We found 596780 price guide item(s) matching your search
There are 596780 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
596780 item(s)/page
Lot 124
Winston S. Churchill Volume 1 Youth 18741900 Hardback Book by Randolph S. Churchill. First Edition 1966 C&T Publications. No dust jacket. Back cover has some scratches and discolouration as does the spine. Book itself very sound with good quality pages. Sold on behalf of the Michael Sobell Cancer Charity. We ship worldwide and combine shipping on multiple lots to keep costs as low as we can.
Lot 137
London Portrait Of A City Hardback book Compiled by Roger Hudson First Edition 1998 The Folio Society. This book and it's containing box are in near mint condition. Sold on behalf of the Michael Sobell Cancer Charity. We ship worldwide and combine shipping on multiple lots to keep costs as low as we can.
Lot 138
Claudine At St. Clare's Hard back book by Enid Blyton First Edition 1944 Butler & Tanner. No dust jacket. Cover shows sins of age with discolouration. This book is well read but in general good condition . Sold on behalf of the Michael Sobell Cancer Charity. We ship worldwide and combine shipping on multiple lots to keep costs as low as we can.
Lot 142
Reap A Destiny Divagations Of A Taoist Hardback Book by T.D.V. Swinscow First Edition 1989 Cambridge University Press. Dust jacket starting to show signs of wear around the edges. Book in good condition. Sold on behalf of the Michael Sobell Cancer Charity. We ship worldwide and combine shipping on multiple lots to keep costs as low as we can.
Lot 145
Sunlight And Shade Hardback Book Poems & Pictures Of Life & Nature First Edition Cassell & Company Ltd 1883. A little rough around the cover and some discolouration due to age but in very nice condition. Sold on behalf of the Michael Sobell Cancer Charity. We ship worldwide and combine shipping on multiple lots to keep costs as low as we can.
Lot 152
Goin' Home: The Uncompromising Life & Music Of ken Colyer Large Paperback Book by Mike Pointon & Ray Smith (Includes CD) First Edition 2010 Ken Colyer Trust. 368 pages. Book in very good condition. Sold on behalf of the Michael Sobell Cancer Charity. We ship worldwide and combine shipping on multiple lots to keep costs as low as we can.
Lot 157
Stalky & Co. Hardback Book by Rudyard Kipling Printed 1908 Macmillan & Co Ltd. No dust jacket. Slight foxing on first and last couple of pages. Cover shows signs of age but overall a nice condition book. All Saints Choir School Prize certificate fixed inside front cover. Sold on behalf of the Michael Sobell Cancer Charity. We ship worldwide and combine shipping on multiple lots to keep costs as low as we can.
Lot 158
The Wagner Operas (Wagner Nights) Hardback Book by Ernest Newman. Printed 1961 Putman. Slight foxing on first and last end sheets (blank pages). Some rounding of edges on cover but a good condition book. Sold on behalf of the Michael Sobell Cancer Charity. We ship worldwide and combine shipping on multiple lots to keep costs as low as we can.
Lot 162
Ain't Misbehavin' The Story Of Fats Waller Hardback Book by Ed Kirkeby First Edition 1966 Bookprint Ltd. Dust jacket getting a little tatty but book in good condition with slight text block foxing. Sold on behalf of the Michael Sobell Cancer Charity. We ship worldwide and combine shipping on multiple lots to keep costs as low as we can.
Lot 175
Citizens A Chronicle Of The French Revolution Hardback Book by Michael Schama Published 1989 First Edition. Dust jacket shows slight signs of age. Book itself in very nice condition. Sold on behalf of the Michael Sobell Cancer Charity. We ship worldwide and combine shipping on multiple lots to keep costs as low as we can.
Lot 26
Crusade in Europe by Dwight D Eisenhower hardback book no dust jacket published 1948 Windmill Press Inscribed and signed to Jimmy 1948 Some foxing on page edges and first few pages. Sold on behalf of the Michael Sobell Cancer Charity. We ship worldwide and combine shipping on multiple lots to keep costs as low as we can.
Lot 60
Critical Essays by George Orwell Hardback Book 170 Pages First Edition Published 1946 Secker And Warburg Good condition with some foxing on first and last couple of pages. Sold on behalf of the Michael Sobell Cancer Charity. We ship worldwide and combine shipping on multiple lots to keep costs as low as we can.
Lot 62
The Indian Cookery Book by A Thirty Five Year Resident Hardback Book 127 Pages Published 1931 by Thacker, Spink & Co. No dust jacket. Cover shows signs of age around the edges and spine. Very slight foxing on first page. Sold on behalf of the Michael Sobell Cancer Charity. We ship worldwide and combine shipping on multiple lots to keep costs as low as we can.
Lot 69
Enid Blyton The Island of Adventure 1944 First Edition Hardback book, no dust jacket. 327 pages in reasonable condition for age erased pencil inscription, spine in good condition. Sold on behalf of the Michael Sobell Cancer Charity. We ship worldwide and combine shipping on multiple lots to keep costs as low as we can.
