A polychrome painted cotton throne cover (khandpaat) Deccan, 19th Centuryof rectangular form with pointed upper edge, painted in polychrome and gold with a central panel depicting Krishna and the gopis, above and below panels depicting the worship of Krishna symbolised by the kadamba tree and cows on the bank of the river Jumna, the border with scrolling floral vines, mounted 212 x 110 cm.Footnotes:A Khandpaat or Simhasana is a piece of cloth made to cover a throne in a Shrinathji shrine. The throne would have been set in front of the picchavai, sometimes flanked by smaller thrones. A photograph of a Shrinathji (Krishna) shrine showing the picchavai and other furnishings and ritual accoutrements, including the cloth covering the throne and steps, is published in Krishna, K. & Talwar, K. In Adoration of Krishna - Picchwais of Shrinathji - Tapi Collection' 2007, p. 10. The present lot has been dated to the 19th Century based on an analysis of pigments which identifies the presence of 'emerald green' (copper acetate arsenite) which was invented in 1814 in Europe and became widely used by the 1820s. It fell out of fashion by the end of the 19th century due to the invention of a similar but cheaper substitute. By 1840, a community of around ten families of Pushtimarg devotees had settled in Hyderabad, Deccan. This community of Gujarati merchants and bankers probably commissioned such textiles for their personal shrines and for the temples they patronised. A Deccani picchavai with traces of the same pigment is in the Boston Museum of Fine Arts (acc.no.67.837).For further information on this lot please visit Bonhams.com
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A large and impressive painting in six sections depicting an extensive royal procession with the Sawai Maharaja Jai Singh Prabhakar, Maharajah of Alwar (reg. 1892-1937), signed by R. Sahai, the Alwar State Painter Alwar, Rajasthan, circa 1903-1909gouache and bodycolour with gold on heavy paper, signed R. SAHAI STATE PAINTER ALWAR RAJPUTANA, six separate panels forming one painting 815 x 67.3 cm.; 26 feet 8½ in. by 26½ in.(6)Footnotes:ProvenanceFormerly the Estate of George McFadden, New York, 1980s.Following in the Mughal tradition of grand royal processions this 8-meter-long panorama depicts the full complement of participants and royal carriages associated with the traditional durbar of the Maharajas of Alwar.Maharaja Jai Singh is depicted in full regalia including his trademark prominent pearl collar and triple strand pearl and emerald necklace with a large diamond pendant. The absence of the Star of India would indicate that the scene is painted after his installation at the gaddi in 1903 at the age of 21 by Lord Curzon, but before his investiture as Knight Commander of the Most Exalted Order of the Star of India in 1909. This is confirmed by the photograph captured by Bourne and Shepherd at the Coronation in Delhi in 1903 (fig. 1) showing Maharaja Jai Singh and Colonel Christopher Fagan (Assistant Political Agent and Consul to Alwar in 1901) together with four ministers from the Alwar court. The photograph reveals a remarkable likeness to the key figures of the procession. The faces of the Maharajah and the minister on the right in the photo matches the likeness of the two figures in the royal howdah. In adddition the three other ministers, with their distinctive faces and turbans can be seen on horseback following the Maharajah in the first and second row. The scale of the panorama and treatment of the prominent figures, horses, elephants, and carriages are rendered in fine detail that is clearly inspired by the celebrated artist Ghulam Ali Khan, who worked at the Alwar court for twelve years between 1840 and 1852 and completed a number of important illustrated manuscripts. A large cache of over 30 unrecorded paintings of his work are preserved in the Alwar State Museum and it is most likely that the 'state artists, R. Sahai' drew upon them for inspiration. This is particularly evident in the finer details of the principal figures, the interior of the Rath carriage, and the lanterns attached to the tusks of the Maharajah's elephant. Comparison can be made with a superb large scale architectural study of the white marble and red sandstone cenotaph of Raja Bakhtawar Singh at Alwar (see William Dalrymple and Yuthika Sharma, Princes and Painters in Mughal Delhi, 1707-1857, New York 2012, p. 48, fig. 11.) Other than the present lot there seems to be scant representation of Maharajah Jai Singh in painting. Even the artist, R. Sahai, has almost no other recorded works published or referenced. However, he, like many artists in the employ of Maharajahs in the early 20th century was quick to embrace the new medium of photography and create a hybrid style that allowed for a combination of fine detail on a scale that had been previously reserved for wall murals.The procession travels from the Maharajah's residence of Moti Doongri, shown in the second panel high on the hills as a white colonnaded edifice, and finishes at the city palace in the centre of town barely visible behind the grove of trees in the fourth panel. The artist has chosen to show the troops heading in the opposite direction to present the full extent of the procession, as well as highlighting the multiple buildings in the azure hills and verdant plains of Alwar. Barely discernible in the second panel from the left is a simple miniaturized procession in the foreground, which may have been added to illustrate the traditional route.The procession is led by the standard bearers mounted on three elephants holding the coat of arms and Alwar state flags. Then follows mounted infantry on camels and horses with cannons; three lines of four elephants led by musicians, ordinary mahouts and the small royal howdah; unmounted favoured horses of the court; horse-drawn royal howdahs; two royal sedans; regular infantry in blue and red coats; infantry bands; lancers; court attendants in purple tunics; Maharajah Jai Singh and his entourage; mounted dignitaries and ministers; royal elephant carriage (rath) and the horse-drawn Lanchester carriage with attendants; mounted lancers and rearguard with the state