Terms and Conditions




Saturday 12th June 2004 at 12 noon

Viewing Arrangements

Thursday 10th June & Friday 11th June 10am to 7pm & morning of sale 9am - 11am


Jewellery & Objects of Vertu

1 - 16

European Works of Art

17 - 27

Tribal Art

28 - 47

Pictures & Books

48 - 57


58 - 65

Indian & Islamic Works of Art

66 - 70







A Georgian foiled paste bracelet of uniform design, the cushion cut stones mounted in square cut-down silver collets with gold backs, circa 1800, overall length 6 3/4 in.


See illustration

SOLD £460


Fine paste had become extremely fashionable by the end of the 18th century, society prefering to wear replicas of their valuable diamond jewellery, particularly when visiting such places as Vauxhall Pleasure Gardens where nocturnal entertainment and clandestine meetings took place.


Inevitably exposed to thieves and vagabonds in such situations, and possibly not wishing to report any loss, but safe however in the knowledge that their secret would be impossible to detect by candle or moonlight.



A French paste rivière necklace, the graduated cushion cut stones foiled and mounted in cut-down silver collets with gold galleries and domed backs. Centre collet 1/2in diameter, overall length 16 3/8in. Paris marks: 10th May 1837 - 1st June 1847.


See illustration

SOLD £540


17th century Jewellery from a Spanish shipwreck


The following group of high quality gold artefacts were discovered off Bantry Bay, Seapoint, Cape Town South Africa.



A gold ring, the raised octagonal bezel set with a flat-cut pale blue sapphire and chased with arcading, the shoulders engraved with flower heads, circa 1600, finger size K.


See illustration

SOLD £1,900


Originally decorated with enamel, its disappearance and the slight erosion to the gold caused by centuries beneath the sea.



A gold ring, the shaped oval bezel set with an irregular cabachon garnet, the shoulders with spiral patterned wirework and gold granulation, circa 1600, finger size K.


See illustration

SOLD £1,100



Twelve matching gold buttons, of moulded spherical form decorated in relief with scallop shells – the emblem of St James of Compostella, with ball finial and loop for attachment, 3/8 in diameter, total weight 20gr; together with ‘dress ornaments’ in the form of pierced gold beads with arcaded decoration,1/8 in diameter, total number of beads 826, total weight 95gr, circa 1600.


See illustration

SOLD £1,800


During the 16th and 17th centuries buttons and ‘dress ornaments’ adorned the costume of both men and women, as practical and decorative accessories.


Similar examples were found aboard the wreck of the Nuestra Señora de la Concepción (sank 1638).


The Property of a Lady


The following two lots are from the collection of Objects of Vertu, formed by the vendor and her mother, purchased from Emanuel Snowman of Wartski in 1944-45



Fan of carved ivory encrusted with diamonds mounted in three-colour gold, the leaf by Alexandre.


Illustrated in The Connoisseur, June 1945, credited By permission of Messrs, WARTSKI, 138, Regent Street, London; now in the collection of Mrs. Lucas.


Described as follows:


“Fan of carved ivory, hand painted with (front) views of Sebastopol, Odessa, and the Alhambra: (back) two other views and an allegorical picture of cupids amid clouds. Several of these are signed. The borders are signed Ed Moreau. The ivory sticks are richly encrusted with fine-quality diamonds fleur-de-lis and the letters M.M. for Maria de Montigo. An important and historical piece. The fan is of the period of the Second Empire and of French work.


See illustration

SOLD £41,500


Should the interpretation of the monogram be correct, i.e. Maria de Montijo [Maria Eugénia de Montijo, Countess de Teba, 1826-1920] it would suggest that this fan was possibly a gift to her before her marriage in 1853 to Napoleon III of France, she then of course, becoming Empress Eugénie.



FABERGÉ; a gold, enamel, hardstone and ivory baton, the carved smoky-quartz finial modelled as a chrysanthemum, a cluster of yellow citrines forming the stamen, the gold and translucent green guilloche enamel collar decorated with swags, tapering ivory shaft, unmarked, overall length 15 3/4 in, contained within the original silk and velvet lined holly-wood case, with the Imperial Warrant printed in gold.


See illustration

SOLD £16,000


Reputed to have been a gift from Tsar Nicholas II, to the conductor of the Bolshoi Ballet.



The Emperor of Austria; a pair of gold cufflinks, bearing crowned monogram, comprising the initials E, T and A, applied in gold set with sapphires, rose-diamonds and rubies, Vienna assay marks.


See illustration

SOLD £1,900


Sold with an accompanying note stating – These cuff links were originally given to my wife’s father – Doctor F. J. Haedenwang of Vienna – by the Emperor of Austria Franz Joseph in the early days of the 1914-1918 war, the envelope inscribed The Emperor’s Cuff Links – Dr Haedenwang.


Franz Joseph I (1830-1916) Emperor of Austria, King of Bohemia and Hungary.



Kutchinsky; an 18ct gold, diamond and ruby bracelet, the buckle concealing a Jaeger Le Coultre watch, No 4493, hallmarked London 1960, total weight 110gr.


See illustration


The firm of Kutchinsky was originally establised by Hirsch Kutchinsky and his son Maurice in London’s East End in 1893. In 1930 the younger generation entered the business and a prestigious retail shop opened in Knightsbridge. In 1991 the business was purchased by The London Hilton Jewellers.



A Renaissance silver girdle of Holbeinesque design, the alternate links patterned with roundels containing Greek and Roman Imperial silver coins, fractional slaters and denari, the clasp with zoomorphic terminals, maker’s mark S.I. within a conjoined circular outline, original gilding, circa 1600, 1in wide, overall length 25 1/4in.


See illustration

SOLD £600


Similar examples are known from contemporary paintings.



James VIII of Scotland; a Jacobite silver mounted laburnum snuff mull of tapering cyclindrical form, the domed cover with chain attachment and silver snuff spoon, inscribed God Save The King 1705, I.R. VIII, and depicting crossed sword and sceptre with crown above, unmarked, 1 1/2in diameter, 3 3/8in high.


See illustration

SOLD £1,200


James Francis Edward Stuart, Prince of Wales, Chevalier de St. George or “Old Pretender” had, of course, been proclaimed James III of England and VIII of Scotland at St. Germains in 1701. It was in 1705, at the behest of Louis XIV, that Nathaniel Hooke undertook a mission to Scotland to assess the likely success of a Jocobite uprising; his optimistic report giving rise to the failed French expedition of 1706.



Charles Cabrier, London; an 18th century silver pair case calendar verge watch, panelled silver dial with Roman and Arabic numerals, the centre with pierced fretwork engraved with birds, inscribed Cabrier London, square pillar movement signed in full, the outer case decorated in relief with a Classical scene depicting the capture of Helen of Troy within foliate and scroll pattern borders, signed D. Cochin, 2in overall diameter.


See illustration

SOLD £460


Britten: Old Clocks and Watches.


Charles Cabrier, junior, 1719-1765, a celebrated watch maker.


