Asian Works of Art and Musical Instruments by Olympia Auctions

Asian Works of Art and Musical Instruments Wednesday 11th May 2022

AUCTION ENQUIRIES AND INFORMATION Sale Number: Code Name:

026

POUSSIERE

Enquiries:

Matthew Barton Henrietta Grant

Consultants:

Arthur Millner (Islamic, Indian, Himalayan & South East Asian) Phillip Howell (Ceramics) Pippa Wilkins (Musical Instruments) Online Catalogue: www.OlympiaAuctions.com www.the-saleroom.com www.invaluable.com

Live internet bidding available through:

www.the-saleroom.com

www.OlympiaAuctions.com

www.invaluable.com

Olympia Auctions 25 Blythe Road, London W14 0PD Tel:+44 (0) 20 7806 5545 Fax:+44 (0) 20 7806 5546 Email: decorativearts@olympiaauctions.com Photography: Rolant Dafis Front Cover: Lots 25 & 305 Back Cover: Lots 312, 345, 360, 363, 374, 418 & 419

www.drouotonline.com

ASIAN WORKS OF ART INCLUDING: THE TONY BINGHAM COLLECTION OF ASIAN, OCEANIC AND AFRICAN MUSICAL INSTRUMENTS

TO BE SOLD BY AUCTION AT 25 Blythe Road London W14 0PD PUBLIC EXHIBITION Sunday 8th May 12.00 noon to 4.00pm Monday 9th May 10.00am to 7.30pm Tuesday 10th May 10.00am to 5.00pm DAY OF SALE Wednesday 11th May 2022 at 11am, precisely This auction is conducted by Olympia Auctions in accordance with our Conditions of Business printed in the back of this catalogue.

IMPORTANT INFORMATION FOR BUYERS

Definition “Auctioneers” Matthew Barton Ltd. All lots are offered subject to the Conditions of Business reproduced on the website www.OlympiaAuctions.com, and printed at the end of the auction catalogue. A Buyer’s Premium of 25% is applicable to all lots. The Buyer’s Premium is subject to VAT at the standard rate (currently 20%). Unless otherwise indicated lots are offered for sale under the auctioneer’s margin scheme and VAT on the Buyer’s Premium is payable by all Buyers. Unless otherwise stated all lots are subject to a reserve set at the low estimate or below. Estimates are published as a guide only and are subject to review. The actual Hammer Price of a lot may well be higher or lower than the range of figures given and there are no fixed “starting prices”. The Auctioneers will be pleased to execute bids on behalf of those clients unable to attend the sale in person, subject to our Conditions of Business. All bids must be submitted in writing in good time and lots will always be purchased as cheaply as possible (depending on any other bids received, reserves and competition). This service is offered free of charge. Olympia Auctions are pleased to offer free online bidding directly through their website at www.OlympiaAuctions.com. Other online bidding platforms making an additional surcharge are available for this auction, please see the relevant platforms for further details. The Auctioneers may supply quotations for shipping of purchases, including transit insurance and VAT refund administration fees, and where possible will endeavour to assist in the application for any export licenses which may be required. Buyers are reminded that it is their responsibility to comply with UK export regulations and with any local import requirements. Olympia Auctions are not responsible for delays in delivery which might be caused by shippers or local customs. Symbols Ivory and Restricted Materials (CITES) ‘~’ Lots marked with the symbol ~ have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export. As the Auctioneers of these articles, the Auctioneers undertake to comply fully with CITES and DEFRA regulation. Buyers are advised to inform themselves of all such regulations and should expect the exportation of items to take some time to arrange. The information is made available for the convenience of the Bidder and the absence of the symbol is not a warranty that there are no restrictions regarding import or export of the Lot. The Auctioneers accept no liability for any lots which may be subject to CITES but have not been identified as such. Please note that it is not possible to post or ship ivory of any kind (including marine ivory) to the United States of America. 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Weights shown as ‘(*oz)’ are in Troy Ounces and usually rounded down to the full ounce. It is common practice for many gemstones to be treated by a variety of methods to enhance their appearance and the international jewellery trade has generally accepted these methods. Although heat enhancement of colour is usually permanent, in some cases this could affect the durability of a gemstone. Oiled gemstones may need re-oiling after a certain period. If no gemmological report is published in the catalogue, prospective Buyers should be aware that the gemstones or pearls could have been enhanced by some method. Condition is not normally recorded and all lots are sold as viewed. Condition reports can be requested prior to sale. Whilst the Auctioneers are pleased to provide a general report of condition, the Auctioneers are not professional conservators or restorers and any statements made are merely subjective, qualified opinion. 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IBAN Number: GB90HBUK40190491814001 BIC: HBUKGB4B Sort Code: 40-19-04 Account No: 91814001 Account Name: Matthew Barton Ltd

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Wednesday 27th April 2022 Starting at 11am

Asian Works of Art

1 A JAPANESE SATSUMA VASE, PROBABLY KINKOZAN, MEIJI PERIOD (1868-1912) ovoid, dark blue ground, gilt detailed, painted with two oblong panels, one of courtly ladies and attendants in a wooded landscape, the other with warriors battling at the entrance to a building, surrounded by a variety of geometric and foliate patterning, additionally with two dragons to the shoulder, worn gilt signature to underside 30.5cm high £700-1000

2 A GROUP OF SEVEN JAPANESE SATSUMA SMALL OR MINIATURE WINE POTS AND COVERS, 19TH / 20TH CENTURY of typical flattened form excepting one globular, three lacking handles 10.5cm longest £400-600

3 A JAPANESE BLUE AND WHITE KAKIEMON STYLE DISH, 18TH CENTURY circular with shaped rim, painted with a central pomegranate branch, the interior sides with flowering and fruiting prunus amid rocks, the exterior with leafy tendrils, with an associated wood stand openwork foliate carved 32cm diameter £300-400

4 A JAPANESE GILT LACQUER FOUR CASE INRO, 19TH CENTURY the kinji ground decorated in takamaki-e with a woman fulling cloth on a block below a willow and between bellflowers and cow parsley, the reverse with the plants and willow only, nashiji interior 8.5cm long £800-1200 5 A JAPANESE LACQUER FOUR CASE INRO, MEIJI PERIOD (1868-1912) in black and silver Sumi-e togidashi after a painting by Kano Eisen'in with a pair of geese amid vegetation and the artist's name to one side, the reverse with a goose in flight 8cm long £80-120

8 (illustrated online) A PAIR OF JAPANESE WOODBLOCK PRINTS, ANDO HIROSHIGE (1797-1858) 'chu-ban' (medium size), 'Ishibe Mekawa no sato' (Mekawa village) 51 and 'Totsuka', 6, from the series 'Tokaido Gojusan tsugi no uchi' (The fifty-three stations of the Tokaido highway), each signed 'Hiroshige', published by Tsutaya, mounted together in glazed frame each image 16 x 22cm £150-250

part 6 ☐ FOUR JAPANESE SCROLL PAINTINGS, 20TH CENTURY ink on paper, laid on silk brocade, wood rollers and hanging rods, two depicting a tuft of grass, unsigned, another depicting ferns growing on rocks, signature and red stamps, the other with stylised fruit design with four columns of calligraphy and red stamps, a further column of calligraphy and '137 Sazanami' in European script at the back, 155 x 42.5cm (2), 105 x 45.5cm, 164 x 40cm £100-200 7 THREE JAPANESE WOODBLOCK PRINTS: Keisei Eisen (1791-1848) 'oban-yoko-e, Narai shuku Meisanten no zu, 35' (Shop for the famous local products in Narai) from the series 'Kiso Kaido Rokujyukyu tsugi no uchi' (The sixty-nine stations of the Kiso highway), unsigned, published by Hoedo, glazed frame, image 23 x 36cm; Ochai Yoshiiku (1833-1904) 'chuban' (medium size), 'chirimen' type, a scene of cherry part blossoms viewing with a pleasure boat, signed 'Yoshiiku', glazed frame, image 22 x 16cm; Utagawa Kunisada (1786-1864) 'otan-tate-e', depicting a kabuki actor 'Iwai Shijaku', signed 'Gototei Kunisada', image 26 x 38cm; together with two 'chirimen' type prints, Utagawa Kunisada (1786-1865) and Utagawa Kunimasa, 4th (1848-1920), signed Kochoro Kunisada hitsu and Baido Kunimasa, probably from a book, each in a glazed frame, image 26 x 18cm; and a 'Kacho-ga' print, after Ando Hiroshige, 20th century, of a cockerel, glazed frame, image 24 x 11cm (6)

9 A JAPANESE YUZEN BIRODO WALL HANGING, MEIJI PERIOD (1868-1912) with areas of cut silk velvet resist dyed and painted, depicting deer and a temple gate beneath pines, probably after a painting by Hiroshige, signed and with cut seal probably for Hiroshige ga, printed cotton backing 176 x 117cm excluding silk brocade border £150-250

£200-300 3

10 A JAPANESE ROOTWOOD AND BAMBOO SUIBAN (IKEBANA BASKET), PROBABLY EARLY 20TH CENTURY bamboo strands basket-woven as a boat framed by rootwood pieces 60cm long £120-180 13 A CHINESE SILVER BOWL, MAKER'S MARK WA (UNDOCUMENTED), CANTON, SECOND HALF 19TH CENTURY circular, chased with two four-clawed dragons flanking a vacant 'flaming pearl' amid clouds, all against a matted ground, on flared rim foot, 'WA', '90' and poorly struck artisan's mark 13.3cm diameter £400-600

11 A JAPANESE SILVER BOWL, WATANABE, YOKOHAMA, MEIJI PERIOD, CIRCA 1905 circular, double walled bowl chased to the exterior with irises against a hammered ground above a presentation inscription 'TESSA FROM GUISEPPE / 1905', slightly flared rim foot, jungin, maker's and '100' marks 11.7cm diameter, 191gr £300-500 12 A JAPANESE SILVER BOWL, WATANABE, YOKOHAMA, MEIJI PERIOD (1868-1912) circular, double walled bowl chased to the exterior with a hammered ground and a three-clawed dragon holding a pearl, applied with wirework whiskers, on flared rim foot 13cm diameter, 243gr £300-500

14 (illustrated online) A CHINESE COIN-SET SILVER ASHTRAY, UNMARKED, MID 20TH CENTURY hammer finished circular, set with a Dragon Silver dollar coin, apparently An-Hwei Province, 1898, 9.6cm; together with another Chinese silver ashtray, unmarked, early 20th century, cut cornered square, with two dragons amid cloud scrolls and pierced bamboo rim, 8.5cm wide (2) £100-200

15 A CHINESE PAKTONG OPIUM PIPE, EARLY 20TH CENTURY with a band of cloisonné enamelling of flowers on a blue fretwork ground between black borders 31cm high £80-120 16 (illustrated online) A CHINESE SILVER BOX, 20TH CENTURY rectangular, the canted lid set with an openwork carved jade ‘Shou’ character surrounded by a scroll foliate matted ground, the sides with further shou and eight precious things symbols 7.5cm long £70-100

20 A STUDY COLLECTION OF CHINESE AND SOUTH EAST ASIAN BLUE AND WHITE WARES, 15TH CENTURY AND LATER comprising: two bottle vases; four bowls, three boxes and covers and a jar the largest bottle vase 20.2cm high (10)

17 (illustrated online) A CHINESE PAKTONG INK BOX, 19TH / 20TH CENTURY square with rounded corners, the cover incised with a poem 5.3cm square

Provenance: Collection of a deceased diplomat, thence by descent.

