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Click here to subscribeAn English silver and enamel cigarette case with concealed scene, Sheffield, 1922, with maker's mark WH within Star of David, with engine turned and striped decoration and onyx cabochon thumbpiece, enclosing a gilded interior with hinged panel with the goddess Hera seated on a cloud with a peacock, 8.5 x 8.3cm
A George III gilt-brass etui and chatelaine, third quarter 18th century, the etui decorated with a lady and a suitor within fluted pilasters, flowers and a cornucopia, the hinged cover enclosing a partially fitted interior containing scissors, a snuff spoon, and a folding fruit knife, suspended on a chatelaine with a central profile of a musician within a border of musical instruments and cherubs, above a panel with a Classical figure, possibly Orpheus, playing a lyre to animals, with clip back, 18.5cm high total; together with another George III gilt-brass etui, third quarter 18th century, each side chased with a figure and scrolling foliage, with hinged lid with suspension loop, lacking fitted interior, suspended by an associated chatelaine with a musician within a scrolling border and two thimble cases, with clip back, 19cm high total (2)
A George III gilt-brass etui and chatelaine, third quarter 18th century, the chatelaine with a panel depicting Thetis dipping her infant son Achilles into the river Styx, with another mythical figure below, with clip back, suspending two thimble cases and an etui, with rococo relief decoration of birds, a cherub, and a Classical figure within scrolling border, the hinged cover enclosing scissors, a folding fruit knife, a snuff spoon, a pencil holder, and an ear scoop, 17cm high
A Meissen porcelain blue-ground Kakiemon saucer-dish, probably 19th century, blue crossed swords mark, reserved with three quatrefoil panels with flowering shrubs issuing from stylised rockwork around a central lobed panel with flowering shrubs, within a gilt line rim, 17.6cm diameterProvenance: The Robert G. Vater Collection of European Ceramics.Photographs: © Christie's ImagesCondition Report: Overall in very good order. Some very, very slight wear to gilt line around the rim.
A Bohemian green glass vase, late 19th century, of double-gourd from with tapering neck and petal-cut rim, decorated with bands of blossoming flowers on a gilt ground with an oval panel to centre hand-painted with a portrait of a young woman with a blue veil, on a green ground with gilt scrolling foliage, on knopped stem and circular foot, 37.3cm high Condition Report: Overall in good decorative order. Some of the gilding is rubbed, especially the border around the painted portrait of a young woman and to a couple of knops of green glass in the stem and socle base, and further bands of gilding around the base. Some retouching of paint to the flowers visible under UV light.
A Russian menological icon for the month of August, second half 19th century, tempera on wood panel, parcel gilded, arranged over four registers, the patron saints of each day are standing next to each other with the day marked in Cyrillic numbers in roundels above, events are also depicted such as the Seven Sleepers of Ephesus and the Transfiguration of Christ on the top register, and the Dormition of the Mother of God on the right of the second register, 36.2 x 31.2cm
A Greek triptych travelling icon, 18th century, with break arch panels painted with four scenes from the last days of Christ, with the front of the left panel with Jesus praying to God in the Garden of Gethsemane while the disciples sleep, the reverse of the left panel with his arrest in the garden, the central panel with Christ on the cross within gilt borders, and the right panel with The Descent from the Cross, having white metal mounts and surmounted with suspension loop, with indistinct inscription verso, 12.3cm high total, 7.7cm wide, 1.7cm deep
A Dutch verre églomisé picture, by Jonas Zeuner, Dutch, 1727-1814, c.1790, depicting a country scene of a farmer’s wife discovering lovers in a barn, signed to the border lower right, Zeuner inv:, upper rim with losses, in an ebonised wood frame, 26 x 24cmProvenance:Christie’s, London, 5 April 1983, lot 176, £594; With Asprey & Co, 165-169 New Bond St, London, where purchased on the 1 February 1985.Footnotes: Note: Jonas Zeuner was born in Kassel and settled in Amsterdam around 1750 although his first recorded work dates from after 1770. He is celebrated for his gold pictures, perfecting techniques for engraving gold and silver leaf, his jewel-like pictures being greatly admired in fashionable Dutch circles. Zeuner’s oeuvre consists mainly of town views of Amsterdam, Haarlem, Utrecht and Groningen, often based on engravings by contemporary artists such as Jan de Beyer (1703-1780), Simon Fokke (1712-1784) and Wiebrand Hendriks (1744-1831). The present lot is more unusual being a genre scene.Zeuner employed a technique called verre églomis, also known as reverse glass painting, to create these pictures . He would apply gold and silver leaf to the back of a transparent glass panel, and then etch his design using a fine needle. To protect the design, he would then apply a layer of pigment over gold.