Lot 123
A diamond-set forehead pendant (chand-tikka) from the collection of Maharani Jindan Kaur (1817-63), wife of Maharajah Ranjit Singh (1780-1839) Punjab, Probably Lahore, first half of the 19th Centuryof silver set with diamonds, in the form of a crescent, surmounted by a central trefoil motif, a smaller crescent suspended above with teardrop pendants, the lower edge with pendent fish and emerald flanked by further teardrop pendants, later mounted as a brooch, in fitted cloth covered case, the inside of the lid inscribed From the Collection of the Court of Lahore formed by HH The Maharajah Runjeet Singh & lastly worn by Her Highness The Late Maharanee Jeudan Kower. and Frazer & Hawes from Garrard's 31 Regent St. 8.6 cm. max.; 32.5 g.Footnotes:ProvenanceCollection of Maharani Jindan Kaur (1817-63), wife of Maharajah Ranjit Singh (1780-1839).Sold by Frazer and Hawes from Garrards of Regent Street, London.Private UK collection by descent. Acquired by the vendor's Grandmother at Debenham and Coe, South Kensington, London, in 1974. PublishedJ. Bamford, 'Jewels to crown them all' in Art & Antiques, July 27 1974, Vol. 15 No. 9, p. 35.Three pieces of jewellery from the Maharani in similar fitted cases have been sold at auction: Bonhams, Sikh Treasures and Arts of the Punjab, 23rd October 2018, lot200; Bonhams, Islamic and Indian Art, 24th April 2018, lot 300; and Christie's, Magnificent Mughal Jewels, London, 6th October 1999, lot 178.Between 1849 and 1850, when the British took control of the court in Lahore, they entered the Treasury, where they found the court jewels wrapped in cloth. The Treasury was fabled to be the greatest and largest treasure ever found. The most famous and well-known jewels were taken away as gifts for Queen Victoria, including the Koh-i Noor and the Timur Ruby. Confiscated treasures were sold by Messrs Lattie Bros. of Hay-on-Wye in the Diwan-i-Am of the Lahore Fort. The items were listed in seven printed catalogues and the sales took place over five successive days, the last one starting on 2nd December 1850. It is also known that some of the jewels were boxed in Bombay by Frazer and Hawes and were sent to London, where they were sold by Garrards. Judging by the age of the case, this would have been done after the Maharani's death.Maharani Jindan KaurMaharani Jindan Kaur was born in 1817 in Chahar, Sialkhot, Punjab. Of humble origins, she grew into a young lady of exquisite beauty and came to the attention of Maharajah Ranjit Singh at a young age. In 1835, she became Ranjit Singh's seventeenth wife and in 1838 bore him a son, Duleep. Duleep was his last child and just ten months later Ranjit Singh died. Jindan was the Maharajah's only surviving widow, rejecting the practice of 'Sati' or throwing herself on the funeral pyre with his other wives, choosing to bring up her young son instead.Ranjit Singh's empire stretched from the Indian Ocean to the Himalayas, with its southern boundary bordering British India. His court was fabled for its patronage of the arts and sciences, and for its riches. Immediately after his death, Ranjit Singh's golden empire began to crumble. His eldest son, Kharak Singh, took the throne but was murdered two years later; the reign of Sher Singh was similarly short-lived and he was assassinated in 1843 upon which the five year old Duleep was proclaimed Maharajah with his mother as Regent. As Jindan came to power, she was swiftly confronted by the British army in the hope of conquering one of the last independent states of Northern India.As Regent, Jindan became a thorn in the side of the East India Company: she waged two unsuccessful wars against the British, the First and Second Anglo-Sikh Wars of 1846-49, which brought about the annexation of the Punjab. In 1846 she was deposed and in February 1847 the British took possession of Lahore. The British continued to see her as a major threat and thus in August 1847, to halt her influence on the young king, Duleep was sent away from the palace and Jindan was incarcerated. In 1849 she escaped from captivity and fled to the Himalayas, where she found troubled sanctuary in Kathmandu, Nepal. Under pressure from the British officials at Kathmandu, the Nepalese imposed humiliating restrictions upon her; meanwhile, the British press began a campaign to blacken her name, calling her the 'Messalina of the Punjab'. Like Messalina, the wife of the Roman Emperor Claudius, Jindan was portrayed as a licentious seductress, who was powerful and influential and too rebellious to control. The young Maharajah, Duleep, was moved to Fategarh eventually to Britain in 1854, where he was adopted as a godson by Queen Victoria. He converted to Christianity and was brought up as a young English gentleman. In 1860, Duleep sought information about his mother and a report came back that: 'The Rani had much changed, was blind and lost much of her energy'. The Governor General agreed to a meeting based on this report of the Rani's condition, thinking that the last queen of the Punjab no longer posed a threat. When they met in 1861 Duleep found her almost blind and suffering from poor health. It was agreed that the Rani would travel to England: her private property and jewels, previously taken by the British authorities, would be restored to her on the basis that she left India. Upon their return to London, a change was noted in the Maharajah and he was heard to talk about his private property in the Punjab; information that only Jindan could have given to him. During this time, she reawakened her son's faith and royal heritage, sowing the seeds of discontent in his mind which would bring about his fall from grace in later life.On the 1st August 1863, Jindan died in her Kensington home in the country of her sworn enemy, just two and a half years after being reunited with her son and leaving him inconsolable.As a Sikh queen, cremation was the traditional practice, but one that was not allowed under English law. The Maharani's body was moved to the Dissenters Chapel at Kensal Green Cemetery until such time that it could be taken to India for the last rites. Her body remained at Kensal Green for nearly a year. At the time, Charles Dickens wrote: 'Down here... rests the Indian dancing woman whose strong will and bitter enmity towards England caused Lord Dalhousie to say of her, when in exile, that she was the only person our Government near feared'.In 1864, permission was granted to take the body to India and she was cremated at Bombay. In 1924, her ashes were later moved to Lahore and deposited at the samadh of Ranjit Singh.For further information on this lot please visit Bonhams.com
Lot 149