The poem reads in translation: He is sitting at a table, dozing, the spring wind carries the song of the bird, or nightingale, what is today? The bird sings among the flowers. He wakes up, realising that he has been thinking about these things.

21 (illustrated online) A STUDY COLLECTION OF CHINESE GREEN-GLAZED VESSELS, MING DYNASTY AND LATER comprising: an ear cup and five bowls the largest bowl 17cm diameter (6)

£80-120 18 (illustrated online) A CHINESE BLUE AND WHITE DISH, MING DYNASTY, 16TH CENTURY robustly potted, painted to the interior with a trefoil medallion encircled by a floral scroll at the well; together with a blue and white bowl, circa 1800, moulded with peach-shaped panels enclosing figures; and a large deep Ming-style blue and white bowl the dish 25cm diameter (3)

£200-300

Provenance: Collection of a deceased diplomat, thence by descent. £100-200

Provenance: Collection of a deceased diplomat, thence by descent. £300-500 19 A CHINESE LARGE BROWN GLAZED JAR, PROBABLY MING DYNASTY the mouth with overhanging lip, the shoulder with four loop handles 35cm high Provenance: Collection of a deceased diplomat, thence by descent. £300-500

22 A CHINESE MOULDED 'SHUFU' WHITE-GLAZED EWER, YUAN DYNASTY (1279-1368) of flattened pear shape moulded with a trefoil band, divided by a curved spout to one side and a loop handle to the other, covered over-all in a bluish-white glaze; together with a blue and white ewer, a white-glazed mortar and a white glazed baluster jar the Yuan ewer 10.5cm high (4) Provenance: Collection of a deceased diplomat, thence by descent £200-300 23 A CHINESE PORCELAIN DISH, EARLY 18TH CENTURY blue and white floral decoration, underside with central artemisia leaf mark within double line rings 35.5cm diameter £80-120 24 A CHINESE BLUE AND WHITE 'SHOU' JAR, KANGXI PERIOD (16611722) ovoid, painted with bands of two repeated characters between diaper bands interrrupted by further characters, the wood cover openwork carved with foliate scrolls 18.5cm high excluding wood stand and cover Provenance: Private London Collection; Sotheby's, London, 19 December 1994, lot 48 (according to lot label) £200-300

25 (illustrated opposite) A CHINESE IMPERIAL YELLOW-GROUND BLUE AND WHITE 'LOTUS BOUQUET' DISH, YONGZHENG MARK AND PERIOD (1723-35) the rounded sides rising from a short straight foot to a slightly everted rim, finely painted to the interior with a ribbon-tied lotus bouquet, encircled in the well by a lotus scroll and at the rim by a classic scroll band, the exterior with further lotus scroll below a key fret border, all reserved against a bright yellow enamelled ground, the base with the six character underglaze blue mark within two concentric lines reserved in a white circle 15.5cm diameter Provenance: Private English Collection, since at least the 1930s. For a slightly larger dish from the Meiyintang Collection, see Regina Krahl, 'Chinese Ceramics from the Meiyintang Collection', London, 1994-2010, Vol.2, No.763, later sold at Sotheby's, Hong Kong, 7 April 2013, lot 16. £40000-60000

26 A CHINESE LARGE FAMILLE-ROSE CHARGER, YONGZHENG PERIOD (1723-35) finely enamelled to the interior with a pair of birds perched on a blossoming magnolia tree, encircled at the well by Buddhist emblems reserved on a puce diaper band and at the everted rim by composite floral sprays 43cm diameter, 15 x 7cm approx. broken curved section at rim (in four pieces) £200-300 27 A CHINESE EXPORT PORCELAIN FAMILLE-ROSE COFFEE CUP, 18TH CENTURY the deep U-shaped body brightly enamelled around the exterior with figures in a fenced garden, set to one side with a gilded loop handle 6cm high £150-250 28 A CHINESE EXPORT PORCELAIN FAMILLE-ROSE ‘NATIVITY’ PLATE, 18TH CENTURY brightly enamelled to the interior with the Nativity scene encircled at the flaring rim by a European-style floral band 22.5cm diameter £400-600

29 FOUR CHINESE EXPORT FAMILLE-ROSE ARMORIAL PORCELAINS, 18TH CENTURY comprising: a soup plate, a rectangular serving dish, a small bowl and a coffee cup serving dish 32.4cm long £300-500

30 A SET OF THREE CHINESE PORCELAIN GRADUATED JUGS, QIANLONG PERIOD (17351796) slightly baluster, each painted with a scene of ladies, attendants and children, the handle flanked by birds and foliage, iron-red line borders 12, 13.5 & 15.8cm high (3)

31 A CHINESE FAMILLE-ROSE 'BUTTERFLY' BOWL, DAOGUANG MARK AND PROBABLY OF THE PERIOD (18211850) of butterfly shape with deep rounded sides, brightly enamelled to the exterior with the body, head and wings, the interior and base turquoise, seal mark 17.7cm diameter £800-1200

£250-350

32 A CHINESE FAMILLE VERTE 'SHOU CHARACTER' TEAPOT, 20TH CENTURY openwork moulded in the form of the stylised character, with floral decoration and central figure panel, the handle and spout decorated to resemble brickwork, the cover with fu dog finial 23.5cm high £100-200 33 A CHINESE WUCAI 'DRAGON' TEA BOWL, 19TH CENTURY with two green five-clawed dragons each chasing a flaming pearl below a band of Buddhist emblems, the well with a coiled dragon, with underglaze blue six character Daoguang mark 10cm diameter

35 A CHINESE UNDERGLAZE-BLUE AND YELLOW-GLAZED 'DRAGON' VASE, 20TH CENTURY the baluster body rising from a short ring foot to a tall waisted neck, painted around the exterior with a ferocious scaly dragon above a carp leaping from waves, the base with an apocryphal Zhengde mark 24.1cm high £100-200 36 (illustrated online) A GROUP OF TWELVE DEHUA ELEGANT LADIES, 20TH CENTURY the figures variously modelled seated and standing engaged in leisurely pursuits the tallest 19cm £80-120

£100-200

34 A CHINESE FAMILLE-ROSE 'BUDDHIST LION' DISH, 19TH CENTURY enamelled to the interior with eight lions amidst cloud scrolls and encircling a ribbon-tied ball 24cm diameter £200-300

37 A PAIR OF CHINESE LARGE CRACKLEWARE VASES, LATE 19TH CENTURY decorated with unglazed brown applied chilong and moulded borders, enamelled with battle scenes 44.5cm high excluding wood stands £300-500

38 A CHINESE CLOISONNE ENAMEL EWER AND COVER, 20TH CENTURY the cylindrical body decorated with two Buddhist lions amidst Buddhist emblems and cloud scrolls; together with a blue and white porcelain lobed ewer, cover and warmer, 20th Century the cloisonné ewer 16.5cm high (2) £150-250 39 A CHINESE CANTON ENAMEL SALT CELLAR, 19TH CENTURY cauldron form on three pad feet, painted with two barbed panels of figures at leisure outdoors, against a yellow ground filled with peonies and tendrils, underside with apocryphal four character Qianlong mark 7.5cm diameter

41 A CHINESE JADE-INSET WOOD BOX AND COVER, THE JADE MING DYNASTY the domed oval plaque carved with a goose amidst lotus, the stone of pale celadon tone, the rectangular sides and cover of the box inlaid in silver wire with archaistic strapwork jade 8.5cm long £400-600

Provenance: The K.A. JohnsonHill Collection, Hong Kong £80-120 40 A CHINESE JADE-INSET WOOD BOX AND COVER, THE JADE 17TH / 18TH CENTURY the domed oval plaque carved with a bat in flight over lingzhi issuing from rockwork, the stone of very pale celadon tone, the rectangular cover of the box carved with lotus strapwork jade 11.3cm long

42 A CHINESE JADE PLAQUE, 18TH CENTURY the rectangular plaque carved and pierced with a mythical beast with bird in flight over head, all amidst dense foliage, the stone of pale celadon tone 6.7cm wide £300-500

£300-500 11

43 A CHINESE JADE DRAGON, 19TH / 20TH CENTURY the scaly beast openwork carved, probably originally part of a larger piece, very pale greenish grey tone 23cm high £300-500

46 A CHINESE CARVED SOAPSTONE 'LOTUS' SCROLL WEIGHT, 19TH CENTURY of rounded form with overlapping lotus leaves, the stone of cream and amber tone 8cm long £200-300

44 A CHINESE MUGHAL STYLE WHITE JADE 'CHRYSANTHEMUM' DISH, 19TH CENTURY finely carved to the interior with three concentric bands of petals, the exterior with a bat in flight over a large peach spray, the stone of very pale celadon-white tone, wood stand 13.2cm wide £200-300

47 A CHINESE AGATE 'CHILONG' BOWL, 19TH CENTURY the rounded sides rising from a short ring foot and carved with two high relief chilong at the rim, the stone of warm amber tone 6.2cm diameter £200-300

45 A CHINESE GREEN HARDSTONE 'CARP' PLAQUE, 19TH CENTURY the rectangular plaque carved and pierced with fish amidst aquatic foliage, the stone of blackish-green tone with lighter inclusions 6cm long £200-300 12

48 A CHINESE AGATE 'PEANUT AND JUJUBEE' CARVING, QING DYNASTY, 19TH CENTURY naturalistically carved and pierced, the stone of warm amber tone 6.5cm long £200-300

49 A CHINESE JADE BHUDDA'S HAND FINGER CITRON, QING DYNASTY naturalistically carved, the stone of creamy-white tone, together with four small white jade 'dragon' roundels the finger citron 5cm long £150-200

50 A CHINESE JADE BOWL plain, carved after a porcelain shape with deep sides and slightly everted rim, on short foot, pale celadon tones 10cm diameter

52 ~ A WHITE CORAL FIGURE OF A GOLDFISH, PROBABLY CHINESE 19TH CENTURY the fantail fish carved with a branch of seaweed in its mouth, possibly used as a netsuke 5.5cm long Provenance: Private London Collection; given to the vendor by Oscar Charles Raphael (1874-1941) much of whose outstanding collection of Asian Works of Art was donated to the British and Fitzwilliam museums. £200-400

£200-400

51 A CHINESE SOAPSTONE FIGURE OF GUANYIN, 19TH / 20TH CENTURY the large figure carved holding a peach spray 38.5cm high excluding wood stand £120-180