A German stained and leaded glass panel, Workshop of Franz Xaver Zettler, 1841-1916, Munich, late 19th century, depicting the Hunt of Saint Eustace, inscribed ZETTLER MUENCHEN, 60 x 47.5cm Footnotes: Note: Franz Xaver Zettler founded the Institute for Ecclesiastical Stained Glass in Munich in 1871, which became a royal Bavarian institution in 1873 under the patronage of King Ludwig II. The present panel appears to copy the hunting scene from the early 13th-century Saint Eustace window in Chartres Cathedral.
A group of seven Regency silk and hair embroidered pictures, early 19th century, depicting various country scenes, to include: one depicting figures fishing by a watermill, inscribed in ink to reverse This was worked by my Grandmother Hannah.... born Hannah Hutter (?) 1786 When she was a little girl at school, panel 13.8cm high, 18.9cm wide, frame 18.1cm high, 23.2cm wide; another with three figures on a barge with a cottage amongst trees to background, panel 14.9cm high, 19.7cm wide, frame 21.8cm high, 26.5cm wide; a near pair, with one depicting a boat in front of a grand house, and the other of boats in a river, panel 10.4cm high, 14cm wide, 15.5cm high, 19cm wide; the smallest depicting figures in the grounds of a grand house with birds flying above, panel 10.3cm high, 13.2cm wide, frame 14.5cm high, 17.5cm wide; and others, each in oval giltwood frames (7) Provenance: Property of a Gentleman removed from a Knightsbridge Apartment.
Two Regency silk and hair embroidered pictures, first quarter 19th century, each of oval form worked with black hair on a silk ground, with one depicting a boat approaching a grand house on the river; the other with a small boat sailing on a lake in front of a grand house, both with various inscriptions verso in ink to include Human Hair & Silk work Picture / Worked 1824 at the DEDHAM School / MRS H. BARTON CHAPPEL and with old labels inscribed in pen Mrs Cater / 73 High St / Colchester, and with trade label for B. L. LECAND - Carver, Gilder, Paper Hanger, in giltwood frames with verre eglomise mounts, panel - 9.7cm high, 13cm wide, frame - 21cm high, 23.5cm wide, and panel - 9.1cm high, 13cm wide, frame - 21cm high, 23.5cm wide (2)Provenance: Property of a Gentleman removed from a Knightsbridge Apartment.
A Victorian silver framed mirror, London,1881, Robert Humphries, of rectangular form, the openwork frame designed with winged Chimera and mythical figures to cartouches of Flora and a bearded gentleman, the top and base with central cartouches flanked by two muses, one with monogram, the reverse with wooden panel and hanging chain, approx. 40.6 x 51cm Condition Report: The mirror is in good condition commensurate with age. Hallmarks are clear. Some general surface scratching, nicking and pitting noted to the silver mount. Three splits noted to the openwork decoration near the base. Some inconspicuous repairs noted in places. Silver frame is lifting in places. Some bending noted. Engraved monogram to top cartouche. Some scratching and wear to the wooden mount on reverse. Some screws missing to side of the mirror. Stain to mirror plate in top left quarter and some small scratches and marks. Overall an attractive piece in good condition commensurate with age.
Saxton and Kip, original map of 'Caermardi (sic)', together with Robert Morden original map of the county of Monmouth, and a framed four panel text entitled 'South Wales, to avoid being tedious we shall describe the twelve counties of Wales under two divisions only etc..'. Framed (3) (B.P. 21% + VAT)
An Edwardian style aquamarine and seed pearl bracelet, the central openwork panel with round cut aquamarine and seed pearl surround, with two openwork lozenge shaped links to each side, with expandable bracelet engraved 9ct and tongue and box fastening, overall length 16cm, 5.2gms (untested) (at fault)
Three painted wooden panels, 19th century, probably taken from a Spanish altarpiece, each naively painted with Christ figures and a scholar within gilt painted arches with scroll details, the central panel with opening door, the side panels 56cm x 23.7cm, the central panel 46cm x 33cm (3) (at fault)
A French faience desk stand, 20th century, with ogee shaped rim, the back panel with applied candlestick holders, decorated with trailing floral detail, painted makers mark to base, 12cm high, with a French faience fan shaped vase, 20th century, with three divisions and scalloped rim, painted makers mark, 12cm high, a French faience posy vase, 20th century, modelled as four conical divisions applied to a scalloped fan, painted makers mark, 16.5cm high, and a French faience hors d'oeuvres tray, 20th century, with trailing floral design, painted makers mark to base, 26.5cm high (4) (at fault)
An Italian crewel work panel in the Florentine manner, 19th century, finely worked with tessellating shapes in jewel colours, framed and glazed, 79cm x 77cm overall CONDITION REPORT:The panel colours are clean and relatively bright, but are likely to have faded somewhat over time. The frame shows extensive wear to the gilt finish, some open grain and some losses to the moulded detail.