Maqbool Fida Husain (Indian, 1913-2011)Horses signed in devanagari upper right oil on canvas70 x 132cm (27 9/16 x 51 15/16in).Footnotes:ProvenanceAcquired in 2009 directly from the artist.Private collection, Texas, USA.Note: The work has been authenticated by the artist's family, Shafat Husain, in 2009 when the work was purchased by the vendor.Born in Maharashtra, India in 1915, Maqbool Fida Husain's initial interest in art was piqued through his study of calligraphy at a Madrasa and his interest was further developed during his studies at the Sir J J School of Art. He honed his skills in the 1930s painting posters for the Bollywood industry whilst also painting landscapes in Gujrat. As a founding member of the 1947 Progressive Artists Group, formed after the partition of India and Pakistan, he sought to create a new movement in art that was in direct opposition to the nationalistic rhetoric espoused by the Bengal School. He held numerous exhibitions over his career, some notable ones being his first solo exhibition held in Zurich in 1952, his exhibit at India House in New York in 1964 and the São Paulo Biennale in Brazil in 1971. Over a career that straddled multiple decades, he employed his modified Cubist style to depict themes and topics that include the Ramayana, Mother Teresa, the Mahabharata, the British Raj and motifs of Indian urban and rural life.The depiction of horses has been one the key elements in Husain's oeuvre throughout his career, and here the various horses are portrayed with gaping mouths and wide staring eyes. The muted colours of browns and whites draws the viewer in to the work and catapults them into the frenzied sprinting of the horses.'Like his bulls, spiders and lamps on women's thighs, boastful snakes and blackly passionate suns, Husain's horses are subterranean creatures. Their nature is not intellectualized; it is rendered as sensation or as abstract movement, with a capacity to stir up vague premonitions and passions, in a mixture of ritualistic fear and exultant anguish.' (R. Bartholomew and S. Kapur, Husain, Harry N. Abrams, New York, 1972, p. 42)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
Lot 153
B. Prabha (India, 1933-2001)Woman with Basket signed and dated '62 centre rightoil on board74.5 x 44cm (29 5/16 x 17 5/16in).Footnotes:ProvenanceBought from the artist's trust in the 2004-2005.Private collection, Texas.Note: The work has been authenticated by both the artist's gallery manager, Nayana Sarmalka in 2019 and Sunil Badgelwar, legal heir and manager of Prabha's estate, the latter's certificate is dated 26th May 2004.Born in Bela, Maharashtra in 1933, Prabha commenced her training in art at the Nagpur School of Art, before moving to Bombay where she subsequently earned her diploma in Painting and Mural painting from the Sir J J School of Art. Whilst she is primarily known for her trademark works of oil on canvas that illustrate the plight of rural women, she did explore other themes and mediums. Some of these include societal concerns surrounding poverty and environmental disasters. She exhibited widely over her nearly five-decade long career both nationally and internationally and her works were acquired throughout its duration by various stratas of society. Notably, the Nobel prize nominee for physics, Homi J. Bhaha bought three of her works during her first exhibition whilst she was still a student. Later, the airline Air India acquired her works to display and use as part of their collection, which included other notable contemporaries like M.F. Husain and V.S. Gaitonde. Posthumously, her works continue to be exhibited at galleries that include Aicon Gallery in New York and Gallery Beyond in Mumbai and are testament to her timelessness as an artist.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
Lot 16
Shah 'Abbas seated on a terrace, by Mehdi al-Imami Iran, first half of the 20th Centurygouache and gold on paper laid down on card, the Shah depicted seated within an arch and inner border illuminated in Safavid style, the outer border profusely decorated with Safavid-style picnic parties, wild beasts, birds and a simurgh amidst foliage, signed in lower border album page 418 x 265 mm.Footnotes:The artist's full name is apparently Mirza Aqa Muhammad Mehdi Emami Isfahani, recorded by Karimzadeh as the Chief Painter (naqqash-bashi). He moved to Tehran, studied in the College of Arts and was a pupil of Razi (a painter active during the reign of Nasir al-Din Shah Qajar). He returned to Isfahan and set up a studio, also training students. He is praised for his portraits, animal and flower paintings, as well as illumination, lacquer work and carpet designs in the Safavid style. Karimzadeh gives the date of his death as 16 adhar 1334/8th December 1955. See M. A. Karimzadeh Tabrizi, The Lives & Art of Old Painters of Iran, vol. 3, London 1991, pp. 1269-71.Important Notice to BuyersSome countries e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Lot 28
A rare Safavid oil painting of an African soldier Persia, Isfahan, circa 1680-90oil on canvas, affixed with a fragmentary old label on the stretcher reading Portrait of an Indian Officer 122 x 79.5 cm. Footnotes:ProvenancePrivate English aristocratic collection, London. Acquired by the vendor's mother in Jaipur during a visit to the court of Maharajah Man Singh II in the mid 1960s.Bonhams have the privilege of presenting an enigmatic and unique painting depicting a flamboyant African soldier in Safavid Persia. Immensely rare, the present work is quite likely to be one of the first ever depictions of an African subject in Persian oil painting, and one of the earliest artistic records of the black African community whose descendants continue to reside in the Gulf region.Isfahan was referred to as 'half the world' (nisf-i jahan) by the 16th Century. Shah 'Abbas (reg. 1588-1629) had moved his capital from Qazwin, Safavid political power had grown, there was a flowering of culture in Persia, and Isfahan, in particular, became a nexus of trade and cultural exchange. Along with the Ottoman Sultan and the 'Grand Mughal', Safavid Persia and Shah 'Abbas ('The Sophy' or 'The Great Sophy', an expression probably deriving from a mishearing of 'Safavi'), were touchstones of grandeur and exoticism in Western consciousness at the time.One thinks of the striking image, spread across a double page in a folio volume, of the Maidan-i Naqsh-i Jahan in Isfahan, in Voyages de Corneille le Brun par la Moscovie, en Perse, et aux Orientales (Amsterdam 1718) – where the broken lines of the tents of the bazaar, where all sorts of business was being transacted amongst several nationalities, contrast with the more austere lines of the Safavid architecture surrounding them. As Cornelius de Bruyn's accompanying account put it: 'The greater part of this plaza is full of tents, where all kinds of things are sold [...] One continually sees a prodigious crowd of people and among other things a large number of people of quality who come and go to the court' (see S. R. Canby, Shah 'Abbas: the Remaking of Iran (London 2009), pp. 260-261, no. 127, illustrated). And one also thinks of the group of twenty-one paintings discussed by Eleanor Sims in her essay below – the depictions of people of various ethnicities, genders, in different forms of dress, alongside types of decorative objects - and so to our painting of a