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Click here to subscribeCoins and Medallions, a collection of 23 items to comprise 3 £5 coins (2 Elizabeth R 2000 and 2013 Poppy Appeal), 1945 cased gilded penny, 1950 cased gilded Half Crown, cased and gilded 1967 penny, together with 12 medallions from the 'Honouring The British Army Commemorative Collection' complete with certificates and all housed in a Westminster blue velvet case (vg)
Books, miscellaneous – Children’s books, authors Alexandre Dumas, R. L. Stevenson, C. S. Forester, Charles Kingsley, A. A. Milne, Thomas Hughes, Capt. Marryat, & Rudyard Kipling, also including Habberton (John) Helen’s Baby and Other People’s Children, London Ward Lock n.d.; Kingston (W H G), Peter the Whaler, Pemberton (Max) The Iron Pirate, also Penguin paperbacks, Stephen Potter, Isaac Asimov on The Universe, novels by F. P. Keyes, John Masters, Cecil Woodham Smith, also crime: Raymond and James Bush, Elizabeth Daly (qty)
Books – Victorian to mid-20th century poetry and fiction including large format children’s editions: Buffalo Bill (1949), The Wonder Book of Comics, Biggles Air Detective, Dick Barton, Special Agent (1950), The Splendid Book for Boys & A Christmas Carol also Hildreth (R), The White Slave: a True Picture of Life in America (1880), works by Mrs. Walton, Herbert Strang, Capt. Marryat, D. E. Stevenson, Ethel M. Dell & George Borrow (The Wind on the Heath); non fiction, including Folio Bartholomew Citizen’s Atlas; the Life & Times of King George VI; The Life & Reign of King Edward VIII; Mark Arnold Foster, The World at War (d.w.); Mrs. Arnold Foster, In the Valley of the Yangtse (1899); Stirling Moss, Le Mans ’59; Hayward (Charles F), Women in the Mission Field; Frank A Lowe Days with Rarer Birds; Selections from the Talmud,; Oliver Sandys, Old Roses; Carey’s translation of Herodotus’ Histories, various other maps, manuals and guides (qty) (2 boxes)
AMEN CORNER - We`ll Fly High in the Sky` - Deram197 - Original Promotional Poster. It measures approx 20 x 30 inches. R&B-tinged pop rock band from Cardiff, Wales, UK, 1966 to 1969.Featuring singer Andy Fairweather-Low, organist Blue Weaver, guitarist Neil Jones, bassist Clive Taylor, saxophonists Allen Jones and Mike Smith, and drummer Dennis Bryon. They scored the first of their six British chart hits with "Gin House" in the summer of 1967. "(If Paradise Is) Half as Nice"
A GROUP OF SIX RAJPUT EQUESTRIAN PORTRAITS INDIA, RAJASTHAN, JODHPUR, 19TH CENTURY gouache on paper heightened in gold, each depicting a ruler on horseback, some with inscriptions in nagiri, mounted, glazed and framed to match, as follows:Raja Sultan Singhji (b.1848-1890), the son of Maharaja Takht Singh of Jodhpur (r.1843-1873), riding a grey dappled horse accompanied by four retainers on foot, red border, circa 1840Maharana Pratap Singhji of Mewar (r.1572-1597) riding a fully armoured or barding stallion to the left, second half of 19th centuryRaja Zalim Singhji, the son of Maharaja Takht Singh of Jodhpur (r. 1843-1873) riding a stallion to the left, accompanied by three retainers on foot, nagari inscription at bottom, circa 1840Maharaja Bhim Singh (r.1794-1804) riding a brown stallion to the right, a retainer running alongside, circa 1840Maharana Sardar Singh of Udaipur (r.1838-1842) riding a stallion to the left, three retainers running alongside, one bearing a fan, another a morchal, circa 1840Maharana Jawan Singhji of Udaipur (r.1828-1838), a Sisodia ruler of the Kingdom of Udaipur, riding a stallion to the left, three retainers walking on foot alongside, nagari inscription at