance of Women' Verso: 'Portrait of Maharaana Sri Jagat Singhji enjoying a dance of his women. This page entered into the [Royal Mewar] collection on Asadha badi 12 samvat 1818 [August 1761].'Condition Report: With some losses to paint
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