53 A CHINESE PEWTER SMALL TEA CADDY AND COVER, 18TH CENTURY the square body with canted corners and raised on four short bracket feet, engraved and gilt to each side with landscape scenes, the circular flat cover with a floral scroll, in Japanese silk pouch 5.3cm wide £800-1200

54 A CHINESE BLUE GLASS BEADED NECKLACE, 19TH CENTURY each bead decorated with a shou character for long life, suspending a white metal-mounted fan shaped glass plaque 49.5cm long £200-300 55 A CHINESE LEATHER IMPERIAL HAT BOX, 19TH CENTURY of rectangular form with a central conical section, the leather of reddish-brown tone 59.5cm long £150-250 56 A CHINESE HARDWOOD SEAL CHEST, CIRCA 1900 the rectangular body with hinged cover over two doors concealing four drawers, the front of the base carved with a band of fruiting vine, brass mounts and carrying handles 41cm wide £1500-2500

57 A CHINESE REVERSE GLASS PAINTED MIRROR, CANTON, THIRD QUARTER 18TH CENTURY the bucolic riverine scene with figures, animals and buildings scattered along the meandering banks 43 x 67.5cm excluding later frame Provenance: Private London Collection Starting in the 1750s, mirrors with Chinese painted scenes, the earlier examples often centring on a river, became hugely sought after in Europe. Although worked in Canton, the glass itself was usually imported from Europe, often from France, by agency of the Compagnie des Indes, as any large and flat locally produced glass of the time was apparently of poorer quality. Generally fully silvered plates would be traced with design outlines, to indicate which areas of the mercury backing should be removed and replaced with the painting, done with a fine wire brush. £8000-12000

58 ~ A CHINESE IVORY CARD CASE, CANTON, SECOND HALF 19TH CENTURY shaped oblong, the top finely and deeply openwork carved with an oval of a court scene surrounded by trailing flowers over a fretwork ground, the sides with scroll foliage in low relief, the underside in higher relief with figures amid pavilions 11.5cm long £200-300

59 ~ A GROUP OF THREE CHINESE MINIATURES, BY YU SHUO, SIGNED AND DATED 1902 / 1907 comprising an ivory roundel and a pair of rectangular ivory panels, each incised and inked in black with scenes and Tang Dynasty texts, with gilt-metal rim mounts and suspension rings, the rectangular panels also with chains, the roundel depicting a woman in a circular frame flanked by trees and two lines of a poem by Meng Haoran, the reverse with text by Ouyang Zhan about flower arrangement and decorations and signed and dated Winter 1902, the rectangular panels with mountainous river landscapes, the left panel with lines of a poem by Du Mu and signed, the reverse with text Yuan Hui by Han Yu and signed and dated October 1907, the right panel with text of playing music, visiting friends, traveling the country and signed and dated August 1907, the reverse with text E Pang Gong Fu by Du Mu and signed, all in a glazed later case 1.5cm diameter or 2cm high Yu Shuo (1873-1957), also known by the names Xiaoxuan and Xiaoxian, renowned as one of China's finest microengravers on ivory, was a native of Jiangdu (present-day Yangzhou) in Jiangsu province. For other examples of his art, see Sotheby's, Hong Kong, 23 October 2005, lot 71, for a plaque, Doyle, New York, 18 March 2013, lot 159, for a pair of cups and the Liaoning Provincial Museum, Shenyang, for a set of twelve plaques. £1000-1500

62 A CHINESE SILK COLLAR, 19TH CENTURY embroidered with two five-clawed dragons each chasing a flaming pearl, all within a wave and bat band 75cm wide £200-300

60 ☐ A CHINESE KESI SILK FRAGMENT DEPICTING FIVE FEMALE MUSICIANS, 18TH CENTURY the figures standing in a scrolling cloud, playing various instruments including a lute, pipes and a flute, part of a building and tree below, mounted and framed 28.5 x 22.5cm £400-500

61 ☐ A CHINESE EMBROIDERED SILK PANEL DEPICTING A FLUTE PLAYER, CIRCA 1900 on crimson ground, wearing billowing robes in gilt metal thread, framed 52.5 x 27.5cm £100-200

63 ☐ A CHINESE PAINTED PANEL DEPICTING A FLUTE PLAYER, CHINA, 19TH CENTURY wearing a voluminous gown, standing in a hilly landscape, surrounded by a brocade mount with geometrical decoration 88 x 44.5cm £250-350

64 CHINESE SCHOOL, LAOZI RIDING A TIGER, 20TH CENTURY ink and colour on paper, depicting the bearded Immortal riding a tiger, clutching a staff hung with gourds in his left hand, framed and glazed 129 by 66cm £250-350

65 CHINESE SCHOOL, HAND SCROLL OF A HUNTING SCENE, 19TH CENTURY ink on paper, central panel of mainly equestrian hunters in groups, with flanking inscriptions and seals, damask end panels central panel 257cm long, 452cm long overall £3000-5000

66 A LARGE QAJAR TILE, TEHRAN, CIRCA 1880 underglaze painted fritware, the scene depicting Khusraw riding in the countryside who comes across Shirin bathing at a pool, assisted by an elderly attendant 40 x 51cm Provenance: By repute originally installed in a 19th century house in the United States of America. For another Qajar tile with the same scene but shown the other way round, see Christie's London, 26 April 2018, lot 112 £5000-7000

67 A SILVER QUR'AN BOX, MOROCCO, 19TH CENTURY the sides and lid engraved with scrolling foliate designs, the hinged vaulted lid with pin catch, suspension loops on either side 12 x 10.3 x 2cm £250-350

68 A SMALL QAJAR PEN BOX (QALAMDAN), PERSIA, CIRCA 1900 painted and lacquered papier-mache, of long rectangular form, the convex lid depicting a pair of lovers, with rosebush motifs, the sides similarly decorated, in velvet pouch 2.5 x 15 x 2.8cm £200-300

69 A PAINTED AND LACQUERED WOOD PORTABLE MIRROR, KASHMIR, CIRCA 1900 sliding covers on either side painted with arabesque designs in red and gold, opening to reveal a mirror on one side and a painting of a sufi teacher with two young female pupils in an oval medallion, surrounded by calligraphy and arabesque decoration 15.2 x 10.5 x 1.5cm £120-180

70 AN OTTOMAN QUR'AN, SIGNED MUHAMMAD BIN IBRAHIM, KNOWN AS MARSAFI, DATED SUNDAY 3 JUMADA II AH 1290 / 7TH AUGUST 1873 AD ink with gold on paper, each page with thirteen lines of black naskh script, with gold and polychrome roundel verse markers, sura headings in white thuluth script on gold ground within cartouches, the text within red and black-ruled gold frame, with catchwords, the opening pages with seven lines of script with gold and polychrome rosette verse markers and illuminated headings within thick gold frame, the colophon signed and dated, with marbled endpapers, in original stamped red morocco binding with flap, (421 folios as numbered plus two fly-leaves) 33.8 x 20.5cm (folios) £2000-4000

71 A QAJAR LACQUERED PORTABLE MIRROR, PERSIA, FIRST HALF 19TH CENTURY polychrome painted, the hinged cover with hooked catch, the exterior depicting a mother and child with an elderly sage and female attendants, the reverse with three maidens, the inside cover depicting a lady in a palace visited by a prince 23 x 15 x 1.5cm £1000-1500

72 A LENGTH OF SILK IKAT CLOTH, YAZD, PERSIA, EARLY 20TH CENTURY of long double rectangular form, divided by tassels, with polychrome stylised tree and medallion design 350 x 120cm £250-350

73 A SAFAVID BROCADE PANEL, PERSIA, 17TH CENTURY woven silk, with design of repeated stylised carnations, cypresses and irises, in gold and silver coloured thread on black ground, framed and mounted 44 x 34cm £250-350

74 AN SAMARKAND SUSANI, CENTRAL ASIA, LATE 19TH CENTURY cotton, embroidered with silk, of rectangular form, decorated with seven large polychrome floral medallions fringed with stylised leaves amidst further foliate motifs, surrounded by a border of similar scrolling vegetal motifs, lined 161 x 132cm £500-700

75 A NEWARI PRIEST'S HAT, PROBABLY PATAN, NEPAL, 19TH / 20TH CENTURY of domed form, the red felt with applique copper gilt and silver decoration, including the flaming jewels, a stupa, and apsaras, with bud finial 15.5cm high approx. For illustrations of similar hats worn by priests in Patan, see Ars Orientalis, vol.47: http://dx.doi.org/10.3998/ ars.13441566.0047.012 £200-300

77 A BUDDHIST PRAYER WHEEL, TIBET, LATE 19TH / EARLY 20TH CENTURY the wood handle with silver mounts, the silver cylindrical wheel containing a prayer scroll wrapped in silk, the outside with repousse mantras in lantsa script, with domed lid and bud-shaped finial 25cm long £300-400

76 ~ A SILVER MOUNTED RITUAL HORN, TIBET, 20TH CENTURY made from a conch shell, with repousse silver mounts, inlaid with turquoise and coral, the middle section with a series of medallions containing the eight auspicious symbols of Buddhism, the ends with scrolling vegetation and animal motifs, mounted 23.5cm long £120-150 25

78 A SMALL BUDDHIST PAINTING (TSAKLI), TIBET, 18TH / 19TH CENTURY pigment with gold on cloth, depicting a four-armed deity seated on a lotus, with primary hands in dhyana and varada mudra, the upper hands holding damaru and pot with flaming jewel, three Tibetan letters in red on the reverse 14 x 12.5cm £250-350 79 A THANG-KA DEPICTING VAJRAVARAHI, TIBET OR NEPAL, 20TH CENTURY pigment on cloth, the dakini dancing on a prostrate corpse within a flaming aureole, surrounded by eight smaller Buddhist figures in a hilly verdant landscape, olive green margin 49.5 x 33.5cm £150-200 80 FOUR FRAGMENTARY FOLIOS FROM A MEDICAL TREATISE, TIBET, 19TH/EARLY 20TH CENTURY black and red ink on paper, of slender rectangular form, two illustrated on both sides, the other two on one side only, each with anatomical diagrams of the human body and illustrations of medicinal herbs, each with copious labelling and descriptions in Tibetan 8 x 29.5cm approx. each £300-400 26

81 A SMALL CHOLA FIGURE OF SIVA, TAMI NADU, SOUTH INDIA, 11TH / 12TH CENTURY bronze, probably from a Somaskanda group, seated in lalitasana, his two primary hands in abhaya and vitarka mudra, his upper hands holding a conch and a deer, wearing tall headdress 11cm high Provenance: Private collection, England, thence by descent. The popular representation of the family group of Siva, Uma (Parvati) and Skanda, is particularly common in South India. See for example Anna Dallapiccola, Dictionary of Hindu Lore and Legend, London 2002, p.182. £300-400 82 A SMALL GANDHARA STUCCO HEAD OF BUDDHA, NORTHWESTERN PAKISTAN OR AFGHANISTAN, 4TH / 5TH CENTURY with serene expression, his hair gathered in a topknot, traces of red pigment 9cm high Provenance: Collection of a deceased diplomat, thence by descent.

