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Click here to subscribeBooks - Climbing - Travel - Hillary (Edmund), High Adventure, first edition, Hodder & Stoughton, London 1955, hb, dj; Forbes (Rosita), The Secret of the Sahara: Kufara, Cassell and Company, Limited, London 1921; Forbes (Rosita), From Red Sea to Blue Nile: Abyssinian Adventures, Cassell and Company, Ltd, London 1925; Himalayan Quest: The German Expeditions to Siniolchum and Nanga Parbat, Nicholson and Watson, London 1938; Baedker's Eastern Alps; etc (2 boxes)
Antiquarian Books - Wells (H.G.), New Worlds For Old, first edition, Archibald Contsbale & Co., London 1908; Cresswell v. Jackson: The Matlock Will Case, Tried Before the Lord Chief Justice Cockburn and A Special Jury [...] Wednesday, February 22, 1864 [...], Alfred Boot, London 1864; Covenants With Death, edited by T.A. Innes and Ivor Castle, Daily Express Publications, London 1934; Verni (Maria), Modern Beauty Culture, The New Era Publishing Co; an 18th century English grammar publication, contemporary calf; 19th century p/b Waverley Novels; etc
‡ Andy Harper (b.1971) Grass painting 3 Signed and titled on backing board verso Oil on board, unframed 81 x 122cm Painted in 1998 The Painting/Grass series are produced by repetitively forcing brushstrokes into a layer of wet oil paint across the entire surface of the painting. It is apparent from first sight that the effect of this stark and uncompromising process is uncannily photographic. However, each painting refers very directly to the reference of the brush mark - the simplest building block of painting. The process of making each painting, and the illusion it provides, mirrors the contradiction between a natural or cultural reading of grass.
ë John Smart (1741-1811) Portrait miniature of James Whatman, head and shoulders, wearing a sky blue coat Signed with initials and dated 1777 Oval, in a converted bracelet frame 32 x 21mm James Whatman (1741-1798) was one of the foremost paper makers in Europe and was instrumental in the development of fine quality wove paper in Turkey Mill in Kent. Whatman was the son of James Whatman senior and Ann Harris, who between them turned Turkey Mill into the largest paper mill in the country. Whatman senior pioneered a method of producing fine quality wove paper on a mesh base which resulted in a much smoother paper, ideal for fine art and high quality printing. War in Europe between 1739 and 1748 cut off the supply of fine paper from the continent and so the English paper makers were able to regain the market and Turkey Mill became the largest paper mill in the country. James Whatman Junior took over in 1762, the firm having been run by his mother Ann since James senior’s death in 1759. James Junior continued to innovate in paper making and introduced many new techniques including the use of blue smalts which enhanced the whiteness of paper. He was also well known for creating the largest sheets of paper ever made at 53 x 51 inches for the Society of Antiquaries. Thomas Gainsborough is well documented in the 1760s trying to obtain Whatman paper saying ‘There is so little impression of the wires, and those so very fine, that the surface is like vellum.’ It was used by many of the most famous painters of the late 18th and early 19th century, including Turner, John Robert Cozens and William Blake for some of his illuminated books. James Whatman (1741-1798) married twice, his first wife dying in 1755. This miniature was painted just after his second marriage to Susannah Bosanquet in 1776. In Whatman’s account book there are three entries concerning Smart: 1776, Oct 5, Smart the Miniature Painter on Acct £18.18.0; 1778 May, Smart the Miniature Painter in full £21.0.0; 1779, May Mr Smart for a Miniature Picture and glass £13.2.6 ++Good condition