D. Cochin, 1735-1770, a celebrated ‘repoussé chaser’ of watch cases.



A Medieval bronze seal matrix of vesica form, with flange handle, pierced for suspension, inscribed in black letter, sigillum•scti•john beblan•officii•procurator (seal of the office of the holy John Beblan, procurator), depicting an Archbishop carrying a primatial cross on a ground of wheatsheaves, 15th century, 2 5/8in long, 1 3/4in wide.


See illustration

SOLD £525


The Archbishop in question could well be John Kemp, Bishop of London 1421, Archbishop of York 1426, Archbishop of Canterbury 1452-54.


John Kemp’s arms were three garbs (wheatsheaves) within a bordure engrailed.



A French 18th century turned ivory needlecase, the profiles of the finials in the likeness of Louis XVI and Marie Antoinette, contemporary silhouettes so inscribed contained within the case, 3 1/2n long, 7/8in diameter.


See illustration

SOLD £400


Similar shadow portraits in turned ivory are known from contemporary spinning tops.



Chess Prize; an early Victorian ‘Calvert’ pattern silver chess piece in the form of a knight, cast with finely engraved detail, hallmarked London 1848, maker’s mark R.W. within a rectangular outline, the circular base with engraved border and foliate pattern scrolls inscribed around the edge CHESS PRIZE 1849, the asymmetric central cartouche containing a monogram with the initials M.S., 1 1/2in high, 7/8in diameter.


See illustration

SOLD £550


The first “modern” chess tournament took place in London in 1849 at the Cigar Divan in the Strand.



A European, horn and ivory chess set, with finely turned baluster stems and domed fluted bases, the rook of castellated form, the King and Queen with pierced finials, slight damages and with minor losses, one horse’s head a nineteeth century replacement, late 18th- early 19th century, height of King 4 1/8in.


See illustration

SOLD £900





A pair of Meissen porcelain figures of Bologna terriers with black and white markings, brown noses and muzzles, crossed swords in underglaze blue, impressed numerals 35, incised C26 and C27 respectively, one with old yellowed restoration and body cracks, 18th- early 19th century, approximately 5 3/4in high.


See illustration


In 1741 Kandler is recorded as having modelled just such terriers, the same breed as his Japanese Palace models.



William Powell; a set of twelve Royal Worcester porcelain cabinet plates, each painted with a named British bird perched amidst wild flowers, within a gilt dentil border, comprising Grasshopper Warbler, Redstart, Blackbird, Green Woodpecker, Thrush, Wren, Bullfinch, Robin, Goldfinch, Nightingale, Chaffinch and Wagtail, the latter with hair crack to centre, all signed W. Powell, factory mark in blue enamel with date code for 1918, 4 5/8in diameter.


See illustration

SOLD £1,500



Serge Yourievitch (1876-1969); a patinated bronze figure of a ballet dancer, La Danseuse Nattova, signed and titled in relief, raised on variagated brown marble base, 16 7/8in high overall.


See illustration

SOLD £900



Jean Louis Gregoire (1840-1890); a bronze figure of a ‘fisher-girl’, a bow in her hair, standing on rustic shell strewn base, brown patina, signed L. Gregoire, Susse Freres foundry mark, 19 1/2in high.


See illustration

SOLD £1,400



Clement, Comte D’AstanierEs (1841-1917); the companion bronze figure of a boy, holding a fish, brown patina, signed D’Astanieres Sculpt, Susse Freres foundry mark, 19 1/4in high.


See illustration

SOLD £1,000



A George IV needlework sampler embroidered in coloured silks with cross stitch on a fine linen ground, designed with a verse,


O THAT the Lord would guide my ways


To keep his statutes still:


O that my God would grant me grace


To know and do his will.


O send thy Spirit down to write


Thy law upon my heart:


Nor let my tongue indulge deceit


Nor act the liar’s part.


From vanity turn off mine eyes:


Let no corrupt design


Nor covetous desires arise


Within this soul of mine.


See illustration

SOLD £980


within a vine and carnation border flanked by flowering plants, surmounted with a flower filled planter, the lower frieze depicting Adam and Eve holding fruit from the tree of knowledge and with peacocks, parrots, boats and comucopia, all within a ribbon border, Mary Laycock’s work aged 9, 1822, bright and in excellent condition, 16in x 13in, contemporary gilt gesso reeded frame, the corners with floral patera.



Stuart needlework panels, circa 1660-1685; later mounted to an oak box, the top portraying Charles II and Henrietta Marie, the others displaying charming domestic images embellished with animals, birds, insects and flowers, bordered with silver braid, and employing an elaborate stitch vocabulary on an ivory silk ground, raised purl work, stem and satin stitches with chain and bullion knots adhere to original patterns drawn out in ink, the colours of the needlework bright and fresh, the panels generally very good but with some wear to the silk ground, overall size, 11 7/8in x 8 1/4in, 7in high.


See illustration


The panels would appear to have previously been unused before being mounted to the present box.


Early 18th century gilt leather wall hangings removed from Encombe House, Dorset in the early 19th century, and in storage since.



Dutch 18th century gilt leather panels; embossed and gilded with a design of two parrots sitting opposite each other eating berries within a foliate and strapwork outline on a dark green ground, panel size 27 1/2in x 22 1/2in.


Twenty five complete panels, thirty two damaged panels, with some loss, together with a number of half and part panels, and fragments, approximately 250 square feet in total, first quarter of the 18th century, circa 1700-1725.


See illustration

SOLD £1,700



French 18th century gilt leather panels; embossed and gilded with a foliate design incorporating birds within a scroll outline on a deep red ground, panel size 23in x 11in, four panels required to make the complete pattern from two types with mirrored image.


Sixty eight panels making seventeen complete patterns, forty damaged panels, with some loss, thirty-one feet of horizontal border 11in high, twelve feet of vertical border 9 1/2in wide, two corner pieces 11in x 9 1/2in, together with numerous fragments and oddments, approximately 230 square feet in total, first quarter of the 18th century, circa 1700-1725.


See illustration

SOLD £1,700


The style of border is reminiscent of tapestries of the period.



A Flemish 17th century carved oak and walnut cabinet on stand of Renaissance design, with splayed moulded cornice, the frieze centred with a crowned cherub’s head flanked by figures of birds on a foliate and scroll pattern ground, above a pair of cushion moulded fielded panelled doors decorated with caryatids bordered by fluted columns with Ionic capitals, a single long drawer with applied lion’s masks below, the stand with ebony inlay and foliate pattern frieze with pierced apron, raised on inverted baluster supports with block feet, circa 1620, height 62 1/2in, width 39 1/2in, depth 21in.