83 A GREY SCHIST FRAGMENTARY FIGURE OF SIVA, KASHMIR, 8TH / 9TH CENTURY the four-armed deity standing holding padma and sankha in his remaining hands, wearing three leaf crown, long pendent earrings and necklace, a floral garland around his shoulders and circular halo behind his head, his hair hanging in curls over his shoulders, 15.8cm high Just visible below the god’s left arm is a trace of the arm of Gadadevi, personification of Vishnu’s mace, often seen in Kashmir depictions of Vishnu. For a more complete version of this subject in the Metropolitan Museum of Art, New York, see inv. no. 1983.509.1 £700-900

£120-150

84 A CHOLA GRANITE FIGURE OF ARDHANISVARA, TAMIL NADU, SOUTH INDIA, 11TH / 12TH CENTURY the four-armed composite deity standing in tribhanga, his right half depicting Siva, with long hair cascading over his shoulder, holding an axe in his upper hand, the other half depicting Parvati, wearing a large hoop earring, holding the stem of a padma, a figure of Nandi Bull standing behind, mounted 99cm high Provenance: Christie’s Amsterdam, 21 November 2007, lot 569. Reputedly from the collection of Werner Coninx, Zurich, Switzerland (1911-1980) 28

Ardhanisvara is a peaceful form of Siva embodying the unity of male and female in much the same way as the yoni-lingam expresses the oneness of male and female. Sometimes the lion vahana of the goddess is also shown, but here just the bull Nandi is shown. For a very similar depiction on the temple at Gangaikondacholapuram, Tamil Nadu, see https://commons.wikimedia.org/wiki/ File:Ardhanari_Gangaikonda.jpg £3000-4000

85 A SMALL BRONZE SHRINE DEPICTING TWO WARRIORS, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY each holding sword and shield, standing erect on either side of an arch, 7.4cm high Provenance: Private collection, Northern England. Acquired by the vendor's mother in the 1950s. £120-150

86 A SAIVITE RITUAL BOWL, WESTERN DECCAN, INDIA, 19TH CENTURY bronze, the sides with images of Siva, the rim with repeated lingams and figures of Nandi 7.6cm high Provenance: Private collection, England, thence by descent. Acquired in these rooms, 11th November 2015. Formerly Private collection Germany, acquired 1960-66 in India by the vendor while working in development assistance. This bowl was probably used for applying powder for the tilak, a sacred mark on the forehead, proclaiming devotion at the end of a puja ceremony. The face of the god Siva with his flowing hair looks out in three directions from the side of the bowl, while the rim is guarded by alternating figures of Siva's vehicle, the bull Nandi, and lingams.

87 A BRASS FIGURE OF KHANDOBA ON HIS HORSE, WESTERN DECCAN, INDIA, 18TH CENTURY cast in two parts, the moustachioed and crowned form of Siva wielding a sword, his horse with plaited mane, harness and pointed ears 24cm high Provenance: Private collection, England. Acquired from Au Lion des Neiges, Sydney, Australia, 2 April 2005. £600-800

£200-300

88 A BRASS FIGURE OF NANDI BULL, SOUTH INDIA, 16TH / 17TH CENTURY the vahana of Siva reclining on a rectangular base, wearing a blanket held with a strap, a Sivalingam in front 4.3cm high Provenance: Private collection, England. Acquired Millner Manolatos, London, 9 December 2004 £120-180

90 A BRONZE FIGURE OF SUBRAHMANYA RIDING ON HIS PEACOCK, TAMIL NADU, SOUTH INDIA, CIRCA 15TH CENTURY on a lotus base raised on a plinth, the twelve armed, multiheaded son of Siva holding various attributes, seated on his vahana in lalitasana 9cm high Provenance: Private collection, England. Acquired Jeremy Knowles Ltd., London, 2 April 2006.

89 A BRASS FIGURE OF A HORSE, PROBABLY THE MOUNT OF KHANDOBA, WESTERN DECCAN, 18TH CENTURY wearing saddle and trappings 18cm high Provenance: Private collection, England. Acquired Millner Manolatos, London, 19 December 2004 £250-350 30

Subrahmanya (also known as Murugan, Skanda or Karttikeya) is one of the most popular Hindu deities in the south of India, where there are six temples devoted to his worship, each located in a place connected with an important moment in the god's life. Like may other Hindu deities, a local cult (Murugan) gradually became assimilated with the more pan-Indian figure of Karttikeya, son of Siva and Parvati and god of war. His vahana, the peacock, is associated with immortality. £700-900

91 A BRONZE FIGURE OF SARASWATI, SOUTH INDIA, 20TH CENTURY the four-armed goddess depicted seated on a lotus on raised plinth, playing a veena, holding rosary and book in her upper hands 29cm £400-600

94 DURGA ON HORSEBACK, WESTERN DECCAN, 20TH CENTURY carved and painted wood, the six-armed goddess wearing a crown inlaid with mirror glass, her horse rearing up, mounted 63cm high Although the Hindu goddess Durga is usually depicted riding on a lion or tiger, she is sometimes seen on a horse, often seen as indicating an imminent battle and associated with the festival of Navaratri. £120-150

92 A PAINTED RITUAL MASK, ORISSA, EARLY 20TH CENTURY polychrome painted papier mache, the face with moustache, flared nostrils and crown 30cm high

95 A FIGURE OF A CELESTIAL MUSICIAN, GOA, 19TH CENTURY carved and painted wood, holding a veena standing on a lotus base, with long hair gathered in ringlets, mounted 59cm high

£80-120

£120-150

93 (illustrated online) A WOOD FIGURE OF A HORSE, NORTH-WESTERN DECCAN, 19TH / 20TH CENTURY carved and painted with four hind legs, on lotus base with drillings for wheels, mounted 37cm high

96 (illustrated online) TWO WOOD OBJECTS, RAJASTHAN, INDIA, 19TH CENTURY comprising a lid in the form of a peacock and a stopper in the form of a chhatri, both mounted 22.5, 20cm high

£60-80

£80-120 31

97 A CARVED WOOD PANEL FROM A PROCESSIONAL CHARIOT (RATHA), TAMIL NADU, SOUTH INDIA, CIRCA 18TH CENTURY the central figure dancing with body flexed holding a sword in his raised right hand and a horn in his left, wearing crown, dhoti and elaborate necklaces and jewellery, flanked by a winged androgynous figure, also holding a horn and a female figure carrying a waterpot, a mtical bird on the upper corner, mounted 59 x 70cm Provenance: Private Collection, England. Acquired Jeremy Knowles Ltd., London, 2nd April 2006. £1000-1500 98 A BRONZE HANGING LAMP, DECCAN, SOUTHERN INDIA, 19TH CENTURY the circular oil reservoir with seven wick holders, hanging from a chain with links in the form of an elephant, a figure of Parvati and a peacock, a hook at the upper end 51cm long Provenance: Private collection, Northern England, acquired by the vendor's mother in the 1950s £120-150

99 (illustrated online) TWO BRONZE OBJECTS, BASTAR, CENTRAL INDIA, EARLY 20TH CENTURY comprising part of a pipe(?) of horizontal cylindrical form with bird head finials, and a ladle, with diagonally protruding shaft, mounted 9.5, 19cm long The ladle (orkha) is used by the tribes in the region for pouring rice beer. For a closely related example, see Jyotindra Jain and Aarti Aggarwala, 'National Handicrafts and Handlooms Museum', Ahmedabad 1989, p.48 (bottom). £60-80 100 (illustrated online) A BRONZE IDLI PAN, SOUTH INDIA, 19TH CENTURY with twin handles, the inside with fourteen moulds for shaping the cakes, separate lid 36cm diam.

101 ☐ A LARGE BRONZE RITUAL COOKING VESSEL (URLI OR CHARAKKU), KERALA, CIRCA 19TH CENTURY of shallow circular form, with ridged side and overhanging rim, with twin scrolling handles and low relief crescent and abstract decoration, a line of malayalam script incised on one side 29cm high; 78cm diam. Provenance: Private collection, London These distinctive vessels are made by the Musari community in Kerala, South-Western India, and cast in a single piece. For an example in the National Handicrafts and Handlooms Museum, New Delhi, see Jyotindra Jain and Aarti Aggarwala, 'National Handicrafts and Handlooms Museum', Ahmedabad 1989, p.42 £700-900

Idlis are savoury rice cakes, popular in Southern India, where they are eaten for breakfast £60-80

102 A BRONZE TEMPLE LAMP, SOUTHERN INDIA, 19TH / 20TH CENTURY the five burners flanked by a pair of hamsas and supported by a row of caryatids, on boat shaped element, a shaft with openwork brackets below, mounted 16.5 x 30.5 x 5.5cm £300-400 103 A PERSIAN CAMEL BELL, 19TH CENTURY of truncated conical form, with suspension loop at the top, a frieze of calligraphy around the base 17cm high Bells of similar form are found in several parts of the Islamic world. For an example found in Zanzibar in the British Museum, see 2014,2011-180. £400-600 104 TWO BRONZE FINIALS, INDIA, 19TH CENTURY OR EARLIER of conical form, the sides with ridge decoration, each with faceted point 9cm long each Provenance: Private collection, England, thence by descent. £100-150

105 A SAIVITE BRONZE RITUAL OIL LAMP, WESTERN DECCAN, CIRCA 18TH CENTURY the five burners arranged around a central reservoir with diminutive figures of Nandi Bull and a Sivalingam at one end, with ropework scrolling handle 6.5cm high; 16.5cm long £180-220 106 A LARGE PAIR OF BETEL CUTTERS, NORTHERN INDIA, 19TH CENTURY brass with iron blade, in the form of a woman with hands in anjali mudra, her hair tied in a bun, wearing boots, the sides with incised designs, 23.8cm long £120-150 107 A PAIR OF BRASS CYMBALS, 19TH CENTURY with domed centre, pierced for cloth handle, each embossed 'G' within a star 35.5cm diam. £500-700

108 AN INDIAN SILVER SALVER, OOMERSI MAWJI, BHUJ, CIRCA 1874 circular, with bands of richly chased scroll foliage on matted grounds surrounding the presentation inscription on a roundel, with gadroon and shell rim, on four bun feet, stamped O.M mark 32.5cm diameter, 1004gr (32oz) The inscription reads: Presented to Dr E.R. Butler by certain Chiefs in Kattyawad [sic] in recognition of his skill and attention 1874. Provenance: Dr E.R. Butler (a scion of the Irish dynasty, the Butlers of Kilkenny); thence by direct family descent to the vendor. The pre-eminent Indian silversmith of the period, Oomersi Mawji, had established his workshop in the trading centre of Bhuj in around 1860, just across the Gulf of Kutch from the Kathiawad peninsula and the 'certain Chiefs' of the inscription. £700-1000

109 THREE PIECE INDIAN TEA SET, KUTCH, WESTERN INDIA, CIRCA 1880 comprising teapot, sugar bowl and milk jug with dense finely chased and repousse scrolling foliage on recessed stippled ground, each with shield emblem on one side with engraved 'C' monogram 11cm high, 24cm long (teapot), weight: 1369g. £800-1200