young African man.While the painting is – as Eleanor Sims argues below – a type, and one playing on variations in Safavid fashion, it must surely refer ultimately to a real-life soldier, a musketeer or tofangchi, a division of the Persian army primarily composed of foreign mercenaries. A figure (albeit one with white skin) which appears in the Kaempfner Album (produced in Isfahan in 1684-85) in the British Museum is highly reminiscent of our subject, in pose, weaponry and dress: the hat with its plume, the two straps which pass over his shoulders (to a backpack?), the accoutrements around his waist, the red-orange breeches, and the white banded gaiters. The British Museum catalogue describes him as a royal bodyguard. Leaving aside western Europeans, most foreigners in Safavid Persia, whether free or slaves, were closer to home – they were from the Caucasus, Georgia, Circassia, or notably, Armenian, in the flourishing town of New Julfa. But an African must have been in a minority, by geographical accident (and less common than in Ottoman Turkey, where black Africans, often eunuchs, were more commonly in positions of power at court). Our figure demonstrates his confidence in his rank and profession, his dress and (to some degree, at least) his wealth, create a well-to-do image, almost dandyish.Eleanor Sims traces his relation in this respect to the 'Tehran Suite' of paintings. In addition, both figures in an Afsharid oil painting, done around fifty years later, wear long coats with the same horizontal frogging on the chest (albeit with much more embroidered decoration on the coats), and the male figure wears the same vertically-striped undershirt - and these figures are of a notably higher class (the catalogue description speculated whether the male might be a son of Nadir Shah). See Sotheby's, Fine Oriental Manuscripts and Miniatures, 22nd & 23rd May 1986, lot 175 (dated to circa 1735-45).Whether he was a slave, who had come to Persia via the Arab trade from East Africa and the Indian Ocean into the Gulf (whose descendants to this day form an Afro-Iranian community in the south of the country); whether he had been freed as a condition of service in the Persian army; whether he was a free man who had ended up in the melting-pot of 17th Century Isfahan; or whether he is strictly a 'type', perhaps made African to cater to an existing European interest in blackamoors, and other signifiers of 'the exotic' (especially if he had a female companion painting, as Sims suggests) - we will doubtless never know. What does seem to be clear is that this painting is a rare, perhaps unique portrayal of an African in the Safavid army, and of an African in Persia.An African Youthby Eleanor SimsCould a picture offer any greater degree of 'exotic' than does this oil-painted figure of a young African wearing imaginatively interpreted 17th-century Safavid Persian clothing?He is one among a presently recorded number (21) of large rectangular pictures, painted in oil on canvas. All are single figures; all are dressed in fine 17th-Century Safavid clothing; all comfortably fill their picture-space. Their dress, especially that of the women, usually also distinguishes their ethnicity and religious affiliation: Muslim Persian, Armenian and Georgian Christian. Several men among the 21 may instead be Europeans in Safavid garb, but they are the exceptions within the genre. And with a different exception, none is either signed or dated; all but three are anonymous.Such paintings were almost surely commissioned by Europeans in the cosmopolitan melange of peoples visiting Safavid Isfahan in that century (Eleanor Sims, 'Five Seventeenth-Century Persian Oil Paintings', Persian and Mughal Art, ed. Michael Goedhuis, London 1976, pp. 223-32). Struck by the 'exotic' inhabitants they saw, many wanted images to take with them, when they returned to their own countries. English travellers seem to have been especially desirous of owning these 'exotic' personages, especially when they could be executed on a scale not unlike the oil-painted portraits already hanging on their walls. Indeed, many can be connected with houses or families: in Wiltshire (see Mary Arnold-Forster, Basset Down: An Old Country House, London 1949, p. 147; Eleanor Sims, 'The 'Exotic' Image: Oil-Painting in Iran in the Later 17th and the Early 18th Centuries', in The Phenomenon of 'Foreign' in Oriental Art, ed. Annette Hagedorn, Wiesbaden 2006, pp. 135–40 passim; eadem, 'Six Seventeenth-century Oil Paintings from Safavid Persia', in God is Beautiful and Loves Beauty: The Object in Islamic Art and Culture, New Haven & London 2013, pp. 343, 346-47), and in Northamptonshire, (eadem, 'Five Seventeenth-Century Persian Oil Paintings', pp. 241-48). Three are known to have been in English royal possession since the middle of the 17th century (1651; noted on the Royal Collection Trust Website; two published in Epic Iran: 5000 Years of Culture, J. Curtis, I. Sarikhani-Sandmann, and T. Stanley, London 2020, cat. 183-84). But that this youth is black makes him an especially exotic figure, even for 17th-century Isfahan.He stands in an open landscape whose horizon is at mid-figure height. The fore- and middle-ground show rows of grassy... This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Lot 45
An Ottoman silk lampas and gold thread panel (khema) Turkey, 17th Centurybrocaded in green, ivory and gilt thread on a blue ground with eight rows of tulips, on undulating vines, on a ground of floriated stems, mounted, on stretcher, verso with exhibition label dated 28 October 1926 103.8 x 47.5 cm.Footnotes:ExhibitedSpecial Persian Exhibition, University of Pennsylvania Museum of Archaeology and Anthropology, October 1926, no 594 (according to a label stitched to the reverse). The design of undulating tulip vines was very popular on 16th Century Iznik ceramics. The Rustem Pasha mosque, erected between 1565 and 1575, was the first place to introduce this design on its tilework. This was followed by depictions on Iznik dishes and on Bursa textiles. For further examples of undulating tulips, see, F. Hitzel and M. Jacotin, Iznik; l'Aventure d'une Collection, Paris, 2005, pp. 213 - 219. See Nuhran Atasoy, et al, Ipek, The Crescent and the Rose: Imperial Ottoman Silks and Velvets, London 2001, figs. 239-243, for textile panels with parallel undulating tulip vines.For further information on this lot please visit Bonhams.com
Lot 61
