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Lot 65
A mixed lot of prints and other pictures to include a signed print by Duarte Botciho, and a signed watercolour of men with bicycles by a railway fence, signed indistinctly, and others together with a group of Edwardian boy's annuals to include The Captain, The Strand Magazine, The Greyfriars Holiday Annual, and others (7)Location: LWM
Lot 67
Nicholas Bristow - Basque Donkeys - oil on board, 123cm x 61cm, signed lower right, titled to verso, white painted frame, along with a signed print of a country estate with a tree to the foreground, signed indistinctly, 47.5cm x 66cm, mounted in glazed frame, and other pictures, along with a small camel stool with leather style covered seatLocation:
Lot 582
Football Manchester United multi signed European Cup Winners 1968 limited edition print includes John Aston, Tony Dunne, David Sadler, Tony Dunne and Alex Stepney. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 43
Attributed to Francis Swaine (London circa 1720-1782)Thames shipping, a pair both bear a title and signature 'F Swaine' (on label attached to the reverse)pen, ink and washeach 27 x 36.2cm (10 5/8 x 14 1/4in). (2)Footnotes:ProvenanceJonathan Janson, UK.In the first drawing, a tall church spire is apparently St. Brides, Fleet Street. There is a small cutter-rigged hoy on the far left, a Thames peter boat fishing at 5 o'clock below it and a rowed lighter carrying sawn planks in the foreground. There is a City of London barge leading a larger barge in the centre of the composition, the latter with an unreadable design on the flag astern.In Ralph Hyde's A Prospect of Britain: the town panoramas of Samuel and Nathaniel Buck (London, 1994), this drawing clearly relates to both the right side of Plate 42, the third of five (Plates 40-44) comprising the Buck panorama of London from Westminster Bridge to the Tower, and the left side of Plate 43: the Buck version has moved the barges and lighter further west (left) from the drawing and they are on Plate 42, with the second barge - rather than the stern of the first - centred squarely in front of St Bride's (no. 47 in the Buck key), and the 'Fleet Ditch' (no. 49, with the small bridge over it) shifted to the left edge of Plate 43 in front of the square tower of St Sepulchre's (no. 50, but of which there is barely a trace on the drawing). The wide stairs off a square to the right of the Fleet are Blackfriars Stairs (no. 51).Plate 42's inscription says the view (from the south side of the river) was taken 'from Mr Everard's summer-House opposite to St Bride's Church' and that Plate 43 was from 'the West part of the Leads of St Mary Overy's church in Southwark' (i.e. Southwark Cathedral today)In the second drawing, there is an upstream barge at the riverfront in the background and a small four-oared and cabined barge at left of the sort used for official purposes such as the Navy Board and other government offices. There are lots of passenger wherries shown with pairs of oars and a typical Thames jetty (or 'bridge') of the grander sort, with stairs at the end, from which they operated before the river was embanked.In Ralph Hyde's A Prospect of Britain: the town panoramas of Samuel and Nathaniel Buck (London, 1994), this drawing is a coherent single study for the right side of Plate 43 and shows the view east of St Paul's. On the very left edge there is just the ghost of the spires of St Austin's (no. 65 in the Buck key) and Christ Church (no. 66) right up against the east end of St Paul's. St Mildred's (no. 67) and St James Garlickhythe (no. 68), also close together, are the first two spires more clearly visible to the right. The last relatively low steeple at far right (as in the print) is St Michael's Bassingshaw (no. 82). The 'bridge' jetty ending in stairs end seen on the drawing is identified on the prints as Steelyard Stairs (no. 76, on the site of Cannon Street Station today), with the three churches immediately behind being St Mary Aldermary (no. 73, square tower with pinnacle corners), St Michael, Colarts Hill (no. 74, spire) and the tallest spire that of St Mary-le-Bow (no. 75).Most of the vessels shown in the drawings reappear in the prints; slightly bigger or smaller, repositioned, with slight differences of detail but generally recognisable. All the Buck London panorama plates bear the same imprint date of 11 September 1749. It is a credible hypothesis that the pencilling of the background may be something Samuel Buck provided and asked Swaine (if it was Swaine) to supply the shipping taken from the same two viewpoints. The changes in the prints - of scale, slight detail, and positioning - would then have been those effected in transfer-copying by others, with the drawings generally more convincing as by someone who knew what they were doing in nautical terms. If Swaine did it, it would have been when he was in his early to mid-20s for things printed in 1749.We would like to thank Dr. Pieter van der Merwe for his help in cataloguing this lot.For further information on this lot please visit Bonhams.com
Lot 61
A page from the Nasr al-Din Shah Album, with a painting by a Persian artist working in the manner of Muhammad Zaman, after a European print depicting the Holy Family Persia, the painting late 17th Century, the album page circa 1888gouache on paper, laid down on an illuminated page with gold-sprinkled inner border, outer border with polychrome and gold decoupage flowers, cartouches and palmettes on an orange ground painting 247 x 192 mm.; album page 435 x 286 mm.Footnotes:The distinctive borders of this page originate from the now-dispersed album made in 1888 for Nasir al-Din Shah Qajar (reg .1848-96), probably to mark the fortieth anniversary of his accession to the throne. The dedication page, with large bold nasta'liq inscription, was sold at Christie's, Art of the Islamic and Indian Worlds, 26th April 2012, lot 219. The page facing this, the centre with a stylised decoupage floral composition, appeared at Christie's, Art of the Islamic and Indian Worlds, 1st April 2021, lot 33. The practice of laying down earlier paintings (mostly Safavid miniatures) on album pages with finely-illuminated borders was a common practice in the Qajar period, and it seems that our page (as well as some of those from the Nasr al-Din Shah Album offered at auction) exemplify this practice. For examples and discussion, see G. Fellinger (ed.), L'Empire des Roses: chef-d'oeuvres de l'art persan du XIXe siecle, Lens 2018, pp. 68-71, nos. 62, 63 and 64.Other folios from the Album illustrate this, and of particular relevance for our page, some are European-influenced and/or of Christian subject-matter, including one of four lots sold at Christie's (Islamic Art and Manuscripts, 10th October 2000, lots 88, 89, 90 and 91). Lot 90 included one page with an illustration described as 'the Blessed Virgin' (no illustration available), and three with scenes from the life of Christ. One (depicting a man with hunting dogs) was inscribed ya sahib al-zaman, indicating that someone at least saw a connection with Muhammad Zaman's work, however fanciful. A page from the Album (Sotheby's, Arts of the Islamic World, 9th October 2013, lot 5), had a 16th Century Shahnama illustration in the centre).Other examples of pages from the Album included a large section comprising 27 folios (Christie's, Art of the Islamic and Indian Worlds, 6th October 2011, lot 265); and six bifolia, all with calligraphic compositions, Christie's, 21st April 2016, lots 130-135.Muhammad ZamanMuhammad Zaman (d. circa 1700) was one of the first Safavid court painters to imitate European painting styles and perspective. Little is known of his life, but he worked at the court of Shah 'Abbas II (reg.1642-66). Works attributed to him include miniatures added and restored in Shah Tahmasp I's copy of Nizami's Khamsa (British Library inv. Or.2265). On the strength of these royal commissions it can be assumed that Muhammad Zaman was at some point attached to the Royal atelier or kitabkhaneh (see A. Ivanov, Persian Miniatures, in E. Kostioukovitch (ed.), The St. Petersburg Muraqqa', Milan 1996, p. 35). European painting and prints circulated widely in 17th Century Persia (see A. Welch, Shah Abbas & the Arts of Isfahan, New York 1973, p. 148). A miniature by Muhammad Zaman of a biblical scene in the Fogg Art Museum (inv. 1966.6), dated AH 1100/1689 AD, depicts the Return from the Flight to Egypt (Welch, op. cit. pl. 72, p. 108). The origin of that miniature has been traced to a mid-17th Century engraving by the Flemish artist Lucas Vosterman, though based on an original painting by Rubens, (Welch, p. 117). The painting in our page is an almost exact copy of an engraving of 1646 by Pierre Daret, depicting the Holy Family, with Joseph on the left holding a book, and on the right the Christ Child seated in the Virgin's lap, after the French painting Simon Vouet (see an example in the British Museum (1841,1211.39.16).Examples of works attributed to Muhammad Zaman are few, and often have Christian subjects.A painting of the Madonna and Child after a European model, signed by the artist and dated AH 1093/AD 1682-83, sold at Christie's, Art of the Islamic and Indian Worlds, 7th April 2011, lot 261.Sotheby's, Arts of the Islamic World, 20th April 2016, lot 45, signed and dated AH 1087/AD 1676-77, depicting Shaykh San'an and the Christian woman.Christie's, Art of the Islamic and Indian Worlds, 1st April 2021, lot 20: depicting the Rest on the Flight into Egypt, with inscriptions, the name Muhammad Zaman, and the date AH 1076/AD 1665-66, described as 'by or in the mode of Muhammad Zaman'.A number of paintings by Muhammad Zaman were recently exhibited at the Walters Art Museum, Baltimore, at the exhibition Pearls on a String: Artists, Patrons, and Poets at the Great Islamic Courts, and the subject of an essay in the accompanying catalogue by Amy Landau entitled 'Man, Mode, and Myth' (see Landau (ed.) 2015, pp. 157-194). See also E. Sims, 'Muhammad Zaman', in The Grove Encyclopedia of Islamic Art and Architecture, vol. 3, Oxford 2009, pp. 21-22.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: †R†VAT at the prevailing rate on Hammer Price and Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Lot 78
A signed photograph of Lord Headley by C. Vandyk London, between 1923 and 1935gelatin silver print, laid down on card, signature in pen lower right, photographer's signature in pencil lower left, photographer's stamp to reverse 102 x 136 mm.Footnotes:ProvenanceRowland George Allanson Allanson-Winn, 5th Baron Headley (1855-1935), also known as Shaikh Rahmatullah al-Farooq, and thence by descent.This striking portrait of Lord Headley, taken in London at some point after his Hajj in 1923, depicts him wearing the sash of The Order of Al Nadha and the robe presented to him by King Hussein bin Ali in Mecca on completion of the pilgrimage. The sash is included along with the star and badge of The Order of Al Nadha in lot 82 of this sale whilst the the robe and headband he wears are both included in lot 79.Carl Vandyk (1851-1931) was a celebrated London photographer who had a studio on Gloucester Road between 1882 and 1901, after which he moved to Buckingham Palace Road. He took portraits of Queen Victoria and King George V, amongst other notables.The following collection of items is offered by the family of Rowland Allanson-Winn, 5th Baron Headley (1855-1935), who became an international celebrity in 1913 when he defied convention by publicly converting to Islam and, in so doing, became the public face of Islam in Britain. The collection includes personal items such as a fragment of Kiswah (lot 81), a robe (lot 79) and the exceptionally rare Order of Al Nahda medal (lot 82) which were presented to him in Mecca by Hussein bin Ali, King of Hejaz (reg. 1916-1924), on completion of his Hajj in 1923. Also included is a set of prayer beads, and silver zamzam bottles (lot 80) which are believed to have been carried with him on the pilgrimage. Born in London in 1855, he was educated at Westminster School and Cambridge University before entering the Middle Temple and continuing his studies at King's College London. He subsequently became a civil engineer, and worked in India between 1892 and 1897. It was during his four years in Kashmir that he first encountered the Islamic faith, but it was not until 1913, the same year in which he inherited the peerage from his cousin, that he officially converted to Islam, adopting the Muslim name of Shaikh Rahmatullah al-Farooq. In 1914 he founded the British Muslim Society, which had the principal aim of demonstrating that Islam was not antagonistic or hostile to Christianity. He remained president of the society for life and went on to write several books on Islam, including A Western Awakening to Islam and Three Great Prophets of the World. He intended to undertake the Hajj the same year, but was prevented from doing so by the outbreak of war, and had to wait until 1923 when he completed the pilgrimage at the age of 68. Very few Britons had made a pilgrimage to Mecca before Lord Headley, and it is possible that he was the first to do so legitimately. Despite the potential political implications of the situation, he was welcomed as a guest by King Hussein, who accompanied him on some stages of the pilgrimage and who is reported to have slept on the ground at Muzdalifah so that Headley might have a more comfortable rest on his own camp-bed. On his return to London, Headley gave numerous talks about his experience in Mecca including at the British Muslim Society, and became the subject of much press attention for the first time since his conversion in 1913. An image taken by a press photographer at his home in St Margarets (Fig. 1), depicts him wearing the robe and Order of Al Nadha while standing beside the larger fragment of Kiswah with which he was presented in Mecca, which he subsequently donated to Woking Mosque. This image was circulated and reprinted in newspapers and magazines worldwide. After completing the Hajj his profile and status within the British Muslim community increased, and he became an unofficial ambassador for British Islam. In 1925, he was offered the throne of Albania by a Muslim delegation who desired a British aristocrat for their ruler, but Lord Headley declined the offer on the grounds that has assassination was practically certain should he accept. Beyond his devotion to Islam Lord Headley was a keen boxer, having been a champion at Cambridge University, and was also one of the earliest exponents of martial arts. In 1890 he co-authored Broad-sword and Singlestick, one of the earliest self defence manuals and went on to write one of the first modern guides to boxing (Boxing, 1889).A detailed account of the life of Lord Headley, the circumstances of his conversion to Islam and his attitude towards the Islamic faith is given in Jamie Gilham, The British Muslim Convert, Lord Headley, 1855-1935, London, 2020.For further information on this lot please visit Bonhams.com
Lot 8
A Family Photographic Archive, most relating to the Lowsley/Lousley family of Hampstead Norreys and Berkshire in general - https://churchmonumentssociety.org/monument-of-the-month/lowsley-family-tomb-hampstead-norreys-berkshire - and Peake family including UK topographical silver print albums, circa 1900, including Lowsley graves, as above, sanatorium, village scenes, family groups, bombardment of Scarborough, 1914, with Queen Margaret School bravery certificate to Ethel Lowsley, images of school, girls and teachers (2) Ethel's autograph, art and keepsake book and empty album (2), with albums from service in India circa 1902-1905, including tourist silver prints of Malta and Egypt, small album of visit to Basra in Iraq, Larkhana, 1905, Karachi, Pathans, Sukkur, Indus river, Sind, Jaipur, Dhobi (laundry), Jacobabad, Kashmir, Mussoorie and Delhi (9), and snapshot silver print albums of Salonika and India, including Kashmir, England including cars, Esther Parsons present in some images, and her own album (2), overall G (15) and various ambrotypes, P (9) (24) (See related lot x in Collectors sale, 8 November)
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314783 item(s)/page