110 AN KUTCH-STYLE SILVER MILK JUG AND SAUCEBOAT, WESTERN INDIA, CIRCA 1900 each profusely decorated with chased and repousse scrolling foliage, the former of barrel form with blank shield medallion on one side, with scrolling snake handle and triangular spout, the latter with lobed edges and claw feet, 8cm high approx. each, weight: 312g £200-300 111 A BURMESE SILVER BOWL AND COVER, CIRCA 1912 of bun-shaped form, on six bud feet, with profusely chased and repousse decoration on the sides and lid, the lid with convex medallion depicting a court scene, surrounded by an acanthus border, the sides divided into a series of scenes including a battle, a sermon and a villager encountering a tiger, the edge of the lid inscribed: ‘First Prize Burma Art Exhibition 1912’ 8.5cm high; 11.5cm diam., weight: 258g The superb quality of workmanship certainly warrants the award for this object. Contemporaneous European motifs can be seen alongside traditional themes. £400-600 112 A SMALL SILVER BOX AND COVER, BURMA, CIRCA 1909 of chamfered rectangular form, with deeply chased repousse decoration, the convex lid depicting two mythical nats amidst elaborate scrolls, the sides with further figural scenes, inscribed underneath '1st Prize, Art Exhibition, 1909, Rangoon' 6.8 x 8.3 x 6.1cm, weight 161g £300-400 38

113 A THREE PIECE SILVER TEA-SET, SOUTH INDIA, PROBABLY MADRAS, CIRCA 1920-1930 composed of teapot, sugar bowl and milk jug, each with faceted sides with panels depicting Hindu deities 10.5cm high, 19cm long (teapot), weight: 703g £350-450

114 A SILVER TEA CADDY, KASHMIR, LATE 19TH CENTURY of cubed form, with convex shoulder and cylindrical neck and stopper, the top and sides with profusely chased and repousse scrolling honeysuckle and 'rosette' design 10.5cm high, weight: 235g £200-300

115 A GROUP OF ANGLO-INDIAN SILVER, MOSTLY KASHMIR, CIRCA 1900 comprising two jugs in the 'rosette' style, two parcel gilt leaf-shaped trays, and a salt cellar with palm tree decoration 6.4cm high, 12.8cm long (larger jug), overall weight: 352g £200-300

116 THREE ANGLO-INDIAN SILVER OBJECTS, KUTCH, WESTERN INDIA, CIRCA 1900 comprising a salver with pierced raised rim, a globe-shaped pepper pot and a napkin ring 15cm diam. (salver), weight: 188g £100-200 117 A MISCELLANEOUS COLLECTION OF SILVER, INDIA AND, BURMA, EARLY 20TH CENTURY comprising a Bengal jar and cover, a Bengal saltcellar with associated spoon, a Bombay liquor measure and a Burmese oval limepot 8cm high, 8cm diam. ( jar and cover), weight: 331g overall (5) £150-250 118 TWO ANGLO-INDIAN SILVER SALVERS, PROBABLY BOMBAY, CIRCA 1920 each with chased and repousse decoration, the larger of oval form, decorated in 'hill village' style, the smaller decorated with five medallions depicting Hindu deities 28 x 21cm (larger tray), weight: 380g overall £180-220

119 A BURMESE SILVER BOX AND COVER, 20TH CENTURY of cylindrical form, the chased and repousse decoration consisting of abstract scrolls in relief and a series of cruciform panels with animal motifs, a mythical lion (chinthe) underneath 10.5cm high; 12.5cm diam. £80-120 120 A SET OF FOUR SALT CELLARS WITH SPOONS, RANGOON, BURMA, EARLY 20TH CENTURY each with chased and repousse decoration depicting mythical nats, the spoons made with two anna coins, in presentation box inscribed ‘E R[...]dons, Madras and Rangoon’, 2.5 x 4.4cm (each salt cellar) £80-120 121 A NAGA SILVER TORC, NORTH-EASTERN INDIA, EARLY 20TH CENTURY forming a crescent of woven metal, the tapering ends terminating in serpentine hooks, together with Two Silver Bracelets, Probably Thailand, one with slit inner edge, containing a rattle, the other of thick fluted form 16cm approx. diameter of torc, 7.5, 8.8cm diameters of bracelets respectively (3) Provenance: Collection of a deceased diplomat, thence by descent. £200-300

122 A COMPANY SCHOOL PAINTING DEPICTING THE EXTRACTION OF SUGAR, NORTHERN INDIA, EARLY 19TH CENTURY gouache on paper, inscribed in English on the reverse, framed 11.5 x 18cm Provenance: Private collection, London, acquired Arthur Millner Ltd., London, 2002 The inscription reads 'The process of extracting the Sugar from the Cane. The same mode is not, however, adopted throughout India. This is used in the district of Benares but not in Bengal'. £300-500 123 (illustrated online) A MISCELLANEOUS GROUP OF THIRTY-ONE MANUSCRIPT FOLIOS, NORTHERN INDIA, 19TH CENTURY black and red ink with touches of watercolour on paper, each with various charts and diagrams, inscribed in devanagari 16 x 25cm and smaller (31) £120-150 124 A NARRATIVE SCROLL PAINTING DEPICTING SCENES FROM THE RAMAYANA, BENGAL, EARLY 20TH CENTURY gouache on paper, of long rectangular form, with a series of scenes vertically arranged, including Rama, Lakshmana, Sita, Ravana (King of Lanka) and the monster, Surasa, various inscriptions in Bengali and English 172 x 36cm approx. £80-120 125 A NARRATIVE SCROLL PAINTING DEPICTING VARIOUS FORMS OF DURGA, BENGAL, 20TH CENTURY gouache on paper, of long rectangular form, with a series of scenes vertically arranged, with the goddess in various guises, including, at the top, Mahisasuramardini 222 x 46cm approx. £80-120

126 ☐ KRISHNA PLAYING HIS FLUTE, AFTER K.P.SIVAM, INDIA, MID-20TH CENTURY oleograph with silk, metal thread and sequin applique, inscribed 'K.P.Sivam, 31. Krishna' lower left, framed 48.5 x 33cm inside frame £80-120 127 ☐ SARASWATI, AFTER RAVI VARMA, INDIA, MID-20TH CENTURY oleograph with silk, metal thread and sequin applique, inscribed Ravi Varma lower right, framed 48 x 33cm inside mount £80-120 128 ☐ KRISHNA PLAYING HIS FLUTE, JAIPUR, RAJASTHAN, INDIA, MID-19TH CENTURY gouache with gold on paper, the deity accompanied by his consort, gopis and a cowherd in a verdant landscape on the river bank 30.5 x 23.5cm (folio), 21 x 16.3cm (image) £250-350

129 GANESHA WITH SARASWATI, JAIPUR, EARLY 20TH CENTURY gouache with gold on paper, the two Hindu deities accompanied by female attendants, seated on a carpeted terrace by a river, with a temple in the distance, old Belgian frame 33.5 x 23.5cm (image) £450-550

130 ARJUNA TALKING WITH KRISHNA, A SCENE FROM THE BHAGAVAD GITA, PUNJAB HILLS, EARLY 19TH CENTURY gouache with gold on paper, an illumination from a handwritten manuscript with an accompanying folio of devanagari script, written on two sides, mounted 8 x 9.4cm Arjuna was filled with doubts in the battle of Kurukshetra and Krishna talked with him to help overcome his hesitation. £300-400

131 A BESIEGED FORT, RAJASTHAN, INDIA, EARLY 19TH CENTURY gouache with gold on paper, the walls surrounded by crowds of men with elephants, camels and horses firing rifles and cannons while the defenders return fire, an array of dead and mutilated bodies in the foreground, mounted 10.5 x 17.2cm £700-900

132 A MUGHAL PAINTING OF A SUFI SCHOLAR, NORTHERN INDIA, PROBABLY DELHI, 18TH CENTURY gouache with gold on paper, the bearded figure kneeling on a terrace, studying a Qur'an, with a tree and hilly landscape in the distance, mottled gold border and black margin, various indistinct inscriptions in Arabic and English and a stamp on the reverse, framed 23.7 x 13cm (image), 28.8 x 18cm (folio) £1500-2000

133 A ROYAL COUPLE RIDING TOGETHER IN A PALACE COURTYARD, MEWAR, 19TH CENTURY AND LATER gouache with gold on paper, blue and red borders, framed 50 x 35cm £400-600

134 ~ A VIEW OF THE TAJ MAHAL, DELHI, INDIA, LATE 19TH CENTURY gouache on ivory, of oval form 4.8 x 6.2cm diameter £60-80

135 A RULER RIDING ON A CHARIOT, BUNDI, RAJASTHAN, INDIA, 19TH CENTURY gouache with ink on paper, framed 12 x 18cm (image) £120-150

136 AN ILLUMINATION FROM A HINDU MANUSCRIPT, RAJASTHAN, EARLY 19TH CENTURY gouache and gold on paper, depicting Durga on her lion and Krishna, flanked by floral borders, framed 8.5 x 17cm (inside mount) £250-350 137 (illustrated online) TWO INDIAN TEXTILE PANELS, 19TH CENTURY comprising a woven gilt metal brocade with repeated boteh design and a panel of zardozi silver foil applique floral piecework on black satin ground, both mounted 30 x 26cm; 38 x 60cm £60-80 138 TWO WOOL SHAWLS IN THE KASHMIR STYLE, FRANCE, 19TH CENTURY each of rectangular form, woven with design of profusely scrolling botehs and palmettes surrounding a quatrefoil medallion in black and white respectively 333 x 160; 340 x 164cm For a discussion of French shawls produced on the innovative Jacquard loom in the 19th century, made to compete with the hugely popular originals from Kashmir, see Frank Ames, 'The Kashmir Shawl and its Indo-French Influence', Woodbridge 1997, chapter 6, p.135ff. A group of similar shawls are illustrated on pp.214-215. £300-500

part

139 FIVE INDIAN TEXTILES, 19TH / 20TH CENTURIES comprising a woven silk skirt, a Kutch silk-embroidered cotton bag, a cottonembroidered bag with geometric design, probably Central India, a Kutch floss-silk embroidered rumal, and a brocade fragment 80 x 103cm (skirt, and smaller) £120-150 140 (illustrated online) TWO TIE-DYED COTTON VEILS, KUTCH, GUJARAT, EARLY 20TH CENTURY each of rectangular form, made in two sections stitched together, the central roundel depicting a register of dancing women, surrounded by scrolling stylised foliage 340 x 174; 200 x 190cm For a similar veil, but made of silk, see Jyotindra Jain and Aarti Aggarwala, ‘National Handicrafts and Handlooms Museum, New Delhi’, Ahmedabad 1989, p.144 £120-150 part 141 A PABUJI PHADA, RAJASTHAN, EARLY 20TH CENTURY pigment with ink on cotton, of long, horizontal rectangular form, devanagari inscription next to the main image 445 x 142cm For a related phada in the Calico Museum, Ahmedabad, see Kay Talwar and Kalyan Krishna, ‘Indian Pigment Paintings on Cloth’, Ahmedabad 1979, p.101ff, no.120. Pabuji is a folk hero in Rajasthan who lived in the fourteenth century and has since gained semi-divine status. In this large scale composition, the hero is depicted holding a sword and lotus, and accompanied by his four generals. Other scenes include episodes from his life, along with others shown as comparisons with his deeds. Below is the beautiful black mare presented to him by Charani Deval, a form of Shakti. The story is told that the goddess gave the horse in exchange for an unconditional promise to defend her herd of cattle. On the day of Pabuji’s wedding, the cattle were stolen, and in the battle to retrieve them, the hero was killed. £300-500

detail 48

part 142 TWO EMBROIDERED AND APPLIQUE COVERS, GUJARAT, EARLY 20TH CENTURY each of rectangular form, the polychrome design arranged around a central floral medallion, comprising figures, floral motifs and animals, embellished with mirror-glass applique 217 x 118cm; 171 x 107cm For a bed valance from Saurashtra with similar decoration, see Rosemary Crill, 'Indian Embroidery', London 1999, no.91, p.96. £120-150