bottom, mid-19th century Sight size, largest: 33cm x 20cm Formerly, The Estate of Daniel and Natalie Schwartz.Daniel Schwartz led a rich and colourful life. Having fought and survived in the D-Day invasions of Normandy he successfully turned his hand to business, film production and art collecting. Neighbours to the Hollywood elite, Daniel and his wife Nathalie were close friends with Frank and Barbara Sinatra regularly dining out and golfing together. Nathalie and Barabara often championed the same charities, making a real difference to impoverished Jewish communities.Daniel's real passion, however, was for racehorses, regularly collaborating with successful businesspeople to purchase the very best. Seattle Dancer was perhaps his most famous horse bought for a staggering $13.1m in 1985. Daniel’s love for horses was also very much evident in his art collection. Equestrian portraits in Indian miniature paintings were always popular subjects for Indian artists working at the royal courts in India over the centuries. The rulers of the capital Jodhpur and surrounding thikanas in Marwar, an area in western Rajasthan bordering the Thar desert, eagerly commissioned local artists to depict processions and hunting scenes reflecting their powerful positions at court and the importance of their steeds. The artists were also given commissions from the nearby kingdom of Udaipur. For further discussion on Marwar painting and comparisons with equestrian portraits see: R. Crill, Marwar Painting: A History of the Marwar Style, Mumbai, 1999, figs. 93, 95,104,105 and 106.
MAHARAO RAM SINGH (R. 1827-1866) RECEIVING EUROPEANS IN A PALACE INTERIOR INDIA, KOTAH, 19TH CENTURY gouache and gold on paper, red border with white rules, glazed and framed 34.9cm x 47.8cm Maharao Ram Singh is one of the most frequently depicted rulers of Kotah, often seen in durbars and meetings with other rulers and British officials, who were heavily involved in the politics of the state and the surrounding area. See S. C. Welch (ed), Gods, Kings and Tigers: the Art of Kotah, Munich 1997, p. 55.
A SAFAVID ALBUM PAGE WITH CALLIGRAPHY SIGNED BY SHAH MAHMUD NISHAPURI PERSIA, 16TH CENTURY AND LATER ink, gouache and gold on paper, comprising a calligraphic panel with seven diagonal lines in black nastaliq, the panel above with two lines in black nastaliq, the central panel with an early 20th century miniature painted in the Safavid style, two triangular illuminations, left hand corner with a small illumination panel, verso with two manuscript leaves inscribed in nastaliq 38.5cm x 25.5cm Shah Mahmud, known as Zarrin Qalam (“the Golden Pen”), was born around 1495 AD in Nishapur and learned calligraphy from his maternal uncle, Abdi Nishapuri and later from Sultan Muhammad Khandan.Though his very first dated writings (from 923 AH/ 1517 AD) relate to the reign of Shah Ismail I, it is very likely that in his youth he entered the court of Shah Tahmasp (r. 1524-1576 AD). After living in Tabriz, when the Safavid capital moved from Tabriz to Qazvin, he immigrated to Mashhad where he lived and occupied himself with writing books in Nasta‘liq until the end of his life. He taught a number of students, among them Salim Nishapuri, Hājj Muhammad Tabrizi, Muhammad Husayn Bakhrazi, Sultan Mahmud Turbati and Qutb-al-Din Yazdi. Among his most important works are the first Qur’an copied in nasta‘liq (which is now kept in the Topkapi Museum in Istanbul) and the Khamsa-ye Tahmāspi (which is held in the British Museum). The last of his dated works was written in 982 AH/1574 CE, evidence that he lived in Mashhad until that time.