Opium eaters chasing a mouse Mughal, perhaps Oudh, late 18th Centurybrush drawing with some colour on paper, laid down on lighter-coloured paper, black, blue and red margin rules, inscribed in Urdu in upper margin painting 198 x 254 mm.; with borders 255 x 310 mm.Footnotes:ProvenanceFormerly in the collection of Ludwig Habighorst.With Simon Ray, London, 2008.PublishedL. V. Habighorst, 'Caricature and satire in Indian miniature painting', in Indian Satire in the Period of First Modernity, eds Monika Horstmann and Heidi Pauwels, Wiesbaden 2012, pp. 117–32, fig. 9 (as Ajmer, circa 1730–50).ExhibitedGenuss und Rausch: Betel, Tabak, Wein, Hasch und Opium in der indischen Malerei, Museum Rietberg, Zürich, 2010.Genuss und Rausch: Wein, Tabak und Drogen in indischen Miniaturen, Museum für Islamische Kunst, Pergamonmuseum, Berlin 2014.J. P. Losty, Indian Paintings from the Ludwig Habighorst Collection,Francesca Galloway, London 2018, cat. 27.The Urdu inscription is translated as follows: 'An example of the state of Asaf al-Daula's army. On the appearance of a mouse, they imagine it to be a lion and in a panic the opium-addicts take up their weapons, but straight away go into a stupor!'What appears to be a comic depiction of the effects opium and bhang can also, on the strength of the inscription, be read as a satirical barb aimed at Asaf al-Daula, Nawab of Awadh (reg. 1775–97). Renowned for his architectural projects in beautifying Lucknow and for his love of the arts, what little talent for government he possessed was undermined by the persistent attempts of the East India Company to render Awadh a compliant vassal state. Its army was consistently reduced so that Awadh could never again pose a threat to the Company's armies as it had done in the reign of his father Shuja' al-Daula.The subject was more generally popular in the 19th Century. A painting, attributed to Jaipur or Mewar, circa 1840, now in the Alice Boner Collection in the Rietberg Museum, Zürich, appears to be derived from our miniature or its source, making use of the same figures, but reverses the composition and includes a suggestion of earth and sky (Boner et al. 1994, fig. 199; Habighorst et al. 2007b, fig. 74). This caricature of the effects of opium or bhang, showing how addicts become divorced from reality in their attempted assaults on the mouse, occurs several times in different late Rajasthani schools including Jodhpur (Palace Museum: see R. Crill, Marwar Painting: a History of the Jodhpur Style, Bombay 2000, fig. 120; p. 121 with other references) and Kotah (J. P. Losty, Indian Miniatures from the James Ivory Collection, Francesca Galloway, London 2010, no.22). An example of the same subject, Rajasthan, late 18th Century, was in the collection of Stuart Cary Welch: see Sotheby's, Part Two: Arts of India, 31st May 2011, lot 27.For further information on this lot please visit Bonhams.com
Lot 75
A Jain letter scroll (vijnyaptipatra) Rajasthan, perhaps Jodhpur, 19th Centurygouache and silver on paper, in scroll form, red margins dividing one narrative scene from another, the second half of the scroll consisting of the text of the letter written in nagari script in black and red ink, stylised floral margins approx. 8 m. long; 25 cm. wideFootnotes:A vijnyaptipatra was a formal, illustrated letter of invitation to a Jain monk, in which a community set out the attractiveness of their town in the hope that he would spend the first four months of the rainy season with them. The illustrations aid this attempt to assert the attractions of the community, though by a relatively early date these became stylised rather than strictly realistic, and tended to be produced in one or two centres specialising in such painting, notably Jodhpur, Sirohi and Nagore. The scenes show the wealth of its nobles (horse-riding, accompanying attendants), the richness of its markets, the fertility of its women, and the piety of its townsfolk. The illustrations begin, as is typical, with the eight auspicious emblems (ashtamangala), followed by symbols of the fourteen dreams (that is, the auspicious dreams of Mahavira's two mothers, foretelling his noble nature).For an example and a discussion, see P. Pal (ed.), The Peaceful Liberators: Jain Art from India, Los Angeles 1995, pp. 84-86, p. 251, no. 116.For further information on this lot please visit Bonhams.com
Lot 80
Vishnu seated on a lotus within a sunburst Pahari, Basohli or Guler, mid-18th Centurygouache and gold on paper, brown border 273 x 190 mm.Footnotes:ProvenancePrivate German collection.Comparison can be drawn with a Pahari depiction of Vishnu seated on a lotus, holding his attributes, within a larger sunburst than depicted here, dated to the first quarter of the 19th Century (Bharat Kala Bhavan, Varanasi: see B. N. Goswamy, Essence of Indian Art, San Francisco 1986, p. 249, no. 200). However, the relatively restrained sunrays seen in our painting, against a dark blue background, appear in a work depicting the sun god, Surya, ascribed to Basohli or Guler, circa 1740-50, offered at Christie's, Art of the Islamic and Indian Worlds, 2nd May 2019, lot 144.For further information on this lot please visit Bonhams.com
Lot 49
A Royal Crown Derby paperweight, Bee-eater, first quality gold stopper; others, second quality, including a pair of Robins, Chinese Dragon, Seahorse, etc., [7]**Please note all lots must be collected from Sudbury, Derbyshire on the 30/31/3 OR 1/4,a surcharge of £15 will be charged if this item is not collected and removed to the saleroom**
![Antiquarian Books - Familiar Letters of Love, Gallantry [...], two volumes, sixth edition, London: [n.d., early 18th century]](https://cdn.globalauctionplatform.com/196f6abc-30df-428d-886a-acec00a3d701/e3af08a9-0804-4306-840b-acec00b30ae1/468x382.jpg)
Lot 89
Antiquarian Books - Familiar Letters of Love, Gallantry [...], two volumes, sixth edition, London: [n.d., early 18th century], disbound, 12mo, (1); Milton (Viscount) & Cheadle (W.B.), The North-West Passage by Land [...], sixth edition, London: [n.d.], illustrated, contemporary quarter-calf, 8vo, (1)The Poetical Works of John Milton, London: Bliss, Sands & Co, [n.d.], fine morocco binding, 8vo,(1); Roger?s Italy, first edition, London: 1830, quarter-calf, 8vo, (1); Dickens; Thackeray; prize and leather bindings; etc., [84]**Please note all lots must be collected from Sudbury, Derbyshire on the 30/31/3 OR 1/4, a surcharge of £15 will be charged if the item is not collected and removed to the saleroom**
Lot 88
A George I mulberry, tulipwood crossbanded and brass inlaid cabinet on chest, circa 1720, the doors opening to a shelf, one long and three short drawers, 166cm high, 125cm wide, 48cm deepFor a related cabinet incorporating mulberry see, Sotheby's, New York, 22nd April 2020, Style: Silver, Furniture, Ceramics, Lot 236 (£6,875). A well known firm of cabinet makers of the period know for using mulberry were Coxed and Woster operating from their premises at the White Swan in St. Paul's Church-Yard, London. For related examples of cabinet by Coxed and Woster see, Christopher Gilbert, Pictorial Dictionary of Marked London Furniture, The Furniture History Society, 1996, page 158. Condition Report: Marks, scratches and abrasions commensurate with age and use. Some old chips and splits and some minor old repairs. some small losses. One section of moulding from the upper frieze/ pediment is detached but present. Some old losses have been disguised by filler, some veneer replacements are with veneer that does not match with the original timber used. Door lock is lacking some screws so needs resecuring to