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Click here to subscribeA GEORGE III TREEN SYCAMORE NEGUS STRAINER LATE 18TH CENTURY with a pierced bowl 23cm wide Provenance The Geoffrey Chesters Collection of Treen. Catalogue Note 'Negus' was a beverage imported by Colonel Francis Negus. It was made from wine, spices, lemon and hot water and was popular in the 18th and 19th centuries.
A GROUP OF GLASSWARE (9)18th/19th centuryComprising; three facet stemmed wine glasses with engraved `oxo' borders; a taller facet stemmed wine glass; a patch stand; a pair of jelly glasses; a wine glass engraved with the initials `JB' , thistles and a rose bud; a smaller engraved glass, engraved with hops , barley, a bird and the initials, `JLB'. Provenance: Pelling Place, Old Windsor, BerkshireOne of the three facet stemmed wine glasses has chips to the foot. Both jelly glasses have chips to the foot
A collection of 19th century and later glassware including a wine glass with engraved detail to the bowl (af), LSA international vase, cylindrical vase with silver rim, etc. Additional InformationThis lot is from a fire damaged property. The pieces have been cleaned, but please bear in mind that the pieces may have underlying issues due to the fire.
J.E CHATTERLEY & SONS LTD; an cut glass oil bottle with hallmarked silver top with cast decoration of a fox's head, Birmingham 1977, height 11.5cm.Additional InformationThe bottle with a later cork stopper which supports the wine bottle top, which has possibly been cut down slightly, minor tarnishing.
An unusual group of 38 album pages illustrating scenes from Firdausi's Shahnama, Nizami's Khamsa, Jami's Haft Awrang and other texts Persia, late 18th/19th Centurypaintings in gouache and some gold, most with identifying inscriptions in nasta'liq script, gold- and silver-decorated coloured inner borders, outer borders of each variously decorated with stylised floral designs or more naturalistic floral and vegetal motifs, on grounds of several different colours, each framed separately paintings approximately 240 x 170 mm. and slightly smaller; album pages 330 x 230 mm.(38)Footnotes:ProvenanceThe collection of Bryan Wilkins (1950-2021), son of Fraser Wilkins (1908-89), Inspector-General of the US Foreign Service 1964-71, US Ambassador to Cyprus 1960-64.The subjects are as follows:From Firdausi's Shahnama1: Two young boys before Jamshid, inscribed: The image of Jamshid-e jam.2: Afrasiyab bound and brought before Kay Khosraw and Rustam, inscribed: The image of Kay Khusraw [and] Rustam son of Zal and the killing of Afrasiyab.3: Kay Kavous in his flying machine, inscribed: Kay Kavous, known as Nimrud, flying to the sky.4: Faridun places a crown over his son's head, inscribed: The image of Faridun and him rewarding his sons with crowns. Two figures at the back are identified as 'Salm' and 'Tur'.5: The Indian Raj before Nushirvan, inscribed: The image of Nushirvan. The young Indian is described as the Indian Raj.6: Rustam about to break the ring with one hand, inscribed Rustam son of Zal breaks the ring, with the one-handed Rustam.7: Giv and Nawdhar before Siyavash and Rustam, inscribed: Image of Siyavakhsh [sic] with Rustam the crown-giver. The two figures are identified as Giv ibn Gudarz and Bahram ibn Gudarz.8: Bijan and Manijeh in bed, inscribed: The image of Bijan son of Giv with Manijah, the daughter of Afrasiyab.9: Brains of youths being prepared to feed the snakes on Zahhak's shoulders, inscribed: The image of Zahhak, the one with snakes on his shoulder and food [remainder illegible].From Nizami's Khamsa10: Shirin visits Farhad in Bistun (from Khosraw and Shirin), inscribed: Shirin and Farhad. 11: Gol Andam comes across Bahram hunting (from Haft Paykar), inscribed: The image of Bahram and Gol Andam.12. Bahram-e Gur amazed at seeing Gol Andam carrying an ox with ease on her shoulder up a flight of stairs (from the Haft Paykar). Caption: 'Image of Bahram and Gol Andam'. Hoping to regain Bahram's favour, she practices carrying a newborn ox up a flight of stairs on her shoulders.13: Layla goes to see Majnun in the wilderness (from Layla and Majnun), inscribed: The image of Layla and Majnun.14: Bahram-e Gur seizes the crown that had been placed between two lions and prepares to kill the second lion (from Haft Paykar), inscribed: Bahram taking the crown placed between two lions.15: Khusraw out hunting observes Shirin bathing (from Khusraw and Shirin), no inscription. For this scene, with a very similar composition, used on the lacquer binding of a manuscript of Nizami's Khusraw va Shirin, dated to the beginning of the 19th Century, see G. Fellinger (ed.), L'Empire des Roses: chefs d'oeuvre de l'art persan du XIXe siecle, Lens 2018, p. 264, no. 253.From Jami's Haft Awrang16: Yusuf is offered for sale in the market and Zulaykha bids for him (from Yusuf and Zulaykha), inscribed: Selling of Yusuf - peace be upon him – in the city of Misr.17: Women guests cut their fingers instead of oranges at seeing Yusuf (from Yusuf and Zulaykha), inscribed: The image of the cutting of oranges of Yusuf and Zulaykha. The original text features lemons.From Muhammad Quli Salim Tehrani's Qada va qadar, on predestination (2)18: Exact subject unknown. Caption: 'Qada and Qadar'.19: A figure pulled from the sea: exact subject unknown. Caption: 'Qada and Qadar of Muhammad Quli Salim'.From 'Attar's Mantiq al-Tayr20: Shaykh San'an goes to see the Christian maiden, inscribed: The image of Shaykh San'an.21: The Christian maid offers wine to Shaykh