See illustration



A Dutch 18th century walnut marquetry bureau cabinet, the moulded cornice with central cartouche carved with C-scrolls and flowers, shaped mirror doors with foliate pattern carved borders and canted corners, the interior with reverse marquetry panels and a single bank of three drawers, a pair of candle slides below, the serpentine shaped fall with cross-grain moulding and enclosing a shaped and stepped interior with central cupboard, nests of drawers, fitted compartments and well, inlaid in marquetry with writing implements, quills, sanders, inkwells, scrolls, paper knives, stationery etc., the base of bombé form incorporating three long oak lined drawers with original gilt lacquered brass handles with opposing portrait busts, raised on shaped apron with scroll feet, decorated with figures in arbours, birds, flowers, and flowering urns, good colour and patination, minor damages, the bureau cabinet mid-18th century, the marquetry later, height 95 1/2in, width 50in, depth 25in.


See illustration

SOLD £16,800







A Maori whalebone hand club, patu paroa, of broad spatulate form, the waisted grip with squared perforation for attachment to a wrist thong, lateral flaring crescent butt, the blade with evidence of nerve ducts, dry creamy colour with well patinated grip, first half of the 19th century, width 6in, overall length 18 1/2in.


See illustration

SOLD £1,000



A Maori greywake stone hand club patu onewa, of finely polished symmetrical form, the waisted grip with hour-glass perforation for a wrist thong, eliptical patterned grooved butt, minor chip to rounded edge of blade, first half of the 19th century, width 3 1/2in, overall length 14 3/4in.


See illustration

SOLD £1,450



A Maori whalebone hand club, kotiate, of traditional waisted form, with pierced sinus at either side, tapering grip with circular perforation for a wrist thong, carved tiki head finial, natural flaw within the grip, well worn creamy patina, first half of the 19th century, width 4 3/4in, overall length 13 7/8in.


See illustration

SOLD £4,150



A Tonga Islands palm leaf club, apa àpai, of traditional form with diamond section blade, circular shaft and flaring grip, carved throughout with alternate horizontal and vertical panels of zig-zag ornament, slight crack to side of head but with no loss, glossy dark-brown patina, first half of the 19th century, width 4 1/4in, overall length 39 1/4in.


See illustration

SOLD £1,300



A Tonga Islands pole club, formed of casuarina wood, domed top with circular tapering shaft and discoid butt, carved throughout with panels of zig-zag and spiral patterned ornament, one panel with a depiction of a primitive axe, old shake within the shaft, butt chipped with slight loss, dark glossy patina, first half of the 19th century, diameter 3in, overall length 39 3/4in.


See illustration

SOLD £950



An Aborigine parrying shield  of narrow pointed form, the diamond section blade carved with alternate diagonal patterns of fine linear grooves divided by narrow feather bands, the reverse with integral pierced grip, varnished glossy patina, width 5in, overall length 32 1/4in; together with a hand club, the head of pointed oval form with tapering shaft and stepped chip-carved grip with pointed terminal, glossy brown patina, overall length 28 1/2in, Western Australia, early to mid-19th century.


Ref: Catalogue of the National Gallery of Victoria, Christensen Collection. S.24 for the parrying shield; S.76-82 for the clubs with similar carved terminals.


See illustration

SOLD £1,650



A Fiji Islands gunstock club, cali, formed of nokonoko wood, the blade with two contemporary symmetrical chips forming a point, the crest and neck pierced for the attachment of feather or fibre bindings and with recesses for inlay, both now lacking, plain cylindrical shaft, carved grip decorated with bands of chip-carved zig-zag ornament, discoid butt pierced for a wrist thong, now chipped and broken through, well worn red-black patina, late 18th- early 19th century, overall length 38in.


See illustration

SOLD £1,100



A Marquesas Islands paddle club, parahu, formed of casuarina wood, the broad spatulate blade of traditional massive form with circular shaft and lateral flaring crescent butt, pierced for the attachment of a wrist thong, dry red-brown patina, first half of the 19th century, width 7 1/2in, overall length 97 3/4 in, weight 8 1/2lb.


See illustration

SOLD £3,500


The Americas



A Pre-Colombian polychrome pottery vessel of compressed circular form, everted neck with rounded base, painted with stylized images of serpents in purple, orange and black on a white slip ground, Panama, Cocle Parita Bay, 800-1525 A.D., 5 1/2in diameter, 4 7/8in high.


See illustration

SOLD £200



An early North American Indian pottery bowl on circular pedestal foot, painted with geometric designs in red on a cream slip ground, broken to one edge and repaired, a small triangular section of the rim a restoration, with old label on the underside inscribed Plains Indian 1st 1/22nd M(illenium), 7 3/4in diameter, 4in high.


See illustration

SOLD £200





A Dan ‘Gunyeya’ mask of pointed oval form with plaited fibre beard, concave face with high forehead and accentuated cheekbones, upturned nose and large circular eyes, the open mouth with two teeth, three grooved ridges at each side of the face, the crest with iron nail, traces of kaolin and pierced rim, smooth dark-brown glossy patina, Ivory Coast, late 19th- early 20th century, 8 3/8in high, 5in wide.


See illustration

SOLD £800



A Tchokwe male ancestor wood figure, standing, with arms at the side, the head formed as a mask with pierced and raised scarification, the neck and torso encircled with coloured beads, wearing loin cloth, well worn red-brown patina, Republic of Congo, late 19th- early 20th century, 6 3/4in high.


See illustration

SOLD £200



A Luba divination board, depicting a female head, with shaped coiffure, pointed chin and triangular nose, the elongated neck encircled with coloured beads, above a rectangular board of waisted form carved with five masks in high relief on an incised linear patterned ground, the sides decorated with chevrons, red-brown glossy patina, Republic of Congo, late 19th- early 20th century, 8 3/4in high, 4in wide.


See illustration

SOLD £200



A Songe shield for the Bwadi Bwa secret society, of domed waisted form, the kifwebe mask with central crest, protruding mouth and pointed chin raised on an incised linear patterned ground, painted in red, orange and black pigments, glossy patina, Republic of Congo, early 20th century, 24 1/4in high, 11 1/2in wide.


See illustration

SOLD £3,900



A Baule male figure, Asie Usu, standing on circular base, with muscular legs and elongated hands, one placed on the abdomen the other holding a large pendant beard, the head with elaborate coiffure plaited to the reverse, raised scarification to the face, abdomen and back, encrusted dark-brown patina, Ivory Coast, early 20th century, 15 3/4in high.


See illustration

SOLD £240



A Baule male mask, with painted pupils, slit eyes and open mouth, wearing an elaborate coiffure, raised scarification to the forehead, cheeks and each side of the mouth, the rim pierced for attachment, encrusted dark-brown glossy patina, Ivory Coast, early 20th century, 14in high, 6 1/2in wide.


See illustration

SOLD £200


A type worn at festivals for visiting dignitaries.



A Yaka fetish figure standing, on elongated pointed feet, right arm across the chest the other at the side, thick neck with lug ears, angular upturned nose and sunken slit oval eyes, wearing a hemispherical cap with curved crest, a loin cloth around the waist, with bird’s claw, cloth bundles and plaited fibre binding, red-brown patina, Republic of Congo, early 20th century, 14 1/8in high.