flag.A photograph recording a visit to Alwar in 1897 by Lord Elgin, the Viceroy, (fig. 2), shows the same celebrated rath double-decker state elephant carriage transporting a large group of Europeans with Jai Singh's father, Maharaja Mangal Singh Prabhakar. It is shown in the procession decorated in the same manner with skirting around the wheels and long embroidered cloths over the elephants with identical patterns. An album of photographs from December 1919 by Vernon & Co captured the wedding of Maharaja Jai Singh with many prominent dignitaries from other states in attendance. One image in particular shows him being transported in the same elaborate gold-plated repousse palanquin with rampant lions at the sides and the state coat of arms on the front panel (see Bonhams, 9th April 2008, lot 162).Additionally, recently restored film footage from 1938 entitled 'Indian Darbar' the procession by Jai Singh's successor, Maharaja Tej Singh, captured the scene in colour and shows the full troop in identical garb and the elephants with the same textiles. The narrator suggests that the procession to the Durbar occurred three times a year.The imposing hills in the background shows the various royal palaces, forts and hunting lodges, and the city of Alwar nestled behind the trees. R. Sahai incorporated the key architectural features of the region including the Bala Qila, the ancient fort set along a steep cliff and the Purjan Vihar, the densely walled garden before the city. The Moti Doongri or Lansdowne Palace, reputedly inspired by Scottish castles, which remains intact in this processional scene, was later demolished by Jai Singhe in favour of a even grander palace which in fact failed to materialize.Despite being highly regarded for his scholarship and a superb orator, salacious stories abound regarding Maharaja Jai Singh's decedent lifestyle and his love for motorcars. The infamous story of him using a fleet of six Rolls Royces for garbage collection around the city of Alwar after being insulted by the staff of the car marker's London showroom, seem to fit his flair for the outrageous. His love for hunting also involved motor cars, and he had a dozen long-wheelbase Hispano-Suizas modified with spotlights and revolving shooting chairs. Sadly, his pursuits of his person interests did not match his stewardship of state affairs. He emptied the state coffers on shikars (hunting expeditions) and on palaces, many of which he never occupied or even visited. As a result, he had to impose heavy taxes on his people to repay the loans that led to multiple agrarian uprisings and dented his popularity. Since he was unable to pay his taxes, the British Political Department installed F. V. Wylie as Prime Minister, removing Jai Singh's control of the treasury, that eventually lead to the Maharajah being forced into exile in 1933. He died in Paris in 1937 and his body was returned to Alwar for a subdued state funeral.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
A fine Mughal style gem-set gold dagger hilt Indiathe grips of curved flaring form with bifurcated pommel, the cross-guards of waisted form terminating in domed quillons, profusely inlaid to each side with rubies forming a scale design overlaid with emeralds of floral and foliate form, the sides of the grips with emerald bands, the ends of the quillons with diamonds, gold tested as 23 carat, in fitted box 14.8 cm. long; 344 g.Footnotes:ProvenanceThe Al Thani Collection. PublishedAmin Jaffer and Amina Taha-Hussein Okada, From the Great Mughals to the Maharajahs, Paris, 2017, pp. 268-9, no. 200.Tesori dei Moghul e Maharaja. La Collezione Al Thani, exh. cat., The Doge's Palace, Venice, 2018, p. 285, no. 196. Amin Jaffer (ed.), Treasures from the Al Thani Collection, vol. 1, Beijing, 2018, p. 301, no. 200.ExhibitedFrom the Great Mughals to the Maharajahs, Grand Palais, Paris, 29 March - 5 June, 2017.Treasures of the Mughals and the Maharajahs, The Doge's Palace, Venice, 9 September 2017 - 3 January 2018.Treasures from the Al Thani Collection, The Palace Museum, Beijing 2018, 17 April 2018 - 18 June 2018. Inspired by Mughal pieces of the 17th Century, when jewelled daggers were reserved for the emperor and imperial family as well as for gifts indicating royal favour, the present lot is exquisitely fashioned after the cloven-pommel type. Hilts of this type were probably originally formed of two separate pieces of nephrite or ivory, the grip plaques of which protruded, thus culminating in a split pommel. They may also have been inspired by 'eared-daggers', which originated in Spain. These kinds of bifurcated hilts first appear in paintings from the 1620s depicting the Mughal emperor Jahangir (r. 1605-27), who is himself shown wearing or receiving such a dagger, for example in the Padshanamah (Folsach, Meyer and Wandel, Fighting, Hunting, Impressing: Arms and Armour from the Islamic World, 1500-1850, Denmark, 2021, p.236). An example of this kind of hilt can be found in the Metropolitan Museum of Art, New York (1984.332), forming part of a dagger that belongs to a group of jewelled gold objects likely made in the court workshops of Jahangir (D. G. Alexander, Islamic Arms and Armour in the Metropolitan Museum of Art, New York, 2015, pp. 206-207). A further example is within the British Museum (2001,0521.35).For two more examples see S. Kaoukji, Precious Indian Weapons and other Princely Accoutrement, London, 2017, pp. 130-137, cat. 41 and 42. The intricate, imbricated design of the ruby gem settings combined with emerald accents is also reminiscent of the decoration on a 16th/17th Century staff handle found in the same publication, cat. 174.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
A Victorian green overlaid glass vase of flared form, the emerald green body overlaid with opaque white glass hand painted with floral sprigs and gilt highlighting, height 25cm, together with a studio bubble glass bowl, a studio purple glass pinch spout jug, a tall gourd-form blue glass bottle, a silver plated basket on stand with cranberry glass liner, a 19th century cut glass scent bottle of tapering form and a blue glass decanter with scroll handle and silver plated collar (7).