‡ Christopher Richard Wynne Nevinson A.R.A. (1889-1946) Portrait of a wounded soldier Signed Oil on canvas 50.5 x 40.5cm Painted c.1916 This painting was executed almost 100 years ago by Nevinson who had been at the heart of the action on the Western Front. Nevinson’s early works in the Futurist mould took a diversion with the onset of the First World War but he was determined to continue with the ‘Futurist technique’ to express the reality of War. However by 1916 his mètier was in retreat to a form of moderate modernism which won him much critical acclaim. His works at the time of the War are bleak, outspoken and often angry but his paintings of 1915-16 count among the masterpieces of his career. The unknown sitter is depicted gazing calmly at the artist but with a wealth of emotion in the eyes. He was to turn more to portrait painting after the War and this painting is a rare glimpse of Nevinson succeeding as a portrait artist at a watershed moment of his career ++Relined, good restored condition
Three Baluchi runners, Khorasan, north east Persia, the first circa 1930s-1940s, 10ft. 4in. x 3ft. 3in. 3.15m. x 1m. Reweaves in places with patch to top end of field; small areas of old moth damage in places; small repaired splits. Lustrous wool and soft handle. The second with an ivory ‘boteh’ field, early 20th century, 9ft. 5in. x 2ft. 11in. 2.87m. x 0.89m. Overall wear; corrosion to browns; some mother damage; the third, circa 1930s-1940s 8ft. 3in. x 3ft. 3in. 2.51m. x 1m. Corrosion to browns and with moth damage in places; crease marks and losses to lower end. (3)
Two runners, the first: Hamadan with camel field, north west Persia, circa 1930s, 10ft. 2in. x 3ft. 6in. 3.10m. x 1.07m. Overall wear, heavy in places and some moth damage. The second, Karabakh, south west Caucasus, early 20th century, 10ft. x 3ft. 9in. 3.05m. x 1.14m. Overall wear and corrosion to browns; losses to ends and to selvedges in places. (2)
Sarab long rug, north west Persia, circa 1930s, 8ft. 2in. x 3ft. 9in. 2.49m. x 1.14m. Overall wear; some repairs and losses to ends. Together with two Bijar long rugs, north west Persia, circa 1920s-1930s, the first with all over herati design on a blue field, 8ft. 1in. x 4ft. 2.46m. x 1.22m. Overall heavy wear; losses to ends; the second with a central medallion, 7ft. 10in. x 4ft. 4in. 2.39m. x 1.32m. Overall heavy wear; small holes; losses to ends. Sold with all faults not subject to return. (3)
Ninxia fo-dog rug, north west China, probably first half 19th century, 7ft. x 4ft. 5in. 2.13m. x 1.35m. Overall wear, heavy in places with some repairs; losses to ends. Note the five fo-dogs enclosed within a circlet of cloud motifs in the centre with larger fo-dogs in each corner on a blue field within a pale beige main border. Previous fo-dog rugs sold in these Rooms have all been woven with a pale yellow field with the fo-dogs scattered over the field rather than some enclosed in the centre, viz: Lot 1882 14th July 2011 and Lot 1887 6th October 2011with floral motifs in place of fo-dogs and similarly, Lot 276 20th May 2015. Literature: Larsson, Jr. L. op. cit., pp. 24-25.
Ninxia meditation runner of ten panel design, north west China, possibly first quarter 19th century, 19ft. 3in. x 2ft. 5.87m. x 0.61m. Overall heavy wear with repairs, holes and losses to both ends; water mark to one side. Note the stencil no. A2117 verso one end. The original colour of the pale yellow main border is still evident in places. Each panel is composed of a central lotus flower motif in shades of blue, ochre and gold; with small floral motifs in each corner; the borders to each panel of scrolling foliate motifs in blue and light brown. These sitting carpets were used to cover the benches used by the monks during meditation in the halls of the Buddhist temples. Literature: Larsson, Jr. L. op cit. pp. 83-91.
‘The Look-Out Cat in the Night-time’. Baotou ‘tiger’ rug, north west China first quarter 20th century, 6ft. x 3ft. 9in. 1.83m. x 1.14m. Reweave to lower end centre field; other small reweaves; slight fraying to sides. Interesting pictorial rug depicting a tiger on a rocky outcrop looking to his left under a crescent moon; a tree to one side, on a dark shaded purple field. A similar tiger rug, woven in Tibet, sold in these rooms: Lot 272 30th September 2015. Literature: Larsson, Jr. L. op cit. pp. 77-82.