operate properly. The door lock is a likely mid 18th century replacement. The key is present to operate it. door hinges are probably 18th century replacements The escutcheons and handles are replacements (first half 18th century) and there are plugged holes from previous alternate/ original positioning of handles. One handle loop is detached and broken in one place. Will need repair or replacement. Some fading.There is a vertical split to towards the centre of the right hand door running through the central panel and is a slightly open split caused by shrinkage/ warping of the panel. There is a similar but straight split where the veneers of the panel meet on the left side panel of the lower chest section. The feet are likely later replacements but faithful to period style. The feet appear to be of solid burr timber, likely walnut or mulberryThe interior of the cabinet section appears original. The handles to the interior drawers are likely original. Evidence of old worm damage (holes) in some areas as expected for age. This is mainly to rear panels, underside and top. Rear boards have been later black stained/ painted but appear to have significant age. Shrinkage has caused some gaps and splits to the boards. Please request additional images if required for visual reference to condition. Condition Report Disclaimer
Lot 100
A panelled oak chest or coffer, probably first half 17th century, the front incorporating twin Romayne panels, 60cm high, 115cm wide, 52cm deepProvenance: Private Collection, The Manor House, Stanford in the Vale, OxfordshireFor a closely related example of chest incorporating romayne panels see, Victor Chinnery, Oak Furniture The British Tradition, Antique Collectors Club, 1979, page 426, figure 4:27. Condition Report: Marks, scratches and abrasions commensurate with age and use, Old splits and chips, some old repairs, some old losses. There is an old ring mark/ water mark to the central panel of the lid. To the 'Romayne' profile portraits there are remnants of what appear to be the original paint. An interesting and relatively rare feature. Each exterior side panel also with a central painted decorative motif that would appear possibly to be original. There is a very good and even depth of patina and colour throughout. The hinges are replacements but are hand forged and appear 18th or early 19th century. There are two later pieces of timber screwed to the underside of the lid to secure old splits/ breaks. One rear foot with spliced repair. The interior with later pinned lining. Please refer to the images for visual reference to condition. Condition Report Disclaimer
Lot 126
A collection of fine Queen Anne needlework panels, mostly first quarter 18th century, likely part of the same suite, each in gros and petit point, the central fields worked with figural scenes, including a nobleman holding a baton, possibly Charles II, the panel 50 x 46cm excluding later cushion; a scene of a lady, possibly Queen Anne, lying on a daybed surrounded by attendants and animals, approximately 52 x 46 excluding later cushion; two mythologically themed panels of Diana and Endymion and Venus and Cupid respectively, approximately 53cm long; another with a courtly couple in a garden; and three further, smaller, with animals, one of which mounted to a cushion; each scene contained within a floral and strapwork reserveProvenance: Private Collection, The Manor House, Stanford in the Vale, OxfordshireCondition Report: The panels are very vibrant in colour and overall quite well preserved, aside from some slight fading to skin, costume and sky tones in some of the panels.Some of the edges have slightly unravelled, and two of the panels mounted to cushions (standing nobleman and dog seated in landscape) have areas of slight tearing. Some have residue to reverse likely from having been previously attached to something else.For reference to condition of individual panels, please refer to additional lot images.Condition Report Disclaimer
Lot 268
A patinated bronze Grand Tour model of Trajan's column, first half 19th century, the relief cast stem and panelled plinth above a stepped Siena and black marble base, 28.5cm high overallCondition Report: Marks, knocks scuffs overall consistent with age.There is some wear to the raised sections of the dark brown patina.The marble base has some dirt/mottling as well as a few small chips.Possible small repair to figure.Condition Report Disclaimer
Lot 269
A pair of impressive plaster reliefs after Bertel Thorvaldsen (Danish, 1770-1844), from Alexander the Great's Triumphal Entry into Babylon, later 19th century, each depicting soldiers on horseback, presented in ebonised frames, the larger relief 70cm high, 168cm long overall, the smaller example 71 x 151cm overall including frame Thorvaldsen's magnificent Alexander Frieze was first made in plaster for the Palazzo Quirinale in Rome, 1812, intended to commemorate Napoleon's victories. Its success soon led to requests for versions in marble, including for the Villa Carlotta, Como and Christiansborg Palace in the sculptor's native Denmark. Thorvaldsens Museum in Copenhagen holds both marble and plaster sections of the work. A small, single panel cast after the frieze was recently sold in these rooms, 20 January 2021 (Aynhoe Park), lot 303 (£3,500). PLEASE NOTE: while certainly part of the same set these reliefs aren't an exact pair and have different measurements. The measurements of the larger example are stated in the catalogue (approximately 50 x 148cm excluding the frame). The smaller relief is 71 x 151cm overall including frame (52 x 131 without frame).Condition Report: PLEASE NOTE: while certainly part of the same set these reliefs aren't an exact pair and have different measurements. The measurements of the larger example are stated in the catalogue (approximately 50 x 148cm excluding the frame). The smaller relief is 71 x 151cm overall including frame (52 x 131 without frame). Frames approximately 8cm deepBoth reliefs have vertical cracks (the smaller relief to a lesser extent than the larger example), and some surface losses overall and minor areas of subtle possible retouches. Pouring bubbles throughout as a result of manufacture, and some darkening to recesses. Ebonised frames minor marks/scuffs to edges, and the finish is a little scratched.Please refer to additional lot images for visual reference to condition.Condition Report Disclaimer
Lot 283
A set of four George III mahogany hall chairs, circa 1790, each back centred by a painted armorial reading 'NIL TIBI' above a boars head, each 96cm high, 43cm wide, 43cm deep overall The armorials on these chairs possibly relate to the Campbell family, formerly of Tullichewan, Vale of Leven, near Loch Lomond, Scotland. Tullichewan castle, designed by architect Robert Lugar, was the first example in Scotland of an asymmetrical Gothic house. It was built in 1792 and demolished in 1954. The Campbells, a family of Glasgow merchants, owned the castle from 1843 until the early 20th century.