See illustration

SOLD £160



A Kalabari-Ijo wooden dance headdress for wear on top of the head in the Owu play of the Sakapu secret society, a stylized human face of triangular form, with chin curving slightly forward, elongated T-shaped nose and raised circular eyes, the head with alternate square relief carved panels and incised eyebrows, decorated in black and white, with yellow eyes, dry encrusted patina, Niger River Delta, early 20th century, 17in overall length, 4 3/4in wide.


See illustration

SOLD £5,000


Ref: William Fagg; The Webster Plass Collection of African Art – An Illustrated Catalogue of a Memorial Exhibition held in the King Edward VII Galleries of the British Museum 1953, No 89.



A Ngoni neckrest of traditional zoomorphic design, at one end a bull with curved horns the other a cow, the domed oval top with splayed shoulders and moulded border, the openwork frame supported on four triangular stylized legs, the underside pierced for attachment, old chip to side of one shoulder, well worn light-brown patina, Tanzania, late 19th- early 20th century, overall length 19in, 7 1/2in high.


See illustration

SOLD £7,000



Zulu beadwork; a large collar formed of multiple rows of coloured beads, alternately banded, strung on woven fibre, 35in overall length; a twisted collar formed around a hand woven fibre rope, 35in overall length; a frontal panel with collar, of geometric design patterned with fringes incorporating mother-of-pearl buttons, 26in long, 2 3/4in wide; and an anklet with long patterned fringe, 10 1/2in wide, some damages and losses, the large collar 19th century, the other three probably early 20th century, South Africa.


See illustration

SOLD £420





FRASER, ALEXANDER Sr (1786-1865); oil painting depicting a group of children at the village pump, a girl aloft at the pump handle her pale blue apron fluttering in the breeze, a stoneware flagon at her feet, two boys push a barefoot lad beneath the splashing water, whilst a kneeling girl looks on as she washes vegetables in a large stoneware basin, signed and dated 1829, on mahogany panel, inscribed to the reverse Alex Fraser, 51 Johnson St, Somers Town, London, 18 1/4in x 13 3/4in, contemporary gilt gesso moulded frame.


See illustration

SOLD £1,500



19th CENTURY; a pair of watercolours, one depicting a boy in Eastern costume wearing a turban, buttoned tunic and cloak, resting upon the draped sill of an arched window, a rifle at his side, the other boy in 17th century costume, wearing a slashed doublet and frilled collar, a feather in his wide-brimmed hat, poised to play a flute, unsigned, contemporary printed labels to reverse, The Property of Tregonwell Monro 1878, 8 1/2in x 7 1/4in and 7 5/8in x 6 3/8in  respectively, the latter with gilt slip, contained within matching ornate gilt gesso moulded frames.


See illustration

SOLD £600



BEER, ANDREW (1862-1954); pair of portraits of racing pigeons, oil on canvas, signed, titled, and inscribed with list of credits for 1929-1930, 11 5/8in x 15 3/4in, contained within original gilt gesso swept frames.


“Sky Pilot”. Blue Cheq Cock NURP 29 T.B.A. 284. In 1929 flew Yeovil, Weymouth, Bournemouth, Ventnor, Guernsey, winning 4th Ventnor, Bridgend, Tondu & Dis Combine. 1930 flown Weymouth, Guernsey, Jersey, Nantes, winning 1st Bridgend Tondu & Dis Combine, 3rd South West Glam Fed. Weymouth, 1585 birds competing, Vel 1076, 1st Bridgend Tondu & Dis Guernsey, 1st S.W. Glam Fed Guernsey, 1389 birds competing. Velocity 1135. Bred and raced by Croft Bros.’


“Guiding Star” Mealy Cock, NURP, 28. N. 3019. In 1929 unflown (stock). 1930 flown Jersey, Nantes, Bordeaux, winning 1st Bordeaux, South West Glamorgan Fed. 482 miles, velocity 1287, 568 birds competing. Also 1st & Cup Bordeaux, Bridgend Tondu & Dis Combine. Bred by M. Edmunds, Llantwit. Owned and raced by Croft Bros.“


See illustration


Four Designs for the Theatre by Rex Whistler, formerly in the possession of Laurence Whistler


“With his particular talents, my brother Rex could hardly have failed to join the compnay of painters who are also stage-designers, and in fact he was virtually enlisted on the day of his artistic début. Sir Charles Cochran was one of those invited to the opening of his murals in the Tate Gallery refreshment Room, in November 1927, and he records in Showman Looks On that he did not leave the room until he had ‘secured the artist’s address’. As a result, Rex contributed to four Cochran revues before he made designs for any play, ballet or opera…”


[Laurence Whistler writing in The Masque, Designs for the Theatre by Rex Whistler, No. 7, The Curtain Press, 1948].


Sir Laurence Whistler, glass-engraver and writer, brother and biographer of Rex Whistler, died on December 19, 2000.



WHISTLER, REX (1905-1944). Indian ink and water-colour drawing, a panelled door painted within the six panels with trophies, heads, and urns. 9 3/4in x 15in. Unsigned. Inscribed by Laurence Whistler to the reverse Cochran has no memory of this—seems to be in same style as a design for Streamline.


See illustration

SOLD £500



WHISTLER, REX (1905-1944) Pencil and water-colour drawing, a semi-circular room, the walls festooned with drapery, six busts on columns, the ceiling painted with scene of ravishment. The two doors with swan pediments, a lady enters from the right. 10in x 15 3/4in. Unsigned. Inscribed by Laurence Whistler to the reverse Unidentified, on similar paper to ‘First Waltz’ & ‘Private Life of Nap.’ in Streamline.


See illustration

SOLD £500



WHISTLER, REX (1905-1944). Pencil sketch for Streamline - Eye-Volution? Cochran’s 1934 Review. A proscenium arch with figures in boxes to the left, the one nearest to the stage being prominent. 9 3/4in x 15 1/2in . Unsigned. Inscribed by Laurence Whistler to the reverse Cochran thinks this is a sketch for a view in ‘Streamline’ designed by Cecil Beaton 22 ‘Eye-Volution’ showing the three ages of a Chorus girl, 1890’s, 1900’s—1934… …He says ‘Lady Cunard’ seen in the box caused offence. Did Rex make this sketch when discussing the scene with Cecil.


Laurence Whistler & Ronald Fuller The Work of Rex Whistler [Batsford, 1960] No. 398 where Laurence Whistler is shown as the owner of this drawing.


See illustration

SOLD £500



WHISTLER, REX (1905-1944). Indian ink and water-colour drawing, a curtain design for “The General’s Dilemma”, Cochran’s Revue at the London Pavilion, March, 1931. Swiss Scenery, a peasant girl with a St. Bernard, divided from a figure in lederhosen leaning on a cow, by a torrent. 11in x 16 7/8in . Unsigned. Titled in pencil to the margin by the artist, inscribed by Laurence Whistler to the reverse.


Laurence Whistler & Ronald Fuller The Work of Rex Whistler [Batsford, 1960] No. 396 (2) where Laurence Whistler is shown as the owner of this drawing.