Khotan double medallion rug, Xinjiang, east Turkestan, first half 20th century, 10ft. 6in. x 5ft. 6in. 3.20m. x 1.68m. Overall wear with some corrosion in places. Losses to both ends, especially the top end. The two medallions each with stylized armorial pendants and each end and each with a central rosette-type gul; the pink flowerheads radiating from the rust red shields with heart-shaped petals. Wide floral and tree main border and outer guard stripe of pearl dots.
Exceptional Melas prayer rug, west Anatolia, first half 19th century, 4ft. 11in. x 3ft. 8in. 1.50m. x 1.12m. Overall even wear; small reweaves; corrosion to browns. A very pretty prayer rug of superb colour including a pale yellow main border and terracotta mihrab with ivory spandrels above. Note the eight-pointed stars in the main border alternating with pairs of rosettes. Cf. Zipper & Fritzsche, op cit. pp. 64-65, pl. 65 for a very similar Star Melas dated circa 1800.
Three Tekke Turkmen 3 x 2 turreted gul chuval faces, Turkmenistan, early 20th century, the first 2ft. 5in. x 4ft. 10in. 0.74m. x 1.47m. Overall wear; small repairs; tape sewn verso all sides; false fringes sewn to each selvedge. The second, 2ft. 10in. x 4ft. 7in. 0.86m. x 1.40m. Overall wear with selvedges rebound; the third, 2ft. 3in. x 4ft. 0.69m. x 1.22m. Some colour run; losses to lower elem. (3)
Two Ersari Turkmen rugs, north east Afghanistan, circa 1930s-40s, the first with two columns of six gulli-guls, 5ft. x 3ft. 2in. 1.52m. x 0.97m., the second with two columns of four gulli-guls, 4ft. 5in. x 3ft. 5in. 1.35m. x 1.04m. Both with overall wear, some crease marks and small areas of old moth damage. (2)
Large attractive chuval face of mina khani design by the Ersari Turkmen of Beshir, south Turkmenistan, first half 19th century, 3ft. 3in. x 5ft. 9in. 1m. x 1.75m. Overall wear with losses to lower elem especially to the left corner; fraying to sides; thin in places; repaired kink to left lower side. Note that among the elegant flowering trees of the lower elem, curiously only one has been woven in ivory; the rest are in blue. A row of tiny comb motifs decorates the narrow top elem. A very good looking chuval face of somewhat archaic design. Lustrous wool and very soft handle. Cf. Mackie, L & Thompson, J. Turkmen, p. 176; pl. 89 for a similar face but of a later date.
Two Melas rugs, west Anatolia, both modern, the first with narrow chestnut field with a single row of medallions with wide beige geometric motif main border, 7ft. 1in. x 3ft. 11in., 2.16m. x 1.20m.; the second with very narrow rust red field and multiple floral borders, 7ft. 4in. x 4ft. 1in. 2.24m. x 1.25m. (2)
Two Konya tulus, central Anatolia, both modern, the first, flecked beige field with maroon all over design and plain maroon border, 7ft. 3in. x 4ft. 5in., 2.21m. x 1.35m.; the second with all over foliate motifs on a deep claret ground, 6ft. x 3ft. 9in., 1.83m. x 1.14m., and an Anatolian long rug, modern, plain cream field with tiny central medallion and single medallion in each corner, 6ft. 6in. x 2ft. 5in. 1.98m. x 0.74m. Slight wear in places. (3)
Five Anatolian kelims, all modern, the first with narrow centre pole medallion and ivory border, 5ft. 11in. x 3ft. 6in. 1.80m. x 1.07m.; the second a prayer kelim with gold spandrels above the mihrab, 5ft. 4in. x 3ft. 4in. 1.63m. x 1.02m.; the third, three diamond medallions on a narrow maroon field and pale blue border, 6ft. 3in. x 3ft. 1in.; the fourth: small prayer kelim with multiple borders, 5ft. 1in. x 3ft. 6in. 1.55m. x 1.07m. And the fifth with blue double medallion within ivory outline on a maroon field with wide ivory border, 7ft. x 3ft. 1in. 2.13m. x 0.94m. Sold as a collection with all faults not subject to return. (5)