A PORTRAIT OF MAHARANA SARUP SINGH OF MEWAR (R. 1842-61) ATTRIBUTED TO THE ARTIST 'TARA' INDIA, RAJASTHAN, MEWAR, MID-19TH CENTURY gouache on paper heightened in gold, purple border with margin rules in red, white and black, depicting the ruler facing to the right wearing a white jama and a red turban decorated with pearls, strands of emeralds and pearls about his neck, holding a tulwar in his left hand, a jade-hilted dagger tucked into his gold and red striped patka, against a green landscape, nagari inscription on verso, mounted, glazed and framed 24.4cm x 16.9cm Tara, also known as Tara Chand, was an artist working at the Mewar court over a period of twenty-five years from circa 1836 to 1861 and during the reign of Maharana Sarup Singh. He was a hugely competent artist valued at the Mewar court for his hunting and equestrian scenes, several of which are in the National Gallery of Victoria, Melbourne, Australia. There is also a charming portrait of this court artist with possibly his two young sons by the British artist William Carpenter, circa 1851 bearing the inscription 'Tara Chund, court painter, Udaipur' in the Victoria and Albert Museum, London.For further discussion, see:L. York Leach, Mughal and Other Indian Schools from the Chester Beatty Library, London, 1995, pp. 1014-1018. A. Topsfield, Paintings from Rajasthan in the National Gallery of Victoria, Melbourne, 1980, pp.14-16, fig.1.D. Diamond and D. Khera, A Splendid Land: Paintings from Royal Udaipur, Washington D.C., 2023.
A PRINCE HOLDING FLOWERS ATTRIBUTED TO SAHIB RAM INDIA, RAJASTHAN, INDIA, CIRCA 1790 ink and gouache on paper, areas heightened with white and coloured pigments, the prince stands facing left holding a flower in each of his hands, dressed in a flaring pleated skirt secured by a patka, bedecked in pearls, emeralds and rubies, his turban adorned by a sarpech and two feathered aigrettes, a halo around his head 29.5cm x 21.5cm Not many paintings from Jaipur are in Western collections, largely because its royal collections were not dispersed, as were those in other states in Rajasthan and the Punjab Hills. Jaipur, which was known as Amber until the new capital city was founded by Jai Singh II in 1727, lacks a continuous history of painting. The Hindu rajas of Jaipur were amongst the first to extend cooperation to the Mughals, with Raja Bhar Mal (r. 1548-1575) giving his daughter in marriage to the Mughal emperor Akbar (r. 1556-1605), and his granddaughter to Jahangir (r. 1605-1627). Raja Man Singh was more than an ally of the Mughals; he became Akbar’s trusted general. Early painting in Jaipur was heavily modelled on the Mughal pattern.A more characteristic Jaipur style emerged during the eighteenth century, when painting flourished during the reign of Maharaja Sawai Pratap Singh (1778-1803), a scholar, poet, ardent Vaishnavite and devotee of Krishna, whom he was meant to resemble in likeness.Under the patronage of Pratap Singh, the Jaipur school of painting entered a new and dynamic phase, with his atelier consisting of more than fifty artists. The greatest master was Sahib Ram, the Chief Royal Painter at Jaipur to whom the present drawing is attributed.Sahib Ram began his long career circa 1740, and would remain active throughout the second half of the eighteenth century until 1803. His earliest works were produced under the reign of Sawai Jai Singh II (1699-1743).Sahib Ram’s most celebrated paintings, now in the Maharaja of Jaipur Museum, include a coloured bust portrait of Pratap Singh dated 1793, a full-size portrait of Pratap Singh also dated 1793, and a mural painting of Radha and Krishna dancing, accompanied by nineteen gopis.Two large drawings attributed to Sahib Ram, preparatory studies for the mural painting of Radha and Krishna in Jaipur, depicting a “Singer and Sarangi Player” and the “Head of Krishna”, are in the Metropolitan Museum of Art, New York. These drawings, in a style similar to the present drawing, are published in Steven Kossak, Indian Court Painting: 16th-19th Century, 1997, pp. 119-121, cat. nos. 74 and 75.For more information about Sahib Ram see Ritu Pratap, The Panorama of Jaipur Paintings, New Delhi, 1996, pp. 183-84.
