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Lot 4
An 15ct gold pearl and diamond swag brooch pendant necklace. The necklace strung with a target roundel having a central old cut diamond in a claw setting surrounded by two sets of graduating 12 half pearls, having brooch fitting verso. The brooch pendant surmounted by an articulating floral scroll motifs set with further half pearls to trace chain and barrel clasp. Marked 15c. Tests indicate 15ct gold. Weight 14.07g.
Lot 86
An early 20th Century Edwardian 9ct gold, amethyst, peridot and seed pearl suffragette pendant necklace. The necklace having a round flower basket pendant set with round cut stones set to a fine curb link chain with cylinder clasp. Clasp marked 9ct, pendant marked 9ct. Weight 4.9g. Chain measures 16 inches.
Lot 90
A collection of vintage and antique jewellery to include a Victorian rolled gold roundel locket brooch pin, a Czech phoenix brooch pin and dress clip, 800 silver amethyst brooch pin AF, a mother of pearl ring, a silver and pink paste ring, a prayer locket, an enamel pin AF, a hallmarked silver and black onyx heart ring. Measurement guide roundel brooch pin approx 3cm.
Lot 328
Two late 19th/early 20th century travelling vanity cases/dressing table boxes, both containing the original bottles and lined with green velvet lining. Both have mother of pearl inlaid escutcheons and decoration to the top, 1 has a key, 1 has the original mirror. (2) (B.P. 21% + VAT) Both are poor, one water damaged, scuffed and worn
Lot 464A
A George V silver cigarette case, with engine turned decoration, circular vacant reserve, Chester 1913, 2oz, Together with a WWII metal cigarette case, decorated to the front with a mosque, verso etched with a horseshoe, horse's head and flowers, 15cm wide, chrome cigarette case with engine turned decoration, and Pearl cigarette case with integral lighter. (4)
Lot 34
A large and impressive painting in six sections depicting an extensive royal procession with the Sawai Maharaja Jai Singh Prabhakar, Maharajah of Alwar (reg. 1892-1937), signed by R. Sahai, the Alwar State Painter Alwar, Rajasthan, circa 1903-1909gouache and bodycolour with gold on heavy paper, signed R. SAHAI STATE PAINTER ALWAR RAJPUTANA, six separate panels forming one painting 815 x 67.3 cm.; 26 feet 8½ in. by 26½ in.(6)Footnotes:ProvenanceFormerly the Estate of George McFadden, New York, 1980s.Following in the Mughal tradition of grand royal processions this 8-meter-long panorama depicts the full complement of participants and royal carriages associated with the traditional durbar of the Maharajas of Alwar.Maharaja Jai Singh is depicted in full regalia including his trademark prominent pearl collar and triple strand pearl and emerald necklace with a large diamond pendant. The absence of the Star of India would indicate that the scene is painted after his installation at the gaddi in 1903 at the age of 21 by Lord Curzon, but before his investiture as Knight Commander of the Most Exalted Order of the Star of India in 1909. This is confirmed by the photograph captured by Bourne and Shepherd at the Coronation in Delhi in 1903 (fig. 1) showing Maharaja Jai Singh and Colonel Christopher Fagan (Assistant Political Agent and Consul to Alwar in 1901) together with four ministers from the Alwar court. The photograph reveals a remarkable likeness to the key figures of the procession. The faces of the Maharajah and the minister on the right in the photo matches the likeness of the two figures in the royal howdah. In adddition the three other ministers, with their distinctive faces and turbans can be seen on horseback following the Maharajah in the first and second row. The scale of the panorama and treatment of the prominent figures, horses, elephants, and carriages are rendered in fine detail that is clearly inspired by the celebrated artist Ghulam Ali Khan, who worked at the Alwar court for twelve years between 1840 and 1852 and completed a number of important illustrated manuscripts. A large cache of over 30 unrecorded paintings of his work are preserved in the Alwar State Museum and it is most likely that the 'state artists, R. Sahai' drew upon them for inspiration. This is particularly evident in the finer details of the principal figures, the interior of the Rath carriage, and the lanterns