144 A PAINTED COTTON TEMPLE HANGING (KALAMKARI), PROBABLY SRIKALAHASTI, ANDHRA PRADESH, INDIA, LATE 19TH CENTURY of rectangular form, the main panel depicting the coronation of Rama (Ramapattabhisheka) with Rama flanked by attendants under a cusped arch, with Sita and Lakshmana in separate panels on either side, three registers of further scenes above and below, each labelled in Telugu, the whole surrounded by chevron and scrolling borders, 260 x 127cm

143 (illustrated online) A SMALL ASHAVALI BROCADE PANEL, AHMEDABAD, GUJARAT, 19TH CENTURY silver thread on gold coloured silk ground, with a trellis design of turtles and fish, framed and mounted 24 x 25cm

Srikalahasti or Kalahasti is one of a handful of production centres for kalamkaris in Southern India. It is thought to have been active since the 15th century, although there is only firm evidence for production in the 19th century. Just a small number of families were involved and production had petered out by the 1930s. For two examples also with scenes from the Ramayana in the Victoria and Albert Museum, see Anna L. Dallapiccola, 'Kalamkari Temple Hangings', Ahmedabad/London 2015, pp.56-77.

£150-250

£200-300

145 TWO FRAGMENTARY TEMPLE HANGINGS (KALAMKARI), PROBABLY SRIKALAHASTI, ANDHRA PRADESH, INDIA, LATE 19TH CENTURY painted cotton, each with two main pictorial panels, the upper depicting Krishna and Radha under a cusped arch, the lower a stylised palm tree, with smaller subsidiary panels, each labelled in Telugu, lined 180 x 125cm, 219 x 76cm See footnote to lot £200-300

part

146 A BENARES BROCADE SARI, NORTHERN INDIA, LATE 19TH CENTURY of long rectangular form, profusely woven in gilt metal thread on mauve silk ground, the field decorated with a leafy trellis framing repeated floral lozenge motifs, the ends with panels of repeated registers of stylised flowering plants, a similar border running along each side, part lined 284 x 86cm £200-300

detail 50

147 ☐ A SMALL PAINTED AND LACQUERED TRIPOD TABLE, KASHMIR, CIRCA 1900 the surface painted and gessoed in low relief with polychrome floral designs, the octagonal top supported on three faux bamboo splayed legs 34cm high; 32cm max diam. £120-180 148 ☐ A PAINTED WOOD SIDE TABLE, KASHMIR, CIRCA 1900 the octagonal top and folding arcaded legs profusely decorated with polychrome floral designs 41cm high; 40cm max diam. £120-180 149 ☐ A PAINTED WOOD LOW TABLE, PROBABLY KURNUL, SOUTH INDIA, LATE 19TH CENTURY of square form, on four turned feet, the top polychrome painted with a scrolling floral trellis 18cm high; 45cm square £150-250

150 A BIDRI PANDAN, DECCAN, SOUTHERN INDIA, EARLY 19TH CENTURY alloy inlaid with sheet silver, the convex lid with bud handle, the exterior decorated with a repeated poppy design, the interior with tray divided into arch shaped compartments 9 x 13 x 8.3cm An unusual feature of this box is to be seen on the underside where the craftsman appears to have practised the engraving prepared for the silver inlay. £150-250

151 A MUGHAL STYLE PIETRA DURA INLAID MARBLE FOOTSTOOL, AGRA, NORTH INDIA, 2006 of square form resting on four short bun feet, the stylised foliate decoration in the style of Shah Jahan's reign, the inlay including carnelian, lapis lazuli, agate and jade 7 x 40.5 x 40.5cm Provenance: Private collection, England. Commissioned by the vendor at Oswal Emporium in Agra. £2000-3000

152 ~ A VIZAGAPATAM CASKET, SOUTH-EASTERN INDIA, LATE 19TH CENTURY sandalwood with engraved and pierced ivory overlay, on four claw feet, the hinged convex lid with twin medallions depicting Vishnu and Garuda with openwork arabesque frames, the sides with smaller medallions decorated with floral motifs, divided by three engraved floral bands, 8.8 x 28.5 x 12.7cm £250-350 153 A KASHMIR PAINTED TURNED WOOD BOTTLE (SURAHI), LATE 19TH CENTURY profusely decorated in polychrome and gold, the bulbous body on ring foot, the sides painted with various scenes including hunting scenes, a nautch watched by two European men seated on chairs and a mythical battle scene, with slender slightly flared neck and lotiform stopper 31cm high £120-150 154 TWO BRASS ORNAMENTS, V. VALLIPURAM AND SONS, NEGOMBO, CEYLON (NOW SRI LANKA), CIRCA 1900 comprising a Kandyan nobleman, wearing wide cap and inlaid rings, and a figure of a bull with inlaid eyes, each stamped with maker's name nobleman: 16.5cm high, bull: 15cm long £80-120 155 (illustrated online) TWO TERRACOTTA VOTIVE PLAQUES, PAGAN, BURMA, (NOW BAGAN, MYANMAR), CIRCA 12TH CENTURY one of arched form, the impressed relief depicting Buddha within a shrine, flanked by figures of Moggolana and Sariputta, a group of small stupas above, the other of oval form with central figure of Buddha, his hands in dharmacakra mudra, flanked by pagodas 15, 9.5cm high Provenance: Private Collection, London £100-150 53

156 A MAJAPAHIT FRAGMENTARY TERRACOTTA RELIEF PANEL, JAVA, INDONESIA, CIRCA 14TH CENTURY depicting a tiger stalking a gazelle in a hilly wooded landscape 15 x 20 x 2.5cm Provenance: Collection of a deceased diplomat, thence by descent. £80-120

157 A MAJAPAHIT PUMICE HEAD OF A MAIDEN, JAVA, CIRCA 14TH CENTURY her hair gathered to the side in a sweeping arc, a floral garland over each ear, mounted 8cm high Provenance: Collection of a deceased diplomat, thence by descent. £120-150

158 A BUFF SANDSTONE HEAD OF BUDDHA, PAGAN, BURMA (NOW MYANMAR), CIRCA 12TH CENTURY with downcast expression, his head with domed usnisa, mounted 10.5cm high Provenance: Collection of a deceased diplomat, thence by descent. £120-150

159 A MAJAPAHIT TERRACOTTA FINIAL, JAVA, INDONESIA, CIRCA 14TH CENTURY in the form of a makara, with scrolling snout and tail, traces of red pigment 22cm long Provenance: Collection of a deceased diplomat, thence by descent. For a similar object in bronze forming a gargoyle from 10th century Java, see Jan Fontein, 'The Sculpture of Indonesia', Washington DC 1990, no.69, p.235. £150-200

160 A MAJAPAHIT PUMICE BUST OF A BOY, JAVA, INDONESIA, CIRCA 14TH CENTURY wearing a jewelled necklace, his hair elaborately curled, a flower ornament over each ear, mounted 18cm high Provenance: Collection of a deceased diplomat, thence by descent. £700-900 161 A MAJAPAHIT TERRACOTTA RELIEF FRAGMENT, JAVA, INDONESIA, CIRCA 14TH CENTURY depicting a woman carrying a pair of baskets, mounted 15 x 19 x 6cm Provenance: Collection of a deceased diplomat, thence by descent. £250-350 162 A MAJAPAHIT TERRACOTTA HEAD OF A DVARAPALA, JAVA, INDONESIA, CIRCA 14TH CENTURY with smiling face, moustache and furrowed brow, his wavy hair gathered in a topknot 12.5cm Provenance: Collection of a deceased diplomat, thence by descent. £150-250

163 THREE SMALL PUMICE FIGURES OF DEITIES, MAJAPAHIT, JAVA, 14TH / 15TH CENTURY comprising a four-armed goddess, standing erect, flanked by a pair of flower vases, a mother holding a baby and a figure of Tara(?) seated with hands in dharmacakra mudra, a lotus flower at her left shoulder 7.5, 5.5, 5.5cm Provenance: Collection of a deceased diplomat, thence by descent. £250-350

165 A VOLCANIC STONE PANEL DEPICTING THE HEAD OF BUDDHA, JAVA, 9TH/10TH CENTURY of pinkish orange colour, probably from a larger bas-relief composition, the sides with insets to fit with neighbouring sections 24cm square approx. Provenance: Collection of a deceased diplomat, thence by descent. £150-250

part

164 A MAJAPAHIT PUMICE HEAD OF A RULER, JAVA, INDONESIA, CIRCA 14TH CENTURY wearing a large and elaborate turban, with moustache and large earrings, mounted 10cm high

166 THREE ANCIENT INDIAN TERRACOTTA FIGURES, 1ST MILLENIUM BC comprising a Harappan bowl fragment with a figure of an ox at the bottom, another Harappan fragment with a figure of a water-buffalo, and a 3/2nd century BC Mauryan plaque depicting a female figure in relief 15cm long and smaller

Provenance: Collection of a deceased diplomat, thence by descent.