See illustration

SOLD £775



SPEED, JOHN. England, Wales, Scotland, and Ireland Described. London: George Humble 1627. Engraved title, 62 of 63 engraved maps. Lacking map of Yorkshire. Folding map torn and creased with some loss; map of Hampshire chipped on upper edge and with accompanying text leaves torn. Marginal damage to map of the Isle of Wight; maps of Warwickshire and Scotland trimmed on lower margin. Final table creased. Some damp-marking and browning. Bound with: A Prospect of the Most Famous Parts of the World, viz. Asia, Africa, Europe, America. London: William Humble, 1646. 20 engraved maps. Slight marginal damage to one leaf, some light marginal damp-marking. Two parts in one volume, oblong 8vo, old full calf, now worn, stitching slack.


See illustration

SOLD £2,300



[MONGINOT, FRANCOIS]: A New Mystery in Physick Discovered, by Curing of Fevers & Agues by Quinquina or Jesuites Powder. Translated from the French, by Dr.Belon, with Additions. London: Printed for Will. Crook, at the Green Dragon without Temple Barr, 1681. 12mo, old sheep. 9-pages of advertisements at end. Marginal damage to one leaf that apparently occurred before printing, slightly affecting text, short tear to title.


See illustration

SOLD £450



BURKE, EDMUND. Works. Large Paper. 12 volumes. Bound full contemporary tree calf by Riviere; decorative gilt rules to sides, spines floral gilt within raised bands with crimson and green lettering and numbering pieces. 1887. Short crack to one joint, some very light rubbing, generally a very handsome set.


See illustration

SOLD £200




French Revolutionary Wars

The Netherlands Expedition 1793-5


“Book of Orders of the First Battalion First Regiment Foot Guards on Foreign Service Commencing 26th Feb’y 1793”. The manuscript order book, so titled, of the 1st Battalion, 1st Regiment Foot Guards* commencing with the departure of the regiment from Gravesend in February 1793 and concluding with their return on 8th May 1796 to Greenwich. Neatly written on 680-pages folio; bound full contemporary vellum with brass clasps engraved with tulips; stitching now partly broken, else very good. With the signature of Col. Edward Vaughan-Salisbury** on upper margin of first leaf. With two contemporary engraved battle plans loosely inserted.


This substantial manuscript showing in great detail the daily organization, regulations, and requirements of the army on the move. Listing appointments, orders e.g. regarding the scandalous practice of plundering; Quartermaster’s orders; uniform regulations - The hats of the Brigade are to be cleaned and cocked as soon as possible; details of picquets and batteries; the movements of troops, both English and of the Allies; arrangements regarding French prisoners and the sale of their horses; and, of course, Courts Martial, recording many instances of severe punishment, e.g 700 lashes for robbery and death for desertion, etc. In all giving a vivid insight into the conduct of the war throughout the campaign.


The “First Coalition” in Flanders comprised English, Dutch, Austrian, and Prussian troops together with the Loyal Emigrants ( French émigrés in British service); the English contingent under the command of Frederick Augustus, Duke of York. The 1st Foot Guards saw action at Famars, Valenciennes, at the siege of Dunkirk, at the capture of Lincelles (for which Battle Honours were awarded), defeat at the Battle of Turcoing, and other engagements, and endured the terrible winter retreat of 1794-5. The first leaf of the order book records the arrangements for embarkation:


Gravesend 26th Feb’y 1793


Order by M: G: Lake


A Sufficient Guard to mount on Board each Transport, and Sentrys to be Posted where they may be necessary.


An Officer of the Day to be appointed who is to inspect the Guards. Visit the mens Berths, and see the Beds are made up and the Berths clean.


The Non Commissioned Officers and Soldiers to be Divided in to messes.


The Roll to be called every morning upon Deck in the Presence of an Officer who is to see that the mens hair is well combed and that they are as clean as their situation will admit.


The Commanding Officer in each Transport to be answerable that ammunition whether in Casks, Cartridges or loose powder is stored in the most careful manner.


He must also take care the arms are put up in the Best Order and at Sea when the weather will admit of it their condition should be often examined - when the Battalion shall be ordered to disembark a careful man or two must be left on board each ship to take care of the Baggage.


The Soldiers in the Boat must keep profound silence, the Officers must take particular care that the men carry their Pouches very high - least they should wet their ammunition on going on shore. The men to have 2 spare Flints and 30 Rounds of ammunition.


The Commanding Officers of the different Transports will immediately send a return to the Commanding Officer of their Battalion of the state of the Troops they have on Board - Specifying the Number of Non Commissioned Officers, Both men and Officers Servants that a return of the whole may be made out for Maj’r: G: Lake.


From the Duke of York’s communiqué following the battle of Turcoing in which the Allies lost about 4000 killed and wounded, 1500 prisoners and 60 guns:


Head Quarters Tournay 19th May 1794


Parole Martinus


In noticing the events of yesterday H: R: H: the Commander in Chief finds little to regret but the loss of brave men. Which however appear to be less than from the nature of the action might have been expected… … The want of their complete success on the other part of the intended operation, which would have secured the Flank of our Position, are above all the Nature of the Country so favourable to the kind of attack which the Enemy undertook, will sufficiently account for what has happened without any imputation on the Bravery and Conduct of our Troops. With them H: R: H: has every reason to be perfectly satisfied, and he doubts not but the Enemy will feel to their cost upon the 1st occasion that may present itself to what they owe the advantages they had the good fortune to obtain over Troops as much Superior to them in Bravery & Discipline, as is the cause we maintain to that which they contend, in fact the Enemy has to Boast of but the acquisition of some British Pieces of Artillery which being the first that’s fallen into the hands in the Field … H: R: H: regrets that they should have that to Boast of. Yet he is Perfectly satisfied that it is to be attributed to the Country alone and not to the smallest failure in the Courage and Conduct which were exerted to save them. The Corps to give in returns of their loss immediately and H: R: H: relys on the Zeal and Activity of the Commanding Officers for repairing every thing that will admit of it with the Utmost Dispatch so that they may want nothing essential for future Service that can be procured them….” -


The Surgeon of the Eldest Regiment of each Brigade to come to Town to assist at the General Hospital Immediately … … the Tents are to be immediately struck and the Brigade to be in readiness to move at the shortest notice… ….


Included with this lot is Col. Vaughan-Salisbury’s silver campaign cutlery comprising two each of table fork and spoon, hallmarked London 1792-93, engraved with his monogram and inscribed “1st Guards” and with an ivory handled knife similarly marked to the finial. All contained within the original burgundy leather covered case with clasps.


*Re-named the Grenadier Guards in 1815 in recognition of their defeat of the Grenadiers of the French Imperial Guard at Waterloo.


**Edward William Vaughan, third son of Sir Robert Howell Vaughan, 1st Baronet, of Nannau; upon inheriting Rug, near Corwen, Merioneth, he adopted the name Vaughan-Salisbury. Colonel of the 1st Regiment of Foot Guards in Flanders, he also saw service in the Peninsular War.