attached to the tusks of the Maharajah's elephant. Comparison can be made with a superb large scale architectural study of the white marble and red sandstone cenotaph of Raja Bakhtawar Singh at Alwar (see William Dalrymple and Yuthika Sharma, Princes and Painters in Mughal Delhi, 1707-1857, New York 2012, p. 48, fig. 11.) Other than the present lot there seems to be scant representation of Maharajah Jai Singh in painting. Even the artist, R. Sahai, has almost no other recorded works published or referenced. However, he, like many artists in the employ of Maharajahs in the early 20th century was quick to embrace the new medium of photography and create a hybrid style that allowed for a combination of fine detail on a scale that had been previously reserved for wall murals.The procession travels from the Maharajah's residence of Moti Doongri, shown in the second panel high on the hills as a white colonnaded edifice, and finishes at the city palace in the centre of town barely visible behind the grove of trees in the fourth panel. The artist has chosen to show the troops heading in the opposite direction to present the full extent of the procession, as well as highlighting the multiple buildings in the azure hills and verdant plains of Alwar. Barely discernible in the second panel from the left is a simple miniaturized procession in the foreground, which may have been added to illustrate the traditional route.The procession is led by the standard bearers mounted on three elephants holding the coat of arms and Alwar state flags. Then follows mounted infantry on camels and horses with cannons; three lines of four elephants led by musicians, ordinary mahouts and the small royal howdah; unmounted favoured horses of the court; horse-drawn royal howdahs; two royal sedans; regular infantry in blue and red coats; infantry bands; lancers; court attendants in purple tunics; Maharajah Jai Singh and his entourage; mounted dignitaries and ministers; royal elephant carriage (rath) and the horse-drawn Lanchester carriage with attendants; mounted lancers and rearguard with the state flag.A photograph recording a visit to Alwar in 1897 by Lord Elgin, the Viceroy, (fig. 2), shows the same celebrated rath double-decker state elephant carriage transporting a large group of Europeans with Jai Singh's father, Maharaja Mangal Singh Prabhakar. It is shown in the procession decorated in the same manner with skirting around the wheels and long embroidered cloths over the elephants with identical patterns. An album of photographs from December 1919 by Vernon & Co captured the wedding of Maharaja Jai Singh with many prominent dignitaries from other states in attendance. One image in particular shows him being transported in the same elaborate gold-plated repousse palanquin with rampant lions at the sides and the state coat of arms on the front panel (see Bonhams, 9th April 2008, lot 162).Additionally, recently restored film footage from 1938 entitled 'Indian Darbar' the procession by Jai Singh's successor, Maharaja Tej Singh, captured the scene in colour and shows the full troop in identical garb and the elephants with the same textiles. The narrator suggests that the procession to the Durbar occurred three times a year.The imposing hills in the background shows the various royal palaces, forts and hunting lodges, and the city of Alwar nestled behind the trees. R. Sahai incorporated the key architectural features of the region including the Bala Qila, the ancient fort set along a steep cliff and the Purjan Vihar, the densely walled garden before the city. The Moti Doongri or Lansdowne Palace, reputedly inspired by Scottish castles, which remains intact in this processional scene, was later demolished by Jai Singhe in favour of a even grander palace which in fact failed to materialize.Despite being highly regarded for his scholarship and a superb orator, salacious stories abound regarding Maharaja Jai Singh's decedent lifestyle and his love for motorcars. The infamous story of him using a fleet of six Rolls Royces for garbage collection around the city of Alwar after being insulted by the staff of the car marker's London showroom, seem to fit his flair for the outrageous. His love for hunting also involved motor cars, and he had a dozen long-wheelbase Hispano-Suizas modified with spotlights