Lot 379
A carved giltwood and gesso wall mirror, in George II style, first half 19th century, in the manner of Thomas Johnson, 205cm high, 136cm wideCondition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Various old chips and splits. Gilt surface with various chips, losses and rubbing. Frame with the expected dark deposits to surface and folds of carving. Mirror plates with some very minor depletion. One of the upper birds with wing detached but present. The other bird with old repairs to both wings and neck. The trailing foliate branches to both sides with some elements lacking (see images). One of the smaller birds to the right side of the mirror with wing detached and lacking. The bird to the other side of the mirror has been detached and glued back in position. One dog with the joins of the underlying elements opening. The other dog with glued repairs to all legs. Please refer to additional images for visual reference to condition. Please note, we have not been able to inspect the mirror away from its supporting frame/crate. Condition Report Disclaimer
Lot 443
An Italian mahogany escritoire, first quarter 19th century, by Henry Thomas Peters of Genoa, the fall front opening to an arrangement of small drawers and various 'secret' drawers and compartment released by hidden catches, the top edge of the fall stamped 'PETERS, GENOA, MAKER', 152cm high, 106cm wide, 51cm deep Condition Report: Please note a condition report for this lot is available upon request.Condition Report Disclaimer
Lot 491
A group of twelve George III and Regency reverse painted glass pictures of military and political subjects, various dates first quarter 19th century, to include; commemorative prints of Lord Nelson, including depictions of Nelson wounded, and of his funerary barge and carriage; a print depicting the funeral of King George III; allegorical prints including of the Duke of Wellington being crowned by Britannia, and one with Napoleon being overcome by justice; three portraits including of King George III, and others; all framed, in various sizes, the largest 35 x 44cm overall, the smallest 28 x 23cmCondition Report: Usual marks, knocks and scuffs overall consistent with age. One of the glasses is cracked. One or two others are quite loose in their frames. The paint is fairly well preserved overall though a small handful of pictures have areas of slight paint deterioration which has resulted in lighter patches (particularly the three portrait pictures). The glass has some surface nicks and inconsistencies commensurate with age and manufacture. The birdseye frame is quite scuffed/scratched, and the others have some wear to edges corners and ebonised finish and with likely minor retouching to gilding. Please refer to additional lot images for visual reference to condition. Condition Report Disclaimer
Lot 82
Australia post collection 6 interesting covers 4, The First Fleet Enactment voyage May 197-January 1988 Portsmouth, Tenerife, Brazil and South Africa various cachets and signatures 2, FDI 1999 Australia philatelic exhibition. Good condition We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 114
A blue and white delft charger,second half of 18th century, painted with a Chinese lady seated beside a fence within a stylised, sparse landscape,36cm diameter and,another,painted with a house, trees and a watery landscape,34cm diameter (2)Condition report: The first with typical rim chips to glaze.The second with a large rim chip 8cm long and several smaller chips.
Lot 126
A carved and painted oak armorial leopard head,first quarter of the 16th century, in the form of the head of a leopard wearing a crown, and black teardrops which are ermine tails, painted in colours,42cm highThis appears to an early figure which bears some similarity to the Boleyn leopard which adorned the palaces of King Henry VIII.Condition report: Owned by the vendor for around 40-50 years, but no information prior to that. Cracks and splits comensurate with age.Paintwork possibly later. Knocks, rubbing, scratches and losses. One ear lost. Traces of worm.
Lot 274
A fine Regency doll's house,c.1810, the painted stone grey exterior in classical style with pitched roof, grand entrance with moulded step leading to a panelled door and arched moulded surround, the facade with four grand columns supporting the first floor balcony, ground floor with four glazed windows to front and back, first floor with four windows to front and back, all with glazing bars and pediments, opening in two sections to front to reveal four rooms, hallway and landing on two levels, papers to walls and floors, contents include an 18th century dining suite, wooden furniture, canopy bed and more,112cm wide40cm deep89cm highCondition report: Inherited by the vendor's family c.1965Knocks, splits, chips, losses and wear throughout. Evidence of repair and restoration throughout. Repainting and re-touching. Most or all glass windows appear replaced, having been secured with tape and painted over. Door hinges possibly replaced or have had new screws. Staircase probably replaced. Old layers of paint and wallpaper visible. Split to base. Rubbing, wear, discolouration and degradation to floors, walls and ceilings. Furniture appears to be of various ages. Bottom right wallpaper painted over. Wear, tear, breaks and repair to furniture and fittings.Please view additional condition photos using this link: https://share.icloud.com/photos/0cc8WTA4vbWktsSLN9DGoVc4gBelow are notes from the vendor:Hallway and stairs: papered walls and floors, furnishings including metal pressed mirrors, chandelier and wall sconces with candles, faux bamboo hall stand, a butler doll, a spaniel dog and a needlepoint carpet.Drawing room: with vibrant blue and gold paper, panelled and painted grey walls, in-built black marble-effect fireplace, an 18th-century dining suite including an oval dining table and four chairs with silk seats, a metal newspaper rack with a copy of Punch, two dolls a wooden violin, metal candelabra, wooden display case and needlepoint carpet.Kitchen: with cream patterned paper and panelled painted green walls, in-built fireplace, a cook doll with set of keys, oven and sink with taps, painted green wooden dresser with numerous ceramics, a ceramic sheep, four French metal pans,Bedroom: with paper depicting parrots and foliage and panelled and painted grey walls, in-built fireplace with numerous metal accessories, canopy bed with bedding, an opulent doll in lace clothing holding a book and a three-piece furniture suite including bedside table, dressing table and display case.Nursery: with floral paper, in-built fireplace with various metal accessories, five-piece furniture suite, a Moses’ basket with baby doll, and various small ceramics and an embroidered carpet.
Lot 275
A fine early Victorian doll's house, c.1840, the exterior with stipple-effect paper and quoining to all sides, the panelled door flanked by moulded columns and pediment, the ground floor with two glazed windows to front and three to back, the first floor with three windows to front and back, all with glazing bars, the whole opening in three sections to reveal four rooms, the hallway and landing on two levels, papers, including some after William Morris, to walls and floors, fully furnished including Arts and Crafts wooden furniture, a tester bed, a canopy bed, a violin, Victorian chairs with original upholstery, a metal press and more, 87.5cm wide50cm deep69cm highCondition report: Purchased by the vendor's family c.1980. Lovingly cared for by the vendor's mother from the point of purchase up until 2018.Splits to the roof and back. Knocks, chips, losses and wear throughout. Left moulding return loose. Evidence of repainting to areas of the exterior. Evidence of repair. Some sash windows a little stiff. Splits to central door. Hinges replaced on all doors. Repairs and replacements to fixtures and fittings. Dirt, tears and degradation to wallpapers. Window at the top of the staircase loose. Staicase appears over/later painted. Split to top left bedroom floor. Wear, dirt and damage to floor 'tiles'. Furniture of varying ages. Some damage and repair to furniture. Mangle in kitchen functioning, although slightly misshapen in places. A couple of the loaves in the kitchen appear to be organic. Wear throughout.Please view additional condition images using this link: https://share.icloud.com/photos/0Srv8TWGrEck4DadvwqRo1wbwBelow are comments from the vendor:Bedroom (first floor left): papered walls after a design by William Morris and tile patterned paper floors, built-in wooden fireplace, furnishings include canopy bed with green silk upholstery, a doll, and a five-piece suite of Arts and Crafts furniture.Bedroom (first floor right): papered walls after a design by William Morris and floors, built-in wooden fireplace, a wooden tester bed with red and white bedding and a doll, an Art Nouveau cupboard and a wooden cheval mirror.Drawing room: papered walls and tile patterned papered floors, built-in fireplace, furnishings including Victorian chairs with original upholstery, curtains after a design by William Morris a wooden violin, a doll dressed in brown with a hat, and an oval needlepoint carpetKitchen: papered green walls and tile-patterned paper floors, built-in fireplace, furnishings including a wooden dresser with numerous ceramics, a metal press sewing machine, a cook doll, a glass cat, a metal press mangle machine with towel and a marble top kitchen table.Hallway and stairs: papered walls and tile-patterned papered floors, furnishings including a metal stand with drawers and mirrored top, metal coat stand, leather satchel, umbrellas and hats.