AN ILLUSTRATION FROM A RAGAMALA SERIES: BAIRADI RAGINI INDIA, RAJASTHAN, MEWAR, CIRCA 1635-45 gouache heightened in gold on paper, red border with rules in black ink, depicting a night scene with a couple caressing against bolsters under a canopy in a pavilion, a white bed by their side, a female attendant offering them wine on the right, palm tree landscape in the background, vases and floral sprays in the foreground 26.1cm x 19.3cm Formerly, the collection of Nasli Heeramaneck (1902-1971).Heeramaneck was a Parsi-American art dealer who specialised in Pre-Columbian and Asian art. Born in Bombay, he moved to New York in the 1920s and remained there until his death in 1971. He and his wife had a substantial collection art, of which the majority is held in the Los Angeles County Museum of Art and The National Museum of Delhi. This painting is in the style of Sahibdin and Manohar. Both artists used strong , vibrant colours typical of Rajasthani painting in their palettes, illustrating not only ragamala series but other Hindu texts too. Sahibdin, a Muslim, was a major artist at the court of Mewar in the seventeenth during the reign of Maharana Jagat Singh (r.1628-1661) along with the slightly later artist Manohar. For comparison and further discussion on Sahibdin and Mewar painting see:E. Binney, Rajput Miniatures from the collection of Edwin Binney 3rd., Portland, 1968, no.5.A. Topsfield, Court Painting at Udaipur, Zurich,2001, pp. 7,9-10,16,32-33,35,55-78,86-87,89-96,100-101,109-10,143-44,158.277.C. Glynn, R. Skelton and A.L. Dallapiccola, Ragamala Paintings from the Claudio Moscatelli Collection, London, 2011.
A RAJPUT EQUESTRIAN PORTRAIT OF MAHARAJA BHEEM SINGH (R. 1784-1804) INDIA, RAJASTHAN, JODHPUR, CIRCA 1840 gouache on paper heightened with gold, red border, the ruler riding a grey stallion to the left, five attendants running alongside, two waving cauris, another bearing a banner, red border, framed and glazed 40.5cm x 29cm Formerly, Janak Khendry Collection, Toronto, Canada. See note to Lot 82.
A PORTRAIT OF MAHARANA SARUP SINGH OF MEWAR (R. 1842-1861) ATTRIBUTED TO THE ARTIST 'TARA' INDIA, RAJASTHAN, MEWAR, MID-19TH CENTURY gouache on paper heightened in gold, brown border with white and pink rules, depicting the ruler standing facing to the right, formally dressed in a pink jama secured with a gold patka, in which sits a sword and a ram-hilted dagger, he holds a bejewelled tulwar over his right shoulder, wears a bejewelled cap and his face is wrapped in a green nimbus, green landscape behind, mounted, glazed and framed 29cm x 21.8cm See note to previous lot.
Two black and white engravings AFTER JOHANN ELIAS RIDINGER "Cheval Frise", 28.5 cm x 34.5 cm and "Cheval Hollandois", 29 cm x 34.5 cm, together with AFTER SEYMOUR "The portrait of the famous horse Old Starter" coloured engraving, 19th Century impression of the original published 10th March 1755, 30 cm x 35 cm, another similar "The portrait of White Mole", 30 cm x 35 cm, AFTER HENRY ALKEN "Tattenham Corner", an Epsom racing scene, coloured engraving, image size 44 cm x 76 cm, together with another "The Winning Post", a pair, and AFTER J R HERRING SENIOR "Sketches on the Road, No. 2 Post Horses", coloured engraving by Charles Hunt, published 1863 by A J Isaacs, 56 Bishopsgate Street, within EC, image size approx 55 cm x 75 cm, housed in a verre eglomise gilt frame (7)
An Edwardian silver sweetmeat dish of circular form with rope-twist edging, raised on a circular foot (by James Dixon & Sons of Sheffield, 1906), 16.7 cm diameter x 6.5 cm high, a George III silver tablespoon (maker's marks rubbed), bearing ownership initials "E+R A.W 1775", ten various teaspoons, small butter knife, sauceboat in the Georgian style (by Barker Brothers Silver Ltd, Birmingham 1937), an Art Deco style silver mounted glass butter dish (by Barker Brothers Silver Ltd, Birmingham 1937), a silver backed dressing table mirror, silver handled knife, pair of silver sugar tongs, pair of silver plated sugar tongs, set of six silver handled tea knives and a set of six silver plated cake forks, 22.92 oz weighable silver
Maqbool Fida Husain (1915-2011)Untitled (Horse) signed 'Husain' lower leftoil on canvas, framed90.7 x 60.2cm (35 11/16 x 23 11/16in).Footnotes:ProvenanceProperty from a private collection, India; Acquired from Saffron Art, Summer Live Auction, 13th July 2021, lot 6.The sound of galloping horses seemed like a tremor to me.Its echoes do not seems to stop.All these horses running together raise a cloud of dust.Duldul - the horse from the battle of Karbala,Ashwamedh - reaching up to Luv and Kush.Luminous in their seven rainbow colours.Horses harnessed to the chariot of the Sun God,Bursting through the sky.Passionate horses, screaming with desire.The Chinese terracotta horses,Folk horses from the village of Bankura,Horses, with the beauty of a woman and the valour of a man.M.F. Husain (R. Siddiqui, In Conversation with Husain Paintings, Books Today Group, 2001, p. 114)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
AIKIN (J.) - A Description of the Country from Thirty to Forty Miles Round Manchester, 2 large folding maps, plates, 1793 and a selection of other local history books, LAWRENCE (R.) - The Complete Farrier, 1830's a selection of collectable books, BARCLAY'S DICTIONARY, maps and plates, 19th century n.d. (a/f)
ROLEX COSMOGRAPH DAYTONA REF. 16528 IN GOLD, R-SERIES, CIRCA 1989 WELL PRESERVED SPORTS CHRONOGRAPH, SERIAL R, FIRST SERIES BEZEL Case: signed, n. R938931, in 18K gold, screwed caseback ref. 16500, bezel graduated up to 200 base units, screwed pushers. Bracelet/Strap: signed gold plated buckle. Dial: signed, white, upside-down six, applied indexes, subdials for seconds, 30-min and 12-hours registers. Movement: signed, self-winding caliber 4030, n. 12502, 31 jewels, monometallic balance with Microstella screws adjusted to temperature and five positions. Accessories: – Diameter Ø: 40 mm Note: running at the time of cataloguing.
CORGI; twelve limited edition boxed Heavy Haulage diecast vehicles comprising CC12838 Nooteboom Low Loader, CC11609 Leyland Octopus, CC14805 Scania 113 Flatbed and Pipe Load Fagan and Whalley-Padiham Lancashire, CC11101 Scammell Constructor Siddle C Cook Limited, CC10301 AEC Ergo Sheeted Platform Trailer Willmotts Transport, CC12601 Scammell Crusader Flatbed Trailer J. R Adams, CC10302 AEC Ergo 8-Wheel Platform Lorry, CC12513 Atkinson Venturer 2-Axle Low Loader and Propeller Load, CC11403 Bedford KM Platform Trailer and Brick Load, CC12508 Atkinson Borderer Flatbed Trailer and Pipes Load, a Building Britain Tarmac Vinculum Ltd and a London Brick set (12).
Gold coloured signet ring set with shield shape lapis lazuli, unmarked, 5gms approx, size J 1/2, and another similar set with rectangular lapis lazuli, 12gms approx, size R (2)Condition ReportWear to engraved shoulder of shield-shaped lapis lazuli, commensurate with age. Minor scratches to the lapis on the larger ring.