Four Anatolian kelims, all modern, comprising: the first two of matching banded medallion design, 5ft. x 3ft. 4in. 1.52m. x 1.02m. And 4ft. 10in. x 3ft. 4in. 1.47m. x 1.02m.; the third, diagonal rows of stepped medallions on a chocolate brown field, 4ft. 6in. x 3ft. 5in. 1.37m. x 1.04m.; the fourth of ‘eye-dazzler’ design, 4ft. 2in. x 2ft. 9in. 1.27m. x 0.84m. Sold as a collection with all faults not subject to return. (4)
Three Baluchi rugs, Khorasan, north east Persia, all early 20th century, the first a prayer rug with camel field, 5ft. 9in. x 2ft. 10in. 1.75m. x 0.86m. Overall wear, corrosion to browns; the second, all over trellised design, 6ft. 2in. x 3ft. 2in. 1.88m. x 0.97m. Overall wear; heavy corrosion to browns; damage to ghileem ends; the third, camel field with all over serrated edge medallions, 4ft. 5in. x 3ft. 1in. 1.35m. x 0.94m. Overall wear; some corrosion to browns; slight losses to ends. (3)
Three Baluchi rugs, Khorasan, north east Persia, late 19th/early 20th century, the first a prayer rug with camel field, 5ft. 7in. x 2ft. 10in. 1.79m. x 0.86m. Some wear in places; corrosion to browns. The second, all over trellised design on a camel field, 4ft. 11in. x 2ft. 7in. 1.50m. x 0.79m. Some wear with corrosion to browns; the third with all over mina khani design, 5ft. x 3ft. 10in. 1.52m. x 1.17m. Corrosion to browns. (3)
Five Anatolian kelims, all modern, the first: banded interlocking motifs principally orange and red, 4ft. 1in. x 2ft. 9in. 1.25m. x 0.84m.; the second, small kelim of green hooked motifs on a red field, grey border, 4ft. 4in. x 3ft. 1.32m. x 0.91m.; the third, an ‘eye-dazzler’ kelim, 4ft. 8in. x 2ft. 7in. 1.42m. x 0.79m., the fourth with two central medallions on a green ground, 4ft. x 2ft. 11in. 1.22m. x 0.89m.; the fifth a prayer kelim with maroon field, 5ft. 2in. x 2ft. 11in. 1.58m. x 0.89m. Sold as a collection with all faults not subject to return. (5)
Three Baluchi rugs, Khorasan, north east Persia, late 19th/early 20th century; the first a prayer rug with camel field, 5ft. 9in. x 3ft. 2in. 1.75m. x 0.97m. Some wear with corrosion to browns; the second with ivory field with interesting ‘tree’ design, 5ft. 3in. x 2ft. 11in. 1.60m. x 0.89m. Some crease marks and corrosion to browns; the third with all over trellis design, 5ft. 11in. x 3ft. 7in. 1.80m. x 1.09m. Corrosion to browns and slight losses to ends. (3)
Four Baluchi rugs, Khorasan, north east Persia, late 19th/20th century, the first with camel field, the central tree flanked by scorpion motifs, flowerhead main border, 5ft. 10in. x 3ft. 1in. 1.78m. x 0.94m. Overall wear with corrosion to browns; remnants of glue verso; the second, a prayer rug, the mihrab compartmented with flowerheads, 4ft. 8in. x 2ft. 11in. 1.42m. x 0.89m. Slight corrosion to browns; the third, a prayer rug with camel field and all over quartered flowerheads divided by vertical striped stems, 5ft. 1in. x 3ft. 9in. 1.55m. x 1.14m. Some wear in place with some old moth damage and losses to ends; the fourth, dark brown field with all over trellis design, 5ft. 8in. x 3ft. 10in. 1.73m. x 1.17m. Overall wear and corrosion. (4)