Lot 629
Nicholas Condy (1793-1857)A first rate man-o'-war, at anchor, with other shipping off the coastsigned indistinctly l.r., oil on panel30 x 40cmCondition report: Oil on wooden panel with a supplier’s stamp for Winsor & Newton at the reverse. The panel is in a good condition overall. The paint layer is stable and secure overall. Near the centre of the panel is a localised are of cracks with some slightly lifting edges. There are drying cracks in the darker paint passages. There are localised areas of abrasion and scuffs to the paint surface. The sky at the left hand side has a slightly mottled appearance, it is unclear if there is retouching in this area. The thin varnish layer is slightly yellowed but even.
Lot 688
*Trevor Crocker (1934-1995)'First to land China 1900', the four funnel ship 'Douglas Raymond' signed 'Trevor Crocker' and inscribed l.l., oil on canvas board51 x 61cm, unframedBorn in Croydon, Trevor studied at the Reigate School of Art and carried out his National Service in the Royal Artillery. Trevor spent much of his career at the well-respected London-based design company Castle Chappell & Partners where he started as a graphic designer, later becoming a Director of that business as well as a Director of the Pack Design Company.He was an award-winning Design Consultant who specialised in advertising design for clients such as Hilton Hotels and British Gas and packaging design for clients such as Marks & Spencer, Duracell and Terry’s Chocolate. While at Castle Chappell he also designed album covers for the rock band Deep Purple. These included Deep Purple & The Royal Philharmonic Orchestra, 1970, Fireball, 1971, and Come Taste the Band, 1970. It was a contract to design advertising material for Mobil Oil that ignited his passion for marine painting. Trevor was fascinated by large steel vessels and he did extensive work for Mobil and later for Elf Total, not only being commissioned to paint their oil rig Alwyn North, but also designing their annual reports and accounts and their sponsorship related material for events at the Royal Opera House and the Sisley exhibition at the National Gallery.His marine painting work was varied, and included paintings of their fleet for Brittany Ferries, private commissions for yacht owners, as well as book jackets for seafaring tales. In the early 1990s he regularly exhibited at the Royal Society of Marine Artists annual exhibition at the Mall Galleries.Trevor died aged 61 from cancer, leaving a studio of work which is now to be sold. The first selection of work offered here, with more to follow in our Modern British & 20th century art timed online sale, in April. *Artist's Resale Right may apply to this lot. Condition report: Annotations in pencil to margins. Appears to be in good condition.
Lot 706
A pair of easy armchairs,first half of the 20th century, each upholstered in velvet, with a scrolling back, barrel arms and a deep seat, raised on tapering square front supports terminating in brass caps and castors,85cm wide 90cm deep92cm high (2)Condition report: Upholstery worn, frayed and tired in places. Knocks, wear and scratches to supports. Both back right castors missing. Joints and frame solid. General wear.
Lot 849
A Queen Anne-style leather wingback armchair,first half of the 20th century, with studded detail and raised on four walnut cabriole supports,93cm wide93cm deep106cm highCondition report: Wear, scuffs and splits to leather. Seat is faux leather and a later replacement. Some springs protruding to the back. Joints solid. Splits, knocks, losses and repair to frame.
Lot 853
An American 'Tabard Inn Library' ebonised oak revolving bookcase,c.1902, of architectural form with a gabled roof above various compartments, shelves, carved heraldic shields and book titles, the frieze carved 'The Tabard Inn, The Best Reading Rooms in the United States are the Homes of the American People',68.5cm wide68.5cm deep193cm highThe Tabard Inn project – named after the Southwark pub made famous by Geoffrey Chaucer in the first few lines of the Canterbury Tales - was the brainchild of entrepreneur and promoter Seymour Eaton. His idea was for a membership library located in drugstores across the United States. The books, available to members at five cents each, were housed in these 1.93m high ebonised oak bookcases with the carved inscription 'The Best Reading Rooms In the United States Are the Homes of the American People'. The slogan 'With all the Red Tape on the Box' references the sturdy black cases sealed with red tape that housed the books.In an advert from 1902, Eaton claimed that 10,000 bookcases would be made with their contents (each held 120 books) changed weekly from a central supplier. He even managed to sell his idea to the UK whereby in 1904 the newsagent WH Smith had taken on the UK franchise using similar bookcases that carry the legend inscribed with the Thomas Carlyle quotation 'The True University of These Days is a Collection of Books'.However, relatively few bookcases of either the US or the UK type are known. In March 1905, Eaton was declared bankrupt and his enterprise came to an abrupt end. Sworders expect this rare survivor to bring £2000-3000.Condition report: Minor rubbing and wear. Will easily sit in a new home with no restoration necessary.
Lot 888
Alexander Wilson Hill JP (1867-1949)'Snow in the City'a bromoil transfer print mounted on card, signed to the card in pencil l.r., pencil inscriptions verso and half an applied label from an exhibition at the Smithsonian Museum, Washington30.5 x 26.5cmAlexander Wilson, born in Girvan, was a prolific photographer, a long-standing member of the Edinburgh Photographic Society, he exhibited widely across Europe, receiving numerous awards,andFelice Beato (1830-1907)'The Dilkusha Palace, Lucknow'an albumen print, inscribed in pencil to mount 'Dilkusha, Lucknow, Felice Beato....1857 Albumen print', inscribed in pencil verso 'Beato 5 214/5, 5068,mounted on cardimage 23.5 x 28cm (2)In February 1858, Beato arrived in Calcutta and began his travels through Northern India, documenting the aftermath of the 1857 Indian Rebellion. During this time he produced, perhaps the first-ever, photographic images of corpses. His images of the Indian Rebellion and the Second Opium War represent the first substantial body of photo-journalism.Condition report: Wilson:Some discolouration.Discolouration to card.Wear to corners of card.Beato:Stuck to card, some rippling to lower edge.Card some discolouration especially to edges.
Loading...-
596780 item(s)/page