A 19th century pine box, with a vacant interior, upon a plinth base with integral bracket feet, 26cm H x 44cm W x 25cm D, along with a 19th century carved oak box, the hinged top centred with a lozenge motif, carved lunettes to the front panel, opening to a vacant interior, 12cm H x 46cm W x 22cm D, and a primitive beech stool, the demi-lune slab top upon three bobbin turned supports, 29cm H x 29cm W x 21cm D (3)
A George III mahogany cased eight day longcase clock by Eardley Norton, London, mid to late 18th century, the pagoda shaped hood with pierced gilt metal side grilles and fluted freestanding pillars flanking the 31cm gilt metal and silvered dial, applied with integral Arabic date numerals to the outer track indicated by a third hand, below a strike/silent indicator, signed with the makers name, enclosing the four pillar two train movement striking on a saucer bell, the case with conforming quarter pilasters and an arched and moulded door over a panel applied with beaded detail, upon a plinth base, 244cm high, two weights and pendulum
A carved oak coffer, late 17th/early 18th century, the pin and hook hinged top with three inverted panels, over a lunette and nulled frieze and three conforming panels centred with lozenge motifs, upon stile feet, 58cm H x 107cm W x 52cm DCondition reportSplit to the top centre panel along with general minor stains, marks and scuffs commensurate with age and use, slight warp in the rear back board, repair to the clasp lock, please see additional images, overall the condition is sound with general minor wear, no major visible faults or damage
A mid 19th century rosewood and marquetry work table, the moulded top centred with a marquetry panel depicting a bird on leafy branches, the two drop leaves inlaid with panels depicting rearing horses, over a pair of drawers opposed by faux drawers, upon an octagonal tapering pedestal, moulded collar and inverted quatre form plinth extending to scrolled feet, 74cm H x 40cm W x 41cm D
An upholstered oak box settle, stamped Gillows, Lancaster, late 19th/early 20th century, the padded back rest with a turned spindle gallery over the hinged box section, and the five front panels each carved with a scrolled Celtic motif, upon channelled stile feet, stamped with the number 'L15649', 93cm H x 150cm W x 45cm Dcondition report: Very minor 1cm chip to front right hand corner. Further minor rubbing to opposite corner and front lip.2cm scuff to front right hand panel. Joint split to the interior base. Otherwise structurally sound with general light fading and wear commensurate with age and use.
A glazed walnut three fold screen, late 19th/early 20th century, each section with a 'C' scroll crest over a central upholstered panel, enclosed by glazed panels and foliate fretwork spandrels, each panel measures, 133cm x 51cm, along with a second folding screen, the three break arch panels upholstered in lattice fleur de lis fabric, applied with circumferential stud work, each panel measures, 153cm x 40cm (2)
A Contessa-Nettel Deckrullo Nettel Tropical Double Extension Camera, 1919-1926, teak, with Carl Zeiss Jena Tessar f/2.7 165mm lens, black, serial no. 657167, body, VG-E, shutter requires attention, lens, VG, complete with front extension panel with Carl Zeiss Jena Tessar f/4.5 150mm lens, black, serial no. 595081, body, VG, elements, VG, complete with magazine back and three DDS
A Rare Kammatograph Cine Camera & Projector, English, c.1898, the metal plaque at the front marked 'The Kammatograph, PATENT, MANUFACTURED BY L. KAMM, 27 POWELL ST. LONDON E.C.', constructed of mahogany and plate metal with leather covering, the front panel lifts up to reveal the shutter mechanism, with a lathe metal ring to support the circular spiral glass plate, width 36cm
A Safavid style woven silk sash Poland, 18th Centuryof long rectangular form, the central panel woven with alternating horizontal bands of blue, red and pink flowers, a wide panel at each end containing four large floral sprays, the end borders with letters possibly in cursive Cyrillic 345 x 56 cm.For further information on this lot please visit Bonhams.com