A quantity of vintage ladies' gloves and scarves, some in original packaging, to include a pair of pale green kid leather driving gloves by Prova, a pair of 'Gloves of Distinction by Frank Bryan Limited' soft brown leather long gloves, etc, two 100% silk bowties produced by 'Art of the Scarf' for Tie Rack, one cerise pink, the other emerald green, still in original tissue paper and Tie Rack bag, polyester scarves by Viyella, Clifford Bond, St Michael, Lucia, etc, some silk examples to include Beckckford Silk, Bianca and Jaeger examples, all contained in a 'Preen for Elizabeth Arden' floral bag with rope handles.
Collier mit Smaragdtropfen und Altschliffdiamanten zus. ca. 0,5 ct, ca. FW-GW (G-I)/VS-SI, Smaragd von schöner Farbe und Leuchtkraft, Gelbgold, Schauseite und Kette aus Platin, 3,6 g, L: 40 cm, Anfang 20. Jh., Tragespuren, Krappen tlw. stark abgenutzt/fehlend, Handarbeit.| Necklace with pear-cut faceted emerald, beautiful colour and luminosity and old-european-cut diamonds totalling ca. 0.5 ct, ca. RW-STW (G-I)/VS-SI, yellow gold, face side and necklace made of platinum, 3.6 g, L: 40 cm, early 20th century, signs of wear, claws partly distinct abraded/missing, handcrafted.
A pair of emerald marquise cut earstuds, 8x4mm, four claw set in yellow metal mounts with pierced fittings.Condition report:The metal is unmarked and testing it would involve damaging it too much. Both emeralds are heavily included, with one having chips to the girdle and surface-reachign fractures to the crown. The settings are secure.
An Art Deco ammended to style as exact date cannot be ascertained emerald and diamond brooch, thought to be 1925 on valuation certificate, the centre transitional brilliant cut diamond milligrain set and surrounded by a circle of seventeen channel set square cut emeralds, some slightly tapered, the central cluster surrounded by four milligrain set diamonds and a further sixty-eight diamonds in the crescent moons and outer 24mm square frame, valuation certificate dated 2017 states the setting testing as platinum with a 9 carat yellow gold pin and pendant loop, centre diamond details - Carat Weight 6.5mm x 3.55mm, 0.95 carat, Colour E/F. Clarity VS2/SI1, remaining diamonds total 1.14 carats gross weight 7.75g.Condition report:Please see further images uploaded to our website.An Art Deco ammended to style as exact date cannot be ascertained emerald and diamond brooch, thought to be 1925 on the valuation certificate.It is not known if the piece has come from a larger piece of jewellery. Edge to edge the brooch is 24mm square, diagonally it is 30mm, the condition is all good, there are slight gaps between the emeralds, the bar pin is fitted with a safety visor.
An emerald and diamond ring, the emerald cut emerald claw set with three brilliant cut diamonds to each side in a yellow and white metal mount ring size O, 4mm D shape shank and shoulders with a fine rope edge, gross weight 6.2g. approximate weight of emerald 1.60 carats, total weight of diamonds approximately 0.25 carat.Condition report:Please see further images uploaded to our website.We do not have control stones or a valuation certificate to grade the stones.The emerald is heavily included, with some abrasion and minor chipping to crown and pavilion facet edges. The diamonds have no obvious damage. Claws good, mount good, abrasion to inside of 4mm shank.
Commonwealth of Australia, £1, ND (1954), serial number HE/16 728949, also Reserve Bank of Australia, £1 (2), ND (1961), serial numbers HJ/37 005796 and HJ/65 743165, first with emerald green reverse, all notes with Coombs and Wilson signatures, last note with peripheral staining and a few spots of foxing, otherwise uncirculated, others uncirculated (3 notes) TBB B139a, B202a,b, Pick 30a, 34a £150-£200
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