San'an, inscribed: The image of Shaykh San'an.From 'Ayyuqi's Varqah and Golshah22: Golshah offers wine to Varqah, inscribed: The image of Varqah and Golshah.From 'Unsuri's Wamiq and 'Adhra 23: 'Adhra receives Wamiq and embraces him, inscribed: The image of Wamiq and 'Adhra. From Naw'i Khabushani's Suz and Godaz24: The husband is being prevented from throwing himself into the fire after the death of his wife, inscribed: Suz and Godaz. However, in the original text, it is the wife who throws herself into the fire after the husband's death.Two scenes depicting Seljuk rulers25: Alb Arsalan, inscribed: The image of Alb Arsalan, the Sal Juqi [sic].26: Three youths before Sultan Malik Shah, inscribed: The image of Sultan Malik Shah, the Sal Juqi [sic].Two scenes depicting Timur and his son Shahrukh27: Timur gives a spear to a young boy, inscribed: The image of Amir Timur Gurkani. The name Timur is misspelt.28: Shahrukh watches men wrestling, inscribed: Shahrokh ibn Amir Timur.A scene from the Mehr and Mah of Hamid ibn Fadlluh Jamali (d. AH 942/AD 1535-36) 29: Mah dreams of being with Mehr [?], inscribed: The image of Mehr and Mah.A scene from the Hamzeh-nameh30: Hamzah and Mehr Negar, Nushrivan's daughter, meet while 'Umar is playing an instrument for Bozorgmehr, inscribed: The image of Hamzah and Mehr Negar/Baba 'Umar/Buzorjmehr.Miscellaneous:31. Ahmad-e Jam, the Sufi, author and poet (d. 1141), riding a lion, holding snakes in his hands as reins and whip. The subject sometimes appears in falnamehs. Caption: 'Zheneh Pir Ahmad-e Jami'.32. A man and a youth counting grapes before Pharaoh, as scene from the Bible [?]. Caption: 'The image of Pharaoh and the Satan'. The youth in the window is perhaps Satan.33. A young prince offering wine to a young lady, Sayf al-Muluk, the son of the king of Egypt and the princess Badi' al-Jamal depicted sitting on a throne, a story from the Thousand Nights and One Night. Caption: 'Sayf al-Muluk [and] Badi' al-Jamal Pari'. Sayf al-Muluk is misspelt.34. A young man killing a man. Caption: 'The mad Qandaruz [?] being killed by Badi' al-Zaman [?]' (spelled as Badi'ad zaman). Text unidentified.35. A man (Mulla Nasr al-Din) leading two men and a dog on leads. Caption: 'Mulla Nasir al-Din'. Exact subject unknown.36. A young man feeding a dragon with a deer before a king, while cutting its horns off. No caption, exact subject unknown.37. Two figures before a seated figure, identified as Rustam son of Zal (the young boy) and Zal son of Sam (the old bearded man) before Sam son of Nariman (the seated figure). These are characters from Firdausi's Shahnama, but this does not appear to correspond with a known scene.38. A young boy offering food to a man lying ill in bed. Exact subject unknown.This lot is subject to the following lot symbols: * R* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on 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
An Uzbek or Mongol warrior reclining against a large Chinese vase in a landscape, laid down on an album page with a verse couplet above Persia, perhaps Qazwin, late 16th Centurypen and ink with some gouache on paper, two lines of verse in nasta'liq script in black ink within cloudbands within a panel at top, inner margins ruled in colours and gold, outer borders with stylised floral motifs in gold on a blue ground main image within inner margins 168 x 90 mm.; visible album page 198 x 117 mm.Footnotes:ProvenanceMilo Cleveland Beach: acquired from the San Francisco dealer R.E. Lewis, circa 1960 or 1961.ExhibitedFogg Art Museum, Harvard, Massachusetts (on loan, date unknown, label on backboard).The poet of the couplet in the upper part of the page has not been identified. The text is as follows:buseh kardeh saghar-e ma bar sar-e khod mi-nahandsar-e shast-e naw mey parastan khatt-e dawr-e jam-e maTranslated roughly as:They kiss our cup and put it on their headThe fortune of the wine-worshippers is the writing around our cup[i.e. they will become poor, like the artist claims to be in the following inscription].The inscription on the band around the bowl held by the sleeping man reads:bandeh-ye faqir muhammad sharif mosavver, 'The poor servant [of God], Muhammad Sharif, the painter (musavvir)'. The painter has not been identified. On the backboard of the frame are handwritten comments by Beach: Banda-i-Qasr, Muhammad Sharif Musavvir BNG (1976). 'BNG' refers to B. N. Goswamy and his translation of the inscription on the bowl.While Uzbek or Mongol warriors (often prisoners) appear not infrequently in Persian painting of the 15th and 16th Century, this more relaxed figure seems to owe something at least to the archetypal Chinese figure of Li Bai. Li Bai (AD 701-762), also referred to as Li Po or Li Bo, was the foremost poet of the Tang dynasty (AD 618-907) and, together with Du Fu, remains one of the most famous poets in Chinese history. His ambition to serve the Emperor Huizong as a statesman was thwarted when the Emperor employed him as a palace poet composing mundane lyrics for the Court. Frustrated, he left the Court and spent the rest of his life wandering the country and indulging in his love for wine. See for example a quartz figure of Li Bai of the 18th-19th Century, sold at Christie's New York, Chinese Art from The Art Institute of Chicago, 12th September 2019, lot 777.This lot is subject to the following lot symbols: * R* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on 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
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