£200-300

£100-150

167 NINE JAVANESE TERRACOTTA HEADS, 12TH-14TH CENTURIES three of maidens, the smallest with traces of pigment, one of an older woman, and four male heads of various characters and a larger head of a deity from a relief, all but two mounted on stands 14cm high and smaller Provenance: Collection of a deceased diplomat, thence by descent. £600-800 168 A COLLECTION OF ELEVEN MAJAPAHIT TERRACOTTAS, JAVA, INDONESIA, CIRCA 14TH CENTURY comprising a Buddhist votive plaque, a crouching figure of an old man and nine heads, one of Hanuman, another of a boy, and the rest mostly of maidens, 5cm (average size) Provenance: Collection of a deceased diplomat, thence by descent. £150-200

169 FIVE FRAGMENTARY MAJAPAHIT PUMICE CARVINGS, JAVA, CIRCA 14TH CENTURY comprising a pot in the form of a tortoise, a frog, an elephant, a figure of Ganesha and a bust of a devotee 10cm long and smaller Provenance: Collection of a deceased diplomat, thence by descent. £200-300 170 A MAJAPAHIT PUMICE HEAD OF A MONK, JAVA, INDONESIA, CIRCA 14TH CENTURY with shaven head and small facial features, mounted 8cm Provenance: Collection of a deceased diplomat, thence by descent. £80-120 171 A PYU BUFF SANDSTONE STELE DEPICTING BUDDHA, BURMA, CIRCA 9TH CENTURY seated in sattvasana, his hands in bhumisparsa and dhyana mudra, with tall pointed usnisa, flanked by figures of Mogollana and Sariputta, kneeling with hands in anjali mudra, surrounded by arched prabha 23cm high Provenance: Collection of a deceased diplomat, thence by descent. £250-350

172 A MAJAPAHIT PUMICE HEAD OF A MAN, JAVA, INDONESIA, CIRCA 14TH CENTURY wearing moustache and domed hat, mounted 8.5cm high Provenance: Collection of a deceased diplomat, thence by descent. £150-200 173 A MAJAPAHIT HEAD OF A MAIDEN, JAVA, INDONESIA, CIRCA 14TH CENTURY her pointed ears with large disc earrings, mounted 5cm high Provenance: Collection of a deceased diplomat, thence by descent. £150-250 174 A SMALL PUMICE HEAD OF A MAIDEN, MAJAPAHIT, JAVA, CIRCA 14TH CENTURY finely carved with her hair gathered in a bun at the back, wearing disc earrings, mounted 4.5cm high

176 A MAJAPAHIT PUMICE FIGURE OF A SEATED WOMAN, JAVA, INDONESIA, CIRCA 14TH CENTURY the plump figure with her hair tied in a bun, her arms resting on her gathered knees, on oval base 8cm high Provenance: Collection of a deceased diplomat, thence by descent. £150-250

Provenance: Collection of a deceased diplomat, thence by descent. £80-120 175 A SMALL MAJAPAHIT PUMICE BUST OF A WOMAN, JAVA, INDONESIA, CIRCA 14TH CENTURY wearing broad, pointed torc and long flared headdress, mounted 7cm high Provenance: Collection of a deceased diplomat, thence by descent. £100-150

177 A GROUP DEPICTING A PAIR OF INFANTS, MAJAPAHIT, JAVA, CIRCA 14TH CENTURY carved pumice, the two adorsed figures each crouching with hands on knees on a single oval base, their hair joined in a single bun 7.8cm high Provenance: Collection of a deceased diplomat, thence by descent. £80-120

178 FIVE SMALL MAJAPAHIT TERRACOTTA HEADS, JAVA, 14TH CENTURY depicting Garuda, an elderly sage, two maidens and a baby, each mounted on stand 8cm and smaller Provenance: Collection of a deceased diplomat, thence by descent. £200-300 179 A JAVANESE VOLCANIC STONE FRAGMENTARY FIGURE POSSIBLY DEPICTING SIVA, INDONESIA, CIRCA 9TH CENTURY seated in sattvasana on a lotus throne, his hands resting on his knees, a lotus flower(?) in his left hand 49cm high Provenance: Collection of a deceased diplomat, thence by descent, thought to have been acquired in the 1960s. Although at first sight this appears to be a figure of Buddha, the positioning of the hands makes suggests otherwise, and even more telling are indications of two further arms, now missing, and the long hair which still falls onto his shoulders. A plausible comparison is the 9th century figure of Siva found in the Dieng plateau (A. J. Bernet-Kempers, 'Ancient Indonesian Art', Harvard 1959, pl.28). £4000-6000

180 A JAVANESE VOLCANIC STONE RELIEF DEPICTING BRAHMA AND SARASWATI, INDONESIA, 8TH / 9TH CENTURY each standing on a lotus, wearing tall headdresses, the god with four heads and four arms, his consort with four arms, his vahana, the goose, just visible at his feet 75 x 43 x 19cm Provenance: Collection of a deceased diplomat, thence by descent, thought to have been acquired in the 1960s. Brahma is generally depicted bearded, but there are exceptions. For an Indian example without beard in the British Museum, see inv. no. 1963,0217.1. Also notable here is the relative equality of scale between the male and female figures. For a more typical bearded figure of Brahma, from Singasari, Eastern Java, see A. J. Bernet-Kempers, 'Ancient Indonesian Art', Harvard 1959, pl.242. £3000-4000

181 A MAJAPAHIT SCULPTURAL COMPOSITION DEPICTING FIGURES IN A MOUNTAINOUS LANDSCAPE, JAVA, INDONESIA, CIRCA 14TH CENTURY terracotta, modelled in the round, with a seated figure at the top flanked by female attendants sitting outside kiosks, a flight of steps below with a young couple at the bottom, a dog and further figures amidst foliage at the back 50cm high Provenance: Collection of a deceased diplomat, thence by descent. It is not clear what the function of this sculpture was. The hollow structure and hole at the top is reminiscent of figural objects which are though to have supported wood columns. There is an interesting parallel with a Nepalese terracotta lamp in the Walter Grounds collection (Pratapaditya Pal, 'Icons of Piety, Images of Whimsy', Los Angeles 1987, p. 78f., no.42). As with the Nepalese piece, it is likely that the figure at the top with his long hair gathered in a bun or turban represents Siva on Mount Kailas. £1500-2000 61

182 A JAVANESE VOLCANIC STONE FIGURE OF DURGA SLAYING THE BUFFALO DEMON, INDONESIA, 13TH/14TH CENTURY the eight armed Hindu goddess standing on the body of the buffalo, her lower left hand subduing Mahisa who has emerged from the prostrate animal's body, with various attributes and weapons in her other hands, wearing jewelled belt, armlets and cummerbund, her head with elaborate crown, her hair gathered in a bun, mounted 61cm high Provenance: Collection of a deceased diplomat, thence by descent. For a well known depiction of Durga from Candi Jawi, Eastern Java, dating from the 14th century, showing the same iconographical detail, see Jan Fontein, 'The Sculpture of Indonesia', Washington DC 1990, p.156, no.22 £3000-5000

183 A LARGE MAJAPAHIT TERRACOTTA FIGURE OF A MAIDEN, JAVA, CIRCA 14TH CENTURY wearing assymmetrical headdress, large disc earrings and heavy scrolling necklace, holding a billowing scroll of her tunic in her left hand, her feet protruding from her skirt on a circular base 74cm high Provenance: Collection of a deceased diplomat, thence by descent. £3000-4000

184 THREE SMALL BRONZE HEADS OF BUDDHA, THAILAND, 15TH-17TH CENTURY each with pointed usnisa, the two smaller with tightly curled hair, together with a Bronze Element, possibly a sword locket, Java, 14th/15th century, with a crowned head in relief 4.5cm and smaller Provenance: Collection of a deceased diplomat, thence by descent. £120-180

186 A KHMER BRONZE STAND AND A SMALL BOWL, CAMBODIA, CIRCA 12TH CENTURY the stand with flared foot, tapered shaft and separately cast overhanging top, the bowl of hemispherical form, on splayed foot 15cm (height of stand), 9.7cm (diameter of bowl) Provenance: Collection of a deceased diplomat, thence by descent. £250-350

185 EIGHT SMALL BRONZE BELLS, SOUTH EAST ASIA, CIRCA 9TH CENTURY AND EARLIER comprising two Javanese ring pellet bells, five other pellet bells and a miniature handbell 5.5cm diam. and smaller Provenance: Collection of a deceased diplomat, thence by descent. £100-150

187 THREE SMALL FRAGMENTARY SHEET SILVER HEADS OF BUDDHA, THAILAND, 16TH / 17TH CENTURY with clay core, together with a small figure of Ganesha 6cm and smaller Provenance: Collection of a deceased diplomat, thence by descent. £100-150

188 A BRONZE FIGURE OF BUDDHA, THAILAND, 19TH CENTURY solid cast, seated in sattvasana with hands in dhyana mudra, wearing decorated robes, his domed usnisa with bud finial 15cm high Provenance: Collection of a deceased diplomat, thence by descent. £250-350 189 A SRIVIJAYA LEAD ALLOY FIGURE OF A BODHISATTVA, SUMATRA, INDONESIA, 7TH / 8TH CENTURY standing on a raised circular base, his hands in abhaya and varada mudra, the slender figure with his hair gathered in a tall bun 8.5cm high Provenance: Collection of a deceased diplomat, thence by descent. For a larger, bronze version of the same subject and period, formerly in the Samuel Eilenberg collection, see inv. no. 1987.218.15 £250-350 190 A SMALL BRONZE FIGURE OF BUDDHA, MON-DVARAVATI, THAILAND, CIRCA 9TH CENTURY standing on a circular base, his right hand in varada mudra, his left raised in abhaya mudra, 7cm high Provenance: Collection of a deceased diplomat, thence by descent. £200-300 65

191 SIX EARLY BRONZE OPIUM WEIGHTS, BURMA (NOW MYANMAR), CIRCA 12TH CENTURY of graduating sizes, each in the form of a winged bird standing on a bun-shaped cushion 2.2-4.3cm high Provenance: Collection of a deceased diplomat, thence by descent. £300-400 192 A KHMER BRONZE FIGURE OF PRAJNAPARAMITA, CAMBODIA, CIRCA 12TH CENTURY standing erect on a square base, the female deity wearing sampot, earrings and conical headdress, holding a book in her right hand 12cm Provenance: Collection of a deceased diplomat, thence by descent. £150-200 193 A PYU BRONZE VOTIVE TABLET, BURMA, 9TH / 10TH CENTURY of drop shaped form, depicting an enshrined figure of Buddha in relief, flanked by his devotees, Moggollana and Sariputta, small stupas on either side, a kinnara below 8cm high Provenance: Collection of a deceased diplomat, thence by descent. For a similar tablet made of terracotta in the Sri Ksetra Museum, see Sylvia Fraser-Lu and Donald Stadtner (ed.), 'Buddhist Art of Myanmar', Yale 2015, no.10, pp.108-9. For a slightly later Thai example in bronze, see Pratapaditya Pal, 'Asian Art in the Norton Simon Museum', Pasadena 2004, no.118, p.157. £200-300

