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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 65
An album of photographs commemorating the visit of Muzaffar al-Din Shah Qajar to the Ottoman Court at Constantinople in 1900, taken by Ali Sami Bey, chief photographer for Sultan Abdülhamid II, in a fine contemporary binding by August Tarnawski Ottoman Turkey, Constantinople, 1900oblong folio album, 68 gelatin silver prints on 35 card sheets printed with ornamental borders, 24 larger images mounted one per page, 44 smaller images mounted 4 per page, all recto only, the opening image with handwritten captions in ink in Ottoman Turkish on mount, contemporary full red morocco gilt, the covers with blind- and gilt-ruled borders enclosing an elaborate decorative border in gilt and green morocco onlays, each with a shaped centre panel cut away to reveal a brown morocco panel with gilt decoration of (upper cover) the star and crescent within ornamental frame, and (lower cover) the imperial insignia (comprising weapons, medals and flags), spine tooled in gilt larger photographs approx. 260 x 200 mm.; smaller photographs approx. 110 x 80 mm.; mounts 343 x 410 mm.; album 355 x 450 mm.Footnotes:The album includes formal portraits of the Shah and his high-ranking entourage, and scenes depicting his stay in Constantinople, including his arrival by train, a voyage along the Bosphorus, visits to the Dolmabahçe Palace and Ortaköy Mosque, official greeting parties, and the Yalta Palace where the Shah stayed.The photographs were taken by Ali Sami Bey, chief photographer for Sultan Abdülhamid II from 1892 until the Sultan's deposition in 1909, who 'was present for the Persian Shah's visit and produced commemorative albums almost immediately for presentation to the Sultan and the Shah, among others' (see A. Behdad and L. Gartin, Photography's Orientalism: New Essays on Colonial Representation, 2013).A gold embossed legend in Ottoman Turkish on the inside front cover of the binding reads: muhalled hazret-i shahriyari aghust tarnavski, 'His Perpetual Royal Excellence, August Tarnawski', followed by an address in Beyoglu. A certain August Tarnawski or Tarnavski, clearly of Polish origin, and possibly one of the many aristocratic Polish emigres living in the Ottoman Empire, was an Istanbul bookbinder, whose name appears on the bindings of postcard albums purchased in Constantinople.For further information on this lot please visit Bonhams.com
Lot 49
A Group of 12 x 15in Encapsulated Colour Prints, thirty four in total, by Denis Waugh, all associated with previous four cameras, including a portrait of Bob Geldof, Anthony Burgess, Barry Norman and other portraits, seascapes, landscapes, Saint Paul's cathedral, Greenwich, M Manze Pie and Mash shop front and others
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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255176 item(s)/page