Five assorted weavings all but one Anatolian, all modern, comprising: the first: Kayserie kelim, maroon with two medallions, 5ft. 6in. x 3ft. 2in. 1.68m. x 0.97m.; the second, a Konya kelim of repeating prayer arch design, 5ft. 7in. x 4ft. 2in. 1.79m. x 1.27m.; the third, a Konya tulu, with all over floral trellis in purple on a soft red field, woven with date of 1982 6ft. 3in. x 4ft. 2in., 1.91m. x 1.27m. The fourth, north west Persian jajim runner, 11ft. 4in. x 2ft. 6in. 3.45m. x 0.76m. And the fifth, an Anatolian banded flatweave, 8ft. 2in. x 3ft. 11in. 2.49m. x 1.20m. Sold as a collection with all faults not subject to return. (5)
Four Anatolian cream and beige ground embroidered flatweaves, all modern, the first, with four rows of medallions, 7ft. x 6ft. 3in. 2.13m. x 1.91m. Two widths joined vertically, the second a prayer rug design, 4ft. x 2ft. 8in. 1.22m. 0.81m.; the third, plain field with trailing floral border, 7ft. 1in. x 4ft. 11in. 2.16m. x 1.50m., some colour run, and the fourth, with all over floral sprays, 3ft. 11in. x 2ft. 3in. 1.20m. x 0.69m. Sold as a collection with all faults not subject to return. (4)
Four Anatolian cream ground flatweaves, all modern and all embroidered with flowers: the first with central floral spray repeated in each corner, 6ft. 1in. x 4ft. 8in. 1.86m. x 1.42m.; the second with all over harebells in red and purple, 7ft. 7in. x 4ft. 7in. 2.31m. x 1.40m.; the third with all over harebells in pale mauve, 7ft. 6in. x 5ft. 2in. 2.29m. x 1.58m. And the fourth with all over flower sprays, 6ft. 1in. x 5ft. 9in. 1.86m. x 1.75m. Two width joined vertically. Sold as a collection with all faults not subject to return. (4)
Two Indian stoles, both late 19th century, exquisitely embroidered in floss silks in vibrant colours: The first net ground, the ends each with a floral panel with a narrow floral border enclosing a central panel of floral bouquets, 107in. x 19in. 272cm. x 48cm. Polychrome plaited silk fringe to ends. Slight fraying to sides; holes to net ground one end in places. The second, Kashmiri, north India, green ground embroidered with flowers and foliage in coloured silks and metal threads, each end with pale blue, terracotta and green ground pieced together, plain green centre. Many small holes throughout; surface marks and other small damages. Note: A remarkably similar shawl with almost identical ends to the second shawl in this lot, but with a pale blue centre, sold these Rooms Lot 1368 26th July 2007. Provenance: Purchased in Paris, circa 1890-1900, by the vendor’s great grandfather, George Gilbert Scott, son of Sir George Gilbert Scott, the renowned architect whose best known work includes the Albert Memorial and St. Pancras Railway Station. (2)
Two Chinese black silk square shawls, both embroidered in brightly coloured silks, the first with all over flowers and foliage, 43in. 109cm. square with plaited silk fringing; the second embroidered paeonies and small flowers in each corner, 62in. x 58in. 158cm. x 147cm. With plaited silk fringing; together with a Chinese black silk shawl, embroidered in black with flowers to the corners and border, 59in. x 56in. 150cm x 142cm. With plaited silk fringing; small surface marks. All mid-20th century. (3)
An unusual and attractive Maori woven flax bag, New Zealand late 19th century, 11in. x 13½in. 28cm. x 34cm. A hand-written note (in two different hands) pinned to the bag states: ‘New Zealand flax bag (Maori work)/ not often made now, bought in 1900 at New Plymouth, N. Zealand’. The orthography and ink of the first part of this note seems contemporary with the apparent date of purchase.
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