194 A SMALL KHMER BRONZE HEAD OF A DEITY, CAMBODIA, 12TH CENTURY wearing flared crown and conical headdress, one of the pierced ears with later gold pendent earring, traces of silver 4.8cm high Provenance: Collection of a deceased diplomat, thence by descent. £80-120 195 FIVE SMALL SOUTH EAST ASIAN BRONZE FIGURES, 14TH-18TH CENTURIES comprising a Majapahit figure of Rama, a Majapahit cockerel, a Burmese opium weight in the form of a monkey, a Burmese seated figure of a devotee and a figure of Nandi 7.5cm high and smaller Provenance: Collection of a deceased diplomat, thence by descent. £400-600 196 A PYU GILT BRONZE FIGURE OF BUDDHA, BURMA, 9TH/10TH CENTURY seated in padmasana on a raised throne, his hands in bhumisparsa and dhyana mudra, with elongated earlobes and bud usnisa 14.3cm high Provenance: Collection of a deceased diplomat, thence by descent. £600-800 197 A MISCELLANEOUS GROUP OF SOUTH-EAST ASIAN OBJECTS, MOSTLY 12TH-16TH CENTURIES comprising two Thai bronze limepots, a bronze figure of a horse, a bronze consort from a yab-yum group, a head from a hammer mace, an iron finial, three iron figurines, a small figural relief plaque, a terracotta figure of a deer and a bronze oil lamp 21.5cm long and smaller (12) Provenance: Collection of a deceased diplomat, thence by descent. £300-400 67

198 A PYU GILT BRONZE HEAD OF BUDDHA, BURMA (NOW MYANMAR), 8TH / 9TH CENTURY with elongated earlobes, the tightly curled hair with domed usnisa, mounted 9cm high Provenance: Collection of a deceased diplomat, thence by descent. For a more complete, but ungilded, closely related Pyu figure of Buddha in the Metropolitan Museum of Art, New York, see inv. no. 2006.53. The Pyu kingdoms flourished in Northern and Central Burma for about 1000 years until their primary capital, Halin, was sacked by the Chinese in 832. £1200-1500 199 A LARGE BRONZE COUPLE DEPICTING SIVA AND PARVATI, SOUTH INDIA, CIRCA 1900 each standing erect on a lotus base on raised square plinth, the four armed god with primary hands in abhaya and varada mudra, his upper hands holding elephant goad and a deer, his consort holding a lotus, each with tall headdress and billowing robes, on an associated bronze shrine base, probably Western Deccan, 19th century, with scrolling openwork back plate and lobed arch 36, 34.5cm (figures); 49cm (height of shrine) Provenance: Private collection, England, thence by descent. £1500-2500

202 A BRONZE FIGURE OF A FEMALE TRUMPETER, NEPAL, 20TH CENTURY on single lotus throne, standing in tribhanga, holding her instrument in her hands, wearing large earrings, her hair gathered in a pointed bun 13.5cm 200 A SMALL BRONZE FIGURE OF NARASIMHA, SOUTH INDIA, 16TH / 17TH CENTURY the four-armed lion headed avatar of Vishnu seated in lalitasana on a single lotus throne, his primary right hand in abhaya mudra, his consort, Lakshmi on his knee, holding a padma in her left hand 4.8cm high

Provenance: Private collection, England, thence by descent. £80-120

Provenance: Private collection, England, thence by descent. £250-350

203 A SMALL BRONZE FIGURE OF VISHNU, SOUTH INDIA, LATE 19TH CENTURY the four-armed deity with primary hand in varada mudra, with tall tapering headdress, standing on separately cast base 9.5cm high Provenance: Private collection, England, thence by descent. £100-150

201 A FOLK BRONZE FIGURE OF DURGA SLAYING THE BUFFALO DEMON, WESTERN DECCAN, 18TH / 19TH CENTURY the eight armed goddess wielding various weapons standing on the decapitated buffalo while stabbing the demon which emerges, on raised, separately cast base, 17cm high

204 A BRONZE FIGURE OF THE INFANT KRISHNA, SOUTH INDIA, 17TH / 18TH CENTURY standing on a lotus throne, his knees flexed, holding a butterball in his right hand, his hair tied in a bun 6.2cm Provenance: Private collection, England, thence by descent. £80-120

Provenance: Private collection, England, thence by descent. £250-350 69

205 A LARGE BRONZE GROUP DEPICTING SIVA AND PARVATI ON NANDI BULL, WESTERN DECCAN, CIRCA 18TH CENTURY the four armed god holding a rosary, and axe and a trident(?), his lower left hand holding his consort, who has a lotus in her left hand, the couple sheltered by a seven headed cobra under an arched prabha, their vehicle with pronounced horns, blanket and three necklaces 41cm high Provenance: Private collection, England, thence by descent. £2500-3500 70

206 A SHRINE DEPICTING KRISHNA VENUGOPALA, SOUTH INDIA, 19TH CENTURY the four-armed god playing the flute, his upper hands holding cakra and sankha, flanked by a pair of gopis dancing to his music, while a pair of cows listen below 23cm high Provenance: Private collection, England, thence by descent. £700-900 207 A FRAGMENTARY BRONZE FIGURE OF VAISHNAVI, KERALA, SOUTH WESTERN INDIA, 19TH CENTURY the four-armed goddess with her primary right hand in varada mudra, a lotus in her palm, her left hand on her waist, her upper hands holding cakra and sankha, wearing tall headdress, long flowing hair and large earrings 18cm Provenance: Private collection, England, thence by descent. Vaishnavi is one of the Saptamatrikas, or Seven Mother-Goddesses, each of whom are female aspects of the male pantheon, with the exception of Chamunda, who is an aspect of Durga. £300-400 208 A SMALL BRONZE SIVA SHRINE, DECCAN, SOUTHERN INDIA, CIRCA 18TH CENTURY the square platform surrounded by an enclosure wall, with central yonilingam, surrounded by figures of Nandi, Ganesha and Skanda, with a cobra, a lotus and sun and moon emblems 4.5 x 7.5 x 7.2cm £200-300 71

209 A FRAGMENTARY BRONZE FIGURE OF DURGA SLAYING THE BUFFALO DEMON, PROBABLY KARNATAKA, WESTERN DECCAN, INDIA, 19TH CENTURY the eight-armed goddess with remaining hand holding her trident, with protruding fangs, and tall flaming headdress, her necklace with floral pendant 21.5cm Provenance: Private collection, England, thence by descent. £300-500

211 A SMALL SIVA SHRINE, SOUTH INDIA, 19TH CENTURY the square platform on lotus base, with a yonilingam at one end, sheltered by a five headed naga cobra canopy, flanked by seated female chauri bearers, with figures of Nandi, Ganesha and a further cobra at the opposite end, engraved with sun and moon emblems 6.5 x 8.5 x 8.5cm £300-400

210 A TWO SIDED BRONZE IMAGE, SOUTH INDIA, LATE 19TH CENTURY depicting a multi-armed form of Vishnu on one side, and Narasimha on the other, the latter seated on a five-headed cobra, the two images framed by an openwork yantra emblem, supported by a pair of adorsed lions 11cm high Provenance: Private collection, England, thence by descent. £250-350 72

212 A SMALL BRONZE FIGURE OF HAYAGRIVA, SOUTH INDIA, 19TH CENTURY seated in sattvasana on a single lotus, his primary hands in vitarka mudra and holding a book of the vedas, his upper hands holding a conch shell and rosary 4.2cm high Provenance: Private collection, England, thence by descent. £100-150

213 A SMALL BRONZE FIGURE OF GANESHA, SOUTH INDIA, 20TH CENTURY the eight armed elephant headed, pot bellied deity standing on a single lotus, holding various attributes 3.8cm Provenance: Private collection, England, thence by descent. £100-150 214 A SMALL FRAGMENTARY BRONZE FIGURE OF A GODDESS, SOUTH INDIA, 16TH/17TH CENTURY the four-armed figure seated in lalitasana, her head surrounded by a serrated halo, with silver inlay 4.5cm Provenance: Private collection, England, thence by descent. £80-120 215 A BACK PLATE FROM A BRONZE SHRINE, WESTERN DECCAN 18TH / 19TH CENTURY with central openwork tree design, surmounted by a five-headed cobra, with a bird perched above, framed by a pierced horseshoe arch, supported by a pair of mythical lions, serrated edge, a kirtimukha mask at the top 36 x 26.5cm Provenance: Private collection, England, thence by descent. £250-350 73

216 AN ASSEMBLED BRONZE GROUP, WESTERN DECCAN, CIRCA 18TH CENTURY comprising a four-armed figure of Vishnu(?) seated with his consort, a figure of Nandi Bull, with bell hanging from his neck and a dimunutive lingam at his feet, and a bronze base and openwork prabha, with five headed cobra and kirtimukha finial, 42cm high Provenance: Private collection, England, thence by descent. £2000-3000

217 A BRONZE FIGURE OF DURGA, TAMIL NADU, SOUTH INDIA, 19TH CENTURY the four-armed goddess seated on a raised cushioned throne, holding khadga, patra, damaru and trisula, with staring eyes and protruding fangs, wearing tall headdress with bud finial, the base drilled for carrying rods 36cm high £3000-4000

218 A BRONZE FIGURE OF NANDI, SOUTHERN INDIA, CIRCA 18TH CENTURY pale coloured copper alloy, the bull vehicle of Siva crouching on a rectangular base, with scrolling hump and short conical horns, a bell hanging from his neck 11.5 x 14 x 6cm £500-800

219 A LARGE BRASS LINGAM COVER, WESTERN DECCAN, INDIA, 18TH / 19TH CENTURY in the form of a moustachioed head of Siva, his hair with ridged pleats, wearing cobra earrings and a beaded necklace, 19.5cm high £1500-1800

220 AN EARLY BRONZE FIGURE OF GANESHA, KARNATAKA, CIRCA 12TH / 13TH CENTURY the pot bellied four armed elephant headed deity, seated with legs loosely crossed, his primary hands holding his broken tusk and a bowl of sweets, his upper hands holding axe and mace, surrounded by an arched aureole with kalasa finial 9cm £800-1200

222 A BRONZE FIGURE OF RAMA, TAMIL NADU, SOUTH INDIA, 18TH CENTURY standing with left leg flexed on a lotus base, his left hand raised, his right held in front, wearing elaborate earrings and a tall headdress with bud finial 9.5cm high £400-600

221 A SMALL BRASS FIGURE OF GANESHA, WESTERN DECCAN, INDIA, 17TH / 18TH CENTURY the four-armed pot-bellied elephant headed deity seated on a lotus throne, his vehicle the rat at his feet, holding sweets in his primary hands, and an axe and elephant goad in his upper hands, 6.5cm high

223 A SMALL BRONZE FIVE-FACED YONI LINGAM (PANCHAMUKHALINGA), NORTHERN INDIA, 18TH / 19TH CENTURY the raised yoni platform with centrally placed lingam, the five faces in a row looking outwards, sheltered by a cobra canopy 5cm high £200-300

£300-400 77

224 A SMALL BRONZE FIGURE OF KURMA, THE TORTOISE AVATAR, SOUTH INDIA, CIRCA 18TH CENTURY standing erect on the tortoise, the four armed figure holding mace, lotus, conch and cakra, a diminutive figure of Garuda at his feet 6cm £300-400

226 A SMALL BRONZE FIGURE OF KRISHNA VENUGOPALA, TAMIL NADU, SOUTH INDIA, 17TH / 18TH CENTURY standing with legs crossed at the ankles, his hands raised playing the flute (now missing), two small figures of cows at his feet 7cm £300-400

225 A BRONZE FIGURE OF A GODDESS, PROBABLY PARVATI, TAMIL NADU, SOