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Lot 53
Edwin Lord Weeks (American, 1849-1903)The Steps of the Wazir Khan Mosque, Lahore signed and inscribed 'E L Weeks/Lahore' (lower left)oil on canvas46.5 x 56cm (18 5/16 x 22 1/16in).Footnotes:ProvenanceAnon. sale, Bukowskis, Stockholm, 26 May, 2009, lot 255.Private collection (acquired at the above sale).The two most famous mosques in Lahore are the Badshahi Mosque and the Mosque of Wazir Khan. The latter was completed forty years after the former, commissioned by Hakim Aliuddin Khan, a nobleman at the court of the Emperor Shah Jahan, who promoted him subadar of the Punjab. The extensive inscriptions around the gateway include:This edifice, which, like the sanctuary of heaven, is the source of bounty.Has, like the temple of Ka'ba, for its object the benefit of mankind.To the congregation may its gate ever remain open with prosperity until the day of resurrection.When I asked of Reason the date of the foundation of this magnificent mosque, it answered: 'This is the place of worship of the pious' [that is, AH 1044/AD 1634].When I asked of Reason the date of its foundation, it answered: 'Say the founder of this Mosque is Wazir Khan'.It was well known for the many shops and stalls surrounding it, which included both booksellers and bookbinders, as well as the barbers and other tradespeople depicted here by Weeks - in fact, Wazir Khan had specifically decreed that the revenues from the shops were to be used for the upkeep of the mosque.Emily Eden, the sister of the Governor-General, Lord Auckland, visited in December 1838 during her time at the court of Maharajah Ranjit Singh, and found it splendid but dilapidated (and surrounded by crowds of people, who appear to have laughed at how she was dressed). Around forty years after that, J. Lockwood Kipling (the father of Rudyard), and first Principal of the Mayo School of Art in Lahore, was also lamenting that 'year by year less attention seems to be paid to its maintenance, and the painted work is in a dilapidated state of neglect'. He was regretful because 'This beautiful building is in itself a school of design', and 'it seems of the highest importance to secure careful copies for preservation in the Museum and School, and there could be no better training for our young decorators' (quoted in Aijazuddin, op. cit. below, p. 113).It was also sketched and painted more than once by William Simpson in 1860 (Aijazuddin, nos. 60 and 61), and it appeared in engraved illustrations in Original Sketches in the Punjab (1854) and the Illustrated London News, as well as numerous photographs in the 1870s. See F. S. Aijazuddin, Lahore: illustrated views of the 19th Century, Middletown 1991, pp. 106-115, nos. 57-64.It was doubtless this picturesque character, as well as the tile-work and the imposing nature of the building, which attracted Weeks. He produced a number of variations on the scene, with different street-vendors, and a wider focus, drawing back and showing more of the street in front of the gateway (as in the large 62 by 96-inch canvas An Open-Air Restaurant, Lahore, India), but then also - as here - up close (for another instance, see Christie's New York, 19th Century Art and Orientalist Art, 24th October 2007, lot 108). Weeks first encountered the great city of Lahore in 1888, on his second expedition to India. He travelled widely in India in 1882-83, and later in 1888 and 1893, and published an account of his journey in From the Black Sea through Persia and India (1895). Of the mosque he wrote (pp. 176-178): The entire front of the gateway is a brilliant mosaic of the kind known as 'kashi-work,' and the four massive towers, as well as the facade of the inner court, repeat the same scheme of blue and yellow and faded green. Age has but mellowed the tone of the whole edifice, and the great Persian letters of the inscription over the main entrance are still resplendent in vivid turquoise blue, which translates as 'Remove thy heart from the gardens of the world, and know that this building is the true abode of man'.The frescoed walls within the niche, of which the ornamentation above is less deeply indented than in the Persian examples of similar work, have taken on a rich bituminous and smoky tone like an old painting; and the dado above the square platform on each side of the steps, which is of marble, once white, threaded with slender black lines forming interlaced stars and hexagons, has been toned by age and the contact of many garments to a golden brown. The venerable Mussulmans [Muslims] privileged to pass their lives on the steps and the lounging-place on either side may be seen there at any time of the day [...] When not asleep or otherwise employed they appear to be absorbed in vague speculations upon the infinite, but, like their European imitators, are doubtless dreaming of mere material things. It is their custom to begin the day with a sort of dress parade-a minute investigation of their tattered raiment.Having completed their inspection, they proceed to select a, sunny exposure if in winter, or when the hot winds blow they retreat into the dim brick-vaulted corridor provided for their comfort by the munificence of an imperial Vizir, and proceed to do nothing. A few of the elect, whose heads are well thatched with a shock of black hair, and with faces tanned to the colour of burnt sienna, have literally gone to the dogs, and grovel in the dust at some distance from the steps among the canine frequenters of the sacred spot; their unique garment being of the same colour as the ground, they are scarcely distinguishable from it.There is, in truth, a good deal of life and movement to be seen from the crumbling steps of Vazir Khan.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 151
A box and collection of various sporting and other ephemera including a butterfly wing tray, pair of wooden canons, soapstone egg, green glass spaghetti jar, pair of Salter trade spring balances No. 260T (60lbs), brass tankard of large proportions, folding ruler, watch stand, lacquered wooden chicken, small Christie guillotine, two brass straps, Jaguar toolbox, one volume JRR TOLKEIN "The Annotated Hobbit", annotated by Douglas A Anderson, blue and white windmill tile, aluminum sailboat ornament, red-painted iron horseshoe, W M Marples & Sons of Sheffield plane, brass framed mirror and one volume "Great Battles of the British Navy circa 1908" by LIEUT. CHARLES R LOWE
Lot 53
DELFT TILE. A Delft tile decorated with the Devil whipping a sinner. 13 x 13cm. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Lot 1210
VARIOUS BLACK AND DECKER POWER TOOLS including a Black and Decker KW780 router in box (PAT pass and working), a vintage Drill in box with sanding and Circular Saw attachments in boxes, a BD1602 heat gun, SR600 planer, a GD200 Lawn Raker (no cable so untested) (all PAT fail due to uninsulated plugs but working) and a Diamond wheel Tile Cutter (8)
Lot 73
A TURQUOISE-GLAZED 'LION' ROOF TILE, MING DYNASTYChina, early 16th to mid-17th century. Well potted and modeled after its Tang dynasty prototype, the beast seated on its haunches, the head raised and mouth wide open in a ferocious roar, revealing tongue and teeth, the lion further detailed with large bulging eyes, thick curled mane, and scrolling tail, covered overall in a rich turquoise glaze.Provenance: French trade. Condition: Good condition, commensurate with age and still presenting remarkably well. Extensive weathering, wear, firing flaws, the mouth with an old repair and associated minor touchups (inspected under strong blue light), few cracks, chips and losses, overall as expected for this type of ware.Weight: 3,140 g (excl. base) and 3,983 g (incl. base) Dimensions: Height 33.5 cm (excl. base) and 37.4 cm (incl. base)With a fine velvet and wood base dating to the early 20th century. (2)Literature comparison: Compare three closely related roof tiles depicting lions, all dated from the beginning of the 16th century to the end of the Ming dynasty, all in the collection of the Victoria & Albert Museum, accession numbers C.158-1938, C.398-1912, and C.396-1912. For the Tang dynasty prototype, see a tomb figure of a roaring lion with green splash-glaze in the British Museum, museum number 1947,0712.11, recently published on the cover of the catalog for the Oriental Ceramic Society's centennial exhibition.Auction result comparison: Type: Related Auction: Christie's New York, 29 March 2006, lot 428 Price: USD 42,000 or approx. EUR 59,500 converted and adjusted for inflation at the time of writing Description: A Large Glazed Tileworks Buddhistic Lion Stand, Ming Dynasty (1368-1644) Expert remark: Note the related form, glazes and subject matter as well as the larger size (73.7 cm)明代鎮脊坐獅中國，十六世紀初至十七世紀中期。陶製精良，坐姿端正，獅子昂首張嘴，似乎正發出兇猛的吼聲，露出舌頭和獠牙，雙眼圓睜，鬃毛捲曲，尾巴上捲。通體覆蓋著鮮艷的綠松石色釉。 來源：法國古玩交易市場。 品相：狀況良好，與年齡相稱，大面積風化、磨損、燒製瑕疵、嘴部修復和相應的輕微修飾（在強藍光下檢查），幾乎沒有裂縫、磕損碎和缺損。 重量：3,140 克 (不含底座) 或3,983 克 (含底座) 尺寸：高33.5 厘米 (不含底座) 或 37.4 厘米 (含底座) 二十世紀初木底座。文獻比較： 比較三個非常相近的鎮脊坐獅，它們的年代都是16世紀初到明朝末年，都是維多利亞和阿爾伯特博物館的收藏品，收藏編號為C.158-1938，C.398-1912，和C.396-1912。關於唐代的原型，可參考大英博物館收藏的綠釉咆哮坐獅像，博物館編號1947,0712.11，最近在東方陶瓷協會百年展的目錄封面上發表。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2006年3月29日，lot 428 價格：USD 42,000（相當於今日EUR 59,500） 描述：明代大型太獅瓦座 專家評論：請注意相近的形式、釉面和主題，以及較大的尺寸（73.7厘米）。
Lot 765
Selection of Cypriot Greco-Roman pottery shards, tile pieces, glass shards, coins and earlier Paleolithic/Neolithic stone axe head, two chiselled pre-historic scrapers etcProvenance - From the collection of an RAF serviceman based in Akrotiri, Cyprus during the early 1960s, the collection was acquired during that period within Cyprus and now sold through direct descent
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