See illustration

SOLD £3,600

The British Military Mission to Siberia 1919


The manuscript journals, papers, and photographs, of Col. Alexander Phelps Hodges, M.C. (1894-1977), relating to his service with the British Military Mission to Siberia, 1919-1920. The archive including the manuscript journal of his journey from Siberia to Peking, with related photographs, that formed the basis of his published account “Britmis. A Great Adventure of the War. Being an account of Allied intervention in Siberia and of an escape across the Gobi to Peking” [Cape, 1931]; and other material as under.


Col. Hodges had sailed for Vladivostok in January 1919 from where he travelled by train to Nikolaevsk, having been posted as an artillery instructor to the 11th & 13th Siberian Divisions (White Russian Forces). In August of that year, attached to the Intelligence Section of the British Military Mission, he was ordered to Ormsk and from there to the H.Q. of the Crenburg Cossack Army as Liaison Officer. In subsequent operations, finding that he and a small group of travelling companions were cut off from H.Q. by the encircling Bolshevik forces, he led their escape across the Kirghiz Steppe in mid winter, across the Gobi dessert, finally arriving at Peking in May 1920; after a journey of 3000 miles over seven months, on foot, on horseback, camel, and mule-cart, enduring much hardship and privation en route . The archive comprises, briefly:


His manuscript diary for 1919, (1 week per-page, with gaps); his manuscript journal sheets for the period Oct. – Dec. 1919, 44-pages folio and 4to, with an expanded typescript version of the same, 55-pages 4to; Operation Report No. 2 from Liaison Officers attached Ovenburg Cossack Army, manuscript on 42-pages folio; thirteen Telegrams received by Liaison Officer att’d Ovenburg Cossacks; and his 5-page folio manuscript intelligence report, Oct.29th-Nov. 5, 1919, to the British Military Mission at Ormsk.


Together with the manuscript & typescript journal leaves of his Diary of the Journey across China Dec. 30th 1919 to May 20th 1920. 31-pages in manuscript, folio; 40-pages in manuscript on 8vo notebook leaves; and 16-pages typescript, folio & 4to. Also 36 largely folio & typescript very detailed imprest accounts, some presented at the British Legation Peking, of expenses incurred en route, e.g. for felt boots, matting to cover carts, Chinese Guides to Shiko, One skin coat, pair skin trousers etc.; a typescript copy of correspondence from Hodges to the British Consul General, Kashgar, including a 9-page detailed report; and Operation Report and an account of the Journey from Petropavlovsk to Peking……Oct. 1919 to May 1920 – to General Officer Commanding , British Military Mission to Siberia being a retained typescript carbon copy report on 216 largely folio pages, illustrated with 3 folding maps.


Together with original photographs and negatives comprising ten original half-plate photographs in sleeves; with publication instructions/captions, and twelve other sepia toned half-plate photographs, sixty-five small negatives and 29 contact prints; all of these relating to his journey to Peking. Also present are five photographic portraits of Hodges, his Chinese passport issued by the Governor of Sinkiang, Chinese Turkestan, and two large Chinese calligraphic scrolls, one presented by the Military Governor of Kansuh in 1920. With a number of other items e.g. Chinese contracts, a panoramic photograph of Canton, the notification of his election as a Fellow of the Royal Geographical Society etc. Together with a file of correspondence with Jonathan Cape regarding the publication of “Britmis”, with his copy of the publisher’s agreement.


See illustration

SOLD £2,600

Hebrus with L’Etoile



The Naval General Service Medal awarded to John Maddock, purser on board the Hebrus during the action of 27th March 1814 in which she captured the French frigate L’Etoile; the last significant naval engagement of the Napoleonic wars.


This medal issued in 1848 to those crew members then living; a maximum of only forty medals with the “Hebrus with L’Etoile” bar were issued.


On the morning of 26 March 1814, the British 18-pounder 36-gun frigate Hebrus, Captain Edmund Palmer, fell in with the French frigate L’Etoile off the Isle de Bas and gave chase. About midnight, when they reached the Race of Alderney, the Hebrus began to gain on the enemy and she was forced to round Point Jobourg almost within the wash of the breakers. Here, between one and two in the morning of the 27th, after a chase of 15 hours, Capt. Palmer brought the enemy to action.


At the start L’Etoile fired high and did the Hebrus considerable damage, shooting away her fore topmast and fore yard, crippling the mainmast and bowsprit and cutting away almost every shroud, stay and brace. The Hebrus, however, succeeded in pouring several raking fires into her antagonist and at 3.45 a.m. shot away her mizenmast. At 4 a.m. L’Etoile ceased firing and struck her colours; after a close combat of 2 1/4hours. The moment he took possession Capt. Palmer turned the heads of both ships off the shore not only to prevent grounding but also to get out of range of a shore battery which had been firing indiscriminately at both ships in the darkness. The tide pushed them round the point and they anchored off Vauville to repair damage.


The achievement of the Hebrus in this action is the more remarkable when one takes into account how near it was fought to the French shore, the land being within musket shot on her starboard beam; how badly damaged she was so soon after the commencement of the action; and that the crew were quite a new ship's company, with scarcely a single draft from any other ship, whilst the crew of L’Etoile had been formed out of the united ships' companies of the Aréthuse and Rubis. Although the principal damages of the Hebrus were in her masts and rigging, her hull had not wholly escaped, as is evident from her loss; which, out of a crew of about 284 officers, men and boys, amounted to 13 killed, and 23 wounded.


L’Etoile, which mounted 44 guns, was commanded by Capt. Henri Philibert, with 315 men. She had forty killed and more than seventy wounded. Her remaining masts were shot through, her hull was badly shattered and there was four feet of water in her hold at the end of the action. The leaks of L’Etoile were so serious that the ship could not reach Portsmouth; Lieutenant Robert Jackson, the prize-master, was therefore obliged to bear away for Plymouth, where, on the 29th, the prize anchored in safety. Capt. Palmer was awarded the rarely issued Gold Medal for Captains and Flag Officers for his conspicuous courage during this action, and Lieut. Jackson was promoted to the rank of commander


L’Etoile was later commissioned into the Royal Navy as the Topaze.


Provence: By Descent.


See illustration

SOLD £7,600


Three Generations of Naval Service


1832 - 1945


Lieut. Charles Sydney Dunbar, R.N. entered the navy in 1832, serving aboard the Lizaard steam-vessel, and in the Rodney and Fox largely on the Mediterranean station. He obtained his commission in 1845 and was appointed to the Agincourt, the flag ship of Sir Thomas Cochrane, in the East Indies, before transferring to the Iris in the expedition against the sultan of Borneo in 1846. In 1854 he served on the Baltic station during the Crimean war in the Amphion.* The circumstances behind the award of the Italian medal remains unclear. He may, perhaps, have served in either Intrepid or Argus, the British vessels protecting Garibaldi’s landing force at Marsala; it is, of course, also possible that he was one of the many British volunteers who rallied behind Garibaldi’s cause in the War of Independence and Unification .


Medals: The Baltic medal inscribed H.M.S. Amphion; Italian War of Independence silver medal with 1860-61 bar.


His son:


Paymaster Rear-Admiral Charles Augustus Royer Flood Dunbar, R.N. C.B.E. (1849-1939) joined the navy in 1866. He served in the turret-ship Devastation in the Mediterranean, the Magicienne, the Caledonia and other vessels. In 1884 he joined the troopship Jumma in which he served during the operations at Suakin in 1885. His next ship was the gunboat Lily on the America and West Indies Station, and from her he was shipwrecked in 1889**. In 1900 he served in the Barfleur during the Boxer rising; he retired in 1908. Although now 65 he volunteered again for service during WW1; for which service he received the C.B.E. (Military Division).


Medals: C.B.E. (Military Division) miniature; China War Medal 1900 inscribed H.M.S. Barfleur; British War Medal.


His only son:


Captain Ronald Ernest Cotton Dunbar, R.N. (1898-1981) served in WW1, being mentioned in despatches five times. He re-enlisted during WWII, serving in the Norwegian campaign, and in command of the Alresford during the Dieppe raid, Operation Jubilee, in Aug. 1942; for service as captain of H.M.S. Roberts, a monitor, during the Sicily and Normandy landings he was awarded the Croix de Guerre.


Medals: Bronze Star 1914-15; War Medal; Victory Medal with oak leaf; 1939-45 Star; Atlantic Star with France and Germany Bar; Italy Star; Defence Medal; Indian Service Medal with oak leaf; Croix de Guerre.


Included with the above medal groups is a photograph album, and loose album leaves, relating to the naval service of Paymaster Rear-Admiral Dunbar, including a number of fine group portraits of naval officers. Briefly, the album contains:


Some of the Officers H.M.S. Caledonia 1869, Malta; H.M.S. Caledonia opening the ‘Somerset Dock, Malta Feb. 1871; The Mediterranean Squadron at anchor off Malta Harbour, July 1870; and photographs of the Psyche, the Arethusa, the Bellerophon, and a number of others of the Caledonian and one of the Lily dated 1865. Together with views in Malta, Gibraltar, Italy, Greece, Egypt and elsewhere. The loose album leaves bear a number of photographs of the Lily at Halifax Nova Scotia; the Emerald, Lilly, and Mallard at St.Johns; the Jumma and the Barfleur; deck scene the Emerald; group portraits of the gunnery staff of the Excellent, officers of the Magicienne, and the Active. Together with views in Nova Scotia, Newfoundland, Malta, Genoa, and Istanbul. Various sizes up to 9 x 11 inches.


Together with 2 cabinet photographs of the Lily wrecked, and an Admiralty letter commending the officers of the Lily for their “exemplary conduct under the trying circumstances of the wreck of that ship”; a portrait of Dunbar in uniform; and a small early naïve coloured drawing inscribed send you a picture of Daddy’s ship, I hope you will come on board very soon to see me, inscribed on the reverse in a later hand HMS Cambridge (gunnery school) Devonport. The album 4to, full morocco gilt.


*Included in the above album is an original pen & ink drawing H.M.S. ‘Amphion’ aground Nr. Helsingford, Baltic, attacked by Russian Batteries, together with, loosely inserted, two folio leaves cut from the log book of the Amphion, dated July & August 1854 at anchor… off Bomarsund [Aland Islands], detailing the ship’s employment during the war, mention of Sir Charles Napier, details of punishment, i.e. 36 lashes for insolence, etc. To the reverse of these, two pencil drawings by W.H. H. West R.M. of Bomarsund and the Russian forts from the sea. Together with a photograph of Captain Ronald Dunbar in uniform, a pen & ink drawing by him of Destroyers in Half Acre Creek, Medway signed and dated 1919, and a juvenile sketch by him of his father’s ship the Barfleur, 1900.


**The Lily gunboat, 720 tons, on 16th September 1889, put out from St. Margaret’s Bay, Newfoundland, with the intention of crossing the Straits of Belle Isle to Forteau Bay on the coast of Labrador. The weather was boisterous but clear at the outset but later a dense fog came on. The steam whistle of the lighthouse on Point d’Amour was plainly heard on board Lily but owing to the strong on-shore wind the sound seemed distant. At about 6 pm the breakers on shore became audible. The ship was under sail and steam and although the engines were immediately reversed she hit the rocks, heeled over to starboard and broke her back. The boats were launched but after three capsized in succession it was left to the crew to get ashore as best they could. Being bitterly cold the men suffered greatly from exposure and seven lives were lost.


Provence: By Descent.


See illustration

SOLD £1,800



An officers George III ‘Waterloo’ flintlock pistol with full walnut stock, the steel lockplate and brass barrel inscribed H. W. Mortimer, Maker to His Majesty, brass backplate Capt. C. Dansey,*, the brass guard




R    R






(Royal Artillery 2nd Rocket Corps), with original ramrod, 15in overall length.


See illustration

SOLD £3,000


*Second Captain Charles Cornwallis Dansey R.A., shortly after his return to England after serving in Sicily and the Ionian Islands, embarked at Portsmouth on 18th December, 1811, landing at Lisbon on 10th January 1812. There he joined Captain R. W. Gardiner’s Company, 8 Battalion, R.A. He served with this Company, which was equipped as a 9 pounder field battery, at the siege of Badajoz in March 1812 and at the battle of Salamanca in July 1812.


He was appointed to the 2nd Rocket Troop R.H.A. [renamed Rocket Corps on 1st January 1814] and fought at the battle of Waterloo, during which, after the capture of La Haye Saint, he led a rocket section in an attempt to prevent the French from pushing forward from their bridgehead; he was wounded early in the advance but the section did not retire.


He continued to serve as Second Captain of the Rocket Corps until 1824 and commanded it as Captain from 1828-1836. From 1839 – 1846 he was Chief Firemaster, Royal Laboratory. He died in London a Colonel on 21st July 1853.



A Colt ·31, 5 shot 1848 Old Model percussion pocket pistol, Baby Dragoon, No 4970, 5in octagonal barrel with New York address, plain cylinder with brass silver plated back straps and square back trigger guard, polished one-piece wood grip, with matching numbers, 10in overall length, engraved on the backstrap, J. S. Clark, Piqua, Ohio.


See illustration

SOLD £1,100


This model was only in existence for a little over one year.


American War of Independence



An 18th century sabre, 27in etched spearpoint blade with traces of original gilding, foliate decoration, the royal arms, military trophies and presentation inscription A Proof of Friendship from Henry Walton Esquire to John Wardell, steel guard with silver wire carved wood grip, original steel scabbard, some pitting to blade, guard broken and with section lacking, scabbard with short split.


See illustration

SOLD £420


In a list compiled by The Society of Old Brooklynites in 1888, from British War Department documents, the names of both Henry Walton and John Wardell appear as being prisoners on board the notorious British prison ship Jersey.


Following the Battle of Long Island in 1776 and the fall of New York, the British turned at least 16 ageing vessels into prison ships. The Jersey, built in 1735 as a 64-gunner, was converted in the winter of 1779-1780; virtually stripped except for a flagstaff and a derrick, she was floated, rudderless, in Wallabout Bay, about 100 yards offshore of what is now the Brooklyn Navy Yard. Her portholes were closed and supplanted by a series of small holes, 20 inches square, crossed by two iron bars. More than a thousand prisoners at a time were confined on board the Jersey where filthy conditions and disease ensured a high rate of mortality; indeed, whereas there were 4,435 battle deaths during the Revolutionary War, it is estimated that between 7,000 and 8,000 died as prisoners aboard these ships.


It is interesting to surmise that this sword was taken from John Wardell by a British officer upon his capture and internment on board the Jersey, and brought to England as a trophy of war.



Guillaume, Berfleur; a pair of double barrelled percussion sporting pistols, the full walnut stocks with carved foliate pattern scroll ornament and chequered butts, inlaid with silver wire, browned patterned barrels, with engraved and cut steel trigger guards, the butt caps engraved with sporting scenes, silver tipped ram rods, circa 1840, overall length 13in.


See illustration

SOLD £800





A Pertabghar, Rayputana enamel pendant of quatrefoil design, the green enamel roundels inlaid in gold with figures of monkeys, antelope and deer, flowers and leaves, silver mount with foil back, some damages, first half of the 19th century, 1 7/8in diameter.


See illustration

SOLD £320



Ottoman seals; a silver desk seal, of circular form chased with acanthus leaves and flowers, inscribed in Turkish written in Arabic script, Colonel James Caufield, Deputy Governor, Lucknow Residency, 1839, octagonal baluster, carved agate handle, 2 5/8in diameter, 4 1/2in overall height; together with another seal of rectangular form inscribed James Caulfield 1840, with a similarly patterned agate handle, cracked and broken at junction of collar with some loss, 1 5/8in x 1 3/8in, 3 7/8in overall height.


See illustration

SOLD £2,900


Frederic Boase in Modern English Biography records a James Caulfield as being born in 1778, joining the Bengal Army in 1798; as a colonel in the 10th Bengal Light Infantry in 1841, and a Director of the East India Company from 1848 until his death in 1852.



An Indian matchlock gun, hardwood stock with ivory cover and butt plate, painted with vignettes of an antelope, deer, gazelle and a tiger on a palmette and foliate patterned green ground, gold and silver damascened iron barrel, the zoomorphic terminal with inlaid coral eyes, gold and silver damascened iron lock plates and trigger, original steel ramrod with baluster finial, some wear and minor damages, 18th century, overall length 62 1/4in.


See illustration

SOLD £4,500



An Indian battle axe, with silver overlaid iron blade, opposing hammer head terminal, the hollow cylindrical copper gilt shaft with gadrooned knops and flower head finial, chased and engraved with palmette and foliate ornament, together with another similar axe with silver overlaid and copper gilt shaft, first half of the 19th century, overall length 22in and 20 1/4in respectively.


See illustration

SOLD £1,650


The Court of Fath ‘Ali Shah

with foreign ambassadors and envoys.


Persia, Qajar, c. 1815


Oil with gold on canvas, painted on four panels.



A previously unrecorded copy of the Negarestan murals; the originals, since destroyed, were executed by a team of artists under ‘Abdallah Khan in the Negarestan Palace, Tehran, during 1812-13, and depicted an imaginary gathering of Fath ‘Ali Shah’s court with attendant foreign envoys.


The upper central panel shows Fath ‘Ali Shah enthroned, attended by twelve of his sons; the lower central panel six ghulams (warrior slaves). To the left and right of these, two long panels depict serried rows of courtiers and visiting envoys, including the representatives of Britain, France, the Ottoman Empire, Sind and Arabia, who had been received at court on different occasions. All four panels painted with a liberal use of gilding.


In the present paintings, as in the original murals, each of the 118 figures are identified; inscribed in white nasta’ liq.


The British represented, on the left-hand panel, [with the dates of their missions] are: Sir John Malcolm, envoy of the East India Company [1800-1]; the Crown’s envoy Sir Harford Jones [1809-11]; and Sir Gore Ousley, Ambassador Extraordinary and Plenipotentiary [1811-14]. The French, on the right-hand panel, are Napoleon’s envoys General Claude Mathieu de Gardane, Joseph-Marie Jouannin, and Amédée Jaubert.


In unrestored condition, tears and splits, but with no loss; on original pegged pine stretchers; the lower central panel and side panels contained within contemporary English rosewood swept frames, the frame to the upper central panel now lost.


Upper central panel: 13 1/2 x 20 5/8inches


Lower central panel: 9 3/8 x 20 3/8 inches


Left-hand panel: 13 1/2 x 50 1/4inches.


Right-hand panel 13 1/2 x 51 1/2 inches


Measurements given are the image size, within white painted borders.


See illustrations

Low Resolution ( 550 kb)

High Resolution ( 3.9 mb)

SOLD £500,000


There is no court where a more rigid attention is paid to ceremony than that of Persia…...The looks, the words, the motions of the body, are all regulated by the most strict observance of form. When the king is seated in public, his sons, ministers, and courtiers, stand erect, with their hands crossed, and in the exact place of their rank. They watch the looks of the sovereign, and a glance is a mandate … ... On extraordinary occasions nothing can exceed the splendour of the Persian court. It presents a scene of the greatest magnificence, regulated by the most disciplined order. There is no part of the government to which so much attention is paid as the strict maintenance of those forms and ceremonies, which are deemed essential to the power and glory of the monarch……


[Sir John Malcolm, A History of Persia, London, 1815].


Dr. Layla Diba* suggests that the inclusion of the foreign envoys reflects the Persian court’s perception of them as symbols of the submission of rulers of the world to the mighty Shahanshah and - perhaps more so than any other Qajar representation - successfully projected the desired image of universal power. She surmises that these copies in miniature scale, evoking the powerful impression of monumental imperial enthronement scenes, were probably commissioned by the ruler as diplomatic gifts or to commemorate the completion of the palace and its paintings.


*see Diba and Ekhtiar Royal Persian Paintings, the Qajar Epoch 1785-1925, no. 34 & pp. 38-39.


Only 3 other complete copies, none of which are inscribed, are known to survive: two are watercolour on paper**, the other oil on canvas ***. Four other extant examples, although bearing inscriptions, are incomplete: two are of the left-hand panel only****, the third the central panels *****, oils on canvas; the fourth, oil on paper, is lacking the lower central panel depicting the ghulams and with both side panels apparently cropped to the horizontal margins with loss of image****** .


Of the extant examples, the present paintings are comparable to the Willock copy***, with exquisite detailing and lavish gilding of the costume.



Identified extant copies:


** The India Office Library, and the Art and History Trust Collection [now on loan to the Smithsonian Institute].


*** The Willock copy, sold in Sotheby’s rooms on 3rd May 1977. Sir Henry Willock acted as interpreter to both Sir Harford Jones and Sir Gore Ousley at the Persian Court.


****Cited by Diba (p.176); one in the Archiginnasio Library, Bologna, the other in a private collection.


*****The Museum of Oriental Art, Moscow.


******Sold in Sotheby’s rooms on 13th October 1999.