and revolving shooting chairs. Sadly, his pursuits of his person interests did not match his stewardship of state affairs. He emptied the state coffers on shikars (hunting expeditions) and on palaces, many of which he never occupied or even visited. As a result, he had to impose heavy taxes on his people to repay the loans that led to multiple agrarian uprisings and dented his popularity. Since he was unable to pay his taxes, the British Political Department installed F. V. Wylie as Prime Minister, removing Jai Singh's control of the treasury, that eventually lead to the Maharajah being forced into exile in 1933. He died in Paris in 1937 and his body was returned to Alwar for a subdued state funeral.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 39
A Mughal Spinel retailed by Ganeshi Lall & Son India, 17th Centurythe spinel of ovoid form, later gold suspension loops to top and bottom issuing from rosette finials, in fitted box 2.8 x 2.2 cm. max; 62 ctFootnotes:ProvenanceGaneshi Lall & Son, Cairo, 1934, where it was mounted as an Art Deco style cockatoo brooch.Uncut spinels, such as the present lot, were prized by the Mughals as well as their Timurid ancestors and Safavid cousins, for their impressive size, rich colour and abundant variety of beautiful, naturally occurring forms. The finest examples were often inscribed with the names of rulers as tangible symbols of wealth and power. A spinel inscribed with the names of Jahangir (reg. 1605-27), Shah Jahan (reg. 1628-58) and Awrangzeb (reg.1658-1707) was presented to Edward VII in 1901 by Raja Sir Hira Singh of Nabha and remains in the Royal Collection (RCIN 11526). Another inscribed example, known as the Carew spinel, is in the Victoria & Albert Museum (IM.243-1922). A magnificent spinel, diamond and pearl necklace now in the collection of the Museum of Islamic Art, Doha, combines three spinel beads engraved with the names of Akbar (reg. 1556-1605), Jahangir and Shah Jahan, with eight uninscribed beads of the same size and approximate shape, demonstrating how spinels without inscriptions were also highly valued for their place in spectacular jewellery settings (see Leng Tan et al., Jewelled Treasures from the Mughal Courts, 2002, pp. 26-31, cat. no. 6). Though our spinel is not inscribed by a Timurid ruler or a Mughal emperor, it has its own fascinating and rather more recent story to tell, having once been mounted as a brooch in the 1930s by world renowned jewellers Ganeshi Lall & Son. Ganeshi Lall & Son was established in 1845 and had emporiums in Agra, Calcutta and the fashionable hill resort of Shimla, where the upper echelons of British society went to escape the heat of the plains. The Cairo shop was opened in 1934 in a highly prized position opposite Egypt's leading and most celebrated Shepheard's Hotel, whose illustrious guests included the Aga Khan, the Maharajah of Jodpur, Winston Churchill and Hollywood royalty such as Douglas Fairbanks and Mary Pickford.For further information on this lot please visit Bonhams.com
Lot 85
A jade and gold-koftgari steel inlaid chess board North India, 19th Centuryof square form on four ball feet, the spinach jade and brown hardstone board set within a steel frame decorated in gold overlay with an undulating floral vine, the squares inlaid with mother of pearl flowerheads, purple velvet backing; the pieces carved in green and brown hardstone with silver finials the board 45.3 x 45.3 cm.(33)Footnotes:The history of chess can largely be divided into three periods, originating in India with the ancient Hindu game of Chaturanga, followed by the medieval Shatranj and concluding with the modern game as we now know it, which first emerged at the beginning of the 16th Century. From the start of the 19th Century, there was a large demand for decorative chess sets, commissioned by Western traders from Indian exporters. Inlaid flowers, stars, arabesques and figures often feature on Indian chessboards, as demonstrated by the floral motifs in this example. For further discussion see V. Keats, Chessmen for Collectors, London, 1985. An example of a 19th Century Indian jade chess table can be found in the Metropolitan Museum of Art, New York (48.174.70).For further information on this lot please visit Bonhams.com
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