Robson, Eve and Robson, Norman "Classical Natural History Prints - Botanical Prints", Collins & Brown 1991, numerous illustrations, green buckram, d-w not price clipped Loudon, Jane "Classical Natural Prints - Ornamental Flowers", Studio Editions 1991, numerous colour plates, dark green buckram, d-w Richter, Davis H "Floral Art Decoration and Design with Forward by Frank Brangwyn", F Lewis 1932, colour plates tipped in with lettered tissue guards, the tp and foreword are loose, there is some slight toning, bookshop label from Cairo ffep and an inked number, blue boards which are rather a bit scuffed, gilt titles Dunthorne, Gordon "Flower and Fruit Prints of the 18th and Early 19th Centuries ...", published by the author Washington DC 1938, one of 750 copies printed at the Lakeside Press, ffep is signed and inscribed by the author dated 14th December 1939, colour and black and white plates, full buckram with leather pastedown to front board with gilt decorations and titles, within a slip case also covered in buckram Coats, Alice M "The Book of Flowers Four Centuries of Flower Illustration", Phaidon 1973, no.44 of a deluxe edition limited to 100 copies, numerous colour and black and white plates, full leather with a tooled decoration of an iris to the front board, gilt titles, red slip case Dykes, W R, the late "Notes on Tulip Species", Herbert Jenkins 1930 (6)
Sitwell, Sacheverell and Maydol, Roger "Album De Redoute ... with 25 facsimile colour plates from the edition of 1824...", Collins 1954, no.10/25 limited editions signed by both the authors, Sitwell, Sacheverell and R Maydol, specially bound by Hiscox of London, this copy contains the original Redoute plate of 'Lilium Candidum', there appears to be water damage on the top right hand corner of the plate which is hard to know whether it was recent or original, full page colour plates with tissue guards, watered silk ep, quarter vellum with gilt titles and the boards showing a gilt on cream toile de jouy style pattern, with the original brown card slip case
R John Wright Collectors Club Piece GolliBaby Girl and Boy, artist designed gollies, Limited Edition 1501, wool felt gollies, black mohair hair, painted features, wearing felt nappy, bib and bonnet, button, swing tag, certificate, Near Mint to Mint, within Excellent box, 6"/15cm. NB: These items are listed on the basis they are illustrative of a bygone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history.
R John Wright Sunshine Scootles felt doll, Collector Club Edition 2004-2005, limited edition 114, blue painted side-glancing eyes, finely moulded and detailed features, airbrushed hair, watermelon mouth, fully jointed, star-fish type hands with individual fingers, dimpled knees, individually stitched toes, wearing yellow muslin dress and pants with white felt trim, gold button to skirt, yellow ribbon to head and wristbands, carrying pair of felt flowers, cotton socks, felt shoes, certificate, box, outer cover, Near Mint, together with R John Wright Collector Club 2004 - 2005 calendar and membership folder, 7"/18cm. NB This doll is styled after the Cameo Doll Company Scootles - by Rose O'Neill c.1925.
R John Wright Collectors Club Piece Golliwogg, artist designed golly, Limited Edition 592 of 2500 pieces, wool felt golly, black mohair hair, painted features, applied felt mouth, wearing black and white checked trousers, rust waistcoat and green jacket, leather shoes, button, swing tag, certificate, Near Mint to Mint, within Good to Good Plus box, 11"/28cm. NB: These items are listed on the basis they are illustrative of a bygone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history.
A live steam gas-fired Gauge 0/1 (adjustable) freelance 0-6-0 tank Locomotive by Roundhouse Engineering, finished in crimson and black, with brass Roundhouse builders plates, (serial No. SAD2250), with twin outside cylinders and valve gear, R/C servos fitted to reverser and regulator, pressure gauge, lubricator and gas valve to cab, gas tank and burner, overall VG, dusty/grubby, presently set up for gauge 0, lacks R/C control unit
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