A large metal-thread embroidered calligraphic silk panel from the burqa' Egypt, late 19th Centuryof rectangular form with curved ends, the black silk ground embroidered in silver thread with a band of inscription, mounted 200 x 39.5 cm.Footnotes:ProvenanceProperty from the private collection of Dr Mohammad Said Farsi and thence by descent to the present owner.Christie's Islamic Art and Manuscripts, 11 October 2005, lot 25.Inscriptions: Qur'an sura XXVII, al-naml, verse 30; and sura XVII, al-israa, verse 80.The Ka'ba is decorated annually on the 9th day of the month of Dhu al-Hijah, the day during the Hajj on which the pilgrims leave for the plains of Mount Arafat. The four walls are covered with curtains (kiswah) and are encircled by a band (hizam) embroidered with text from the Qur'an. The present lot is part of one of these bands, and was more specifically a panel from the burqa', or the panel above the main door of the Ka'ba. The practice of decorating the Ka'ba dates back to pre-Islamic times and the Prophet Muhammad himself witnessed the ceremony of the covering of the Ka'ba as a six-year-old child. Under the Mamluks, Egypt became the supplier of the kiswah, and it became traditional to change it annually. Production in Egypt continued under the Ottomans until 1927 when it was decided that the King of Saudi Arabia should provide the textiles, and production was moved to Arabia, where it continues today. When the kiswah and the hizam were replaced, they were cut up and reserved for important dignitaries such as the Sharif of Mecca, but some fragments were also allowed to be sold in special shops near the Bab al-Salam.For related examples see Sotheby's Islamic Works of Art, 21 October 1993, lot 255 and Islamic Art, 16 October 1997, lot 108.Dr. Mohammed Said Farsi was the Mayor and then Lord Mayor of Jeddah in the 1970s and 1980s, where he played a crucial role in transforming the city into one of the largest open-air galleries in the world by commissioning monumental sculptures by famous international and Middle Eastern artists, including Joan Miró, Henry Moore, Hans Arp, and Alexander Calder.For further information on this lot please visit Bonhams.com
A Mughal silk belt (patka) with tiger stripe (bubri) decoration North India, 18th Centuryof rectangular form, woven in green, red and pink silk, heightened in gilt metal thread, with bands of paired bubri motifs interspersed by bands of bubri motifs, each end with a panel of floral sprays, the borders with undulating vines, tassels to each end, red silk backing 247 x 48.4 cm. excluding tasselsFootnotes:This patka alternately features both the Ottoman style bubri pattern and a pattern of short curved stripes, somewhat similar to the tiger stripes used by Tipu Sultan on his arms and coinage (see lot 175).A similar Mughal patka with bubri decoration and floral borders, dated to the 17th century, is in the Textile Museum at George Washington University (6.29). Another with the same red and green colour scheme, dated to 18th century Kashmir, is in the same collection (6.130).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 calligraphic album page copied for Abu'l Hasan Mirza, perhaps a grandson of Fath 'Ali Shah Persia, 19th CenturyPersian manuscript on paper, two couplets written diagonally in nasta'liq script in black ink, laid down on a 19th Century album page with gold-decorated coloured inner borders, one with panels of small nasta'liq script, rectangular panel above text containing a naturalistic depiction of a bird amidst flowers and foliage, wide outer borders with stylised floral motifs in gold on a light pink ground text panel 145 x 70 mm.; album page 455 x 310 mm.Footnotes:ProvenancePrivate collection, London. The quatrain in the centre is attributed to Ibn Sina (Avicenna) by Shaykh Baha'i in his Kashkul (but is otherwise unidentified). In the inner borders are the opening couplets from Sa'di's Bustan. Abu'l-Hasan Mirza (d. 1334/1915-16) is likely to be a son of Muhammad Taqi Hisam al-Saltanah and a grandson of Fath 'Ali Shah Qajar.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
Kedara ragini: Mahadeva as a yogi seated on a terrace listening to a musician Bundi, circa 1750gouache and gold on paper, yellow panel at top with nagari inscription, red border 266 x 192 mm.Footnotes:ProvenanceFormerly in the collection of Dr Alma Latifi, CIE, OBE.Private UK collection.Dr Latifi, a civil servant, amassed a substantial collection of Indian paintings from which several pieces were loaned to the Royal Academy exhibition of 1947-48, The Art of India and Pakistan.The inscription reads: sri ragki kedara ragini 35.The musical mode Kedara Ragini is depicted as Mahadeva taking the form of a Shaivite yogi with a vina over his shoulder, seated outside his hermitage listening to a sarinda player. Mahadeva ('great god') is one of the names of Shiva, who despite his potent destructive powers, also has a benevolent side where he lives the quiet contemplative life of an ascetic and omniscient yogi on top of Mount Kailash.Mahadeva can be identified by his third eye, Shiva's matted locks around which a snake twirls, and the face of the river Ganga emerging from his hair. The crescent moon that lights the scene is also a symbol of Shiva, usually a crest above his head. Mahadeva and the sarinda player are seated on the carpet of a terrace far grander than one would expect of an ascetic and the blue-skinned god is dressed in princely robes leaning against opulent cushions, suggesting that the setting is Shiva's palace. The meditation hut though constructed of thatch seems to be made of gold. According to Klaus Ebeling (Ragamala Painting, 1973, p. 62), in the Rajasthani tradition, the iconography of Kedara Ragini, fifth wife of Sri Raga, is described variously as an ascetic listening to the music of a disciple; or a beardless ascetic with a vina and a visitor; or an ascetic with a vina and a noble visitor seated on a terrace or in a tower. Elements from all these variations of the iconography are combined with the imagery of Shiva as Mahadeva. See Ebeling, op. cit., p. 268, no. 287 for a Deccani example of this mode, where an ascetic listens to the music of a disciple who plays the vina; and an example from Amber (no. 288), where the river Ganga flows from the head of an ascetic who is clearly Shiva as Mahadeva, seated on his tiger pelt counting his rudrakshamala beads.For further information on this lot please visit Bonhams.com
A Timurid moulded pottery mihrab tile Central Asia, second half of the 14th Centuryin the form of a mihrab, decorated in cobalt-blue and turquoise on a white ground with a central trefoil palmette containing and surrounded by scrolling foliate interlace and split palmettes, mounted 56.2 cm. high excluding standFootnotes:This is a beautifully crafted terracotta panel that takes the form of a mihrab arch, enclosing an inner trefoil palmette which stands on a short waisted foot. The surface is adorned with an intricate design of scrolling floral and leafy arabesques in various luminous glazes such as rich turquoise, white, lilac and aubergine. The terracotta has been delicately carved in high relief to give the pierced effect of a veil of lace, with the subtle glazes floating against the deeply recessed ground.Carved and glazed terracotta is a highly attractive technique that dates back to before the Timurid conquest. One of the earliest examples is a fragment in the Victoria and Albert Museum in London, dated AH 722/1322 AD. This technique seems only to have been used in the fourteenth century and is distinct from other techniques employed by Timurid tile-makers, such as cut-tile mosaic and cuerda seca.Similar mihrab-shaped arches can be seen at the Mausoleum of an Anonymous Woman in the Shah-e Zende necropolis complex in Samarkand, illustrated in Jean Soustiel and Yves Porter's book Tombs of Paradise: The Shah-e Zende in Samarkand and architectural ceramics of Central Asia, 2003 p, 87. Another example is found in the Sadberk Hanim Museum, Istanbul, as illustrated in Hülya Bilgi's book Reunited after centuries: Works of art restored to Turkey by the Sadberk Hanim Museum, 2005, pp. 28-29, cat. no. 4.For further information on this lot please visit Bonhams.com
An Ottoman brocade silk panel Turkey, 17th/ 18th Centuryof square form, woven in polychrome silks with a cusped lattice overlaid with floral vines and filled with rosettes, the border with a band of palmette motifs 162.5 x 171 cm.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
An Ottoman ruby-set and enamelled gold belt buckle Turkey, 17th Centurycomprising a central rose surrounded by openwork tendrils flanked by two cusped-ended rectangular elements with tulips on a ground of openwork vegetal interlace, one with hinge, the other detaching with hook, decorated in polychrome enamel and set with rubies and other gemstones, the reverse of the central panel partially engraved with a lattice of vegetal interlace, tested as 13 karat gold 21.4 x 6 cm; 110 g.Footnotes:ProvenancePrivate Greek Collection, acquired in the early 20th Century. This buckle is a rare example of early Ottoman enamel work. The gold work, and more particularly the tulips, can be compared with those on a yoke in the Hermitage Museum, St. Petersburg (see Alexey Konstantinovich Levykin, The Tsars and the East, Washington D.C., 2009, no.61, pp.119-121). The yoke was probably composed using precious items from the Tsar's treasury bought as diplomatic gifts from the Ottoman court and is dated to the 17th century. The engraved decoration to the reverse of our buckle can also be compared with that on the reverse of a 17th Century Ottoman gem-set plaque also in the Hermitage Museum (ibid, no. 64, pp. 126-127).A very similar belt buckle was sold at Christie's, Art of the Islamic and Indian Worlds, 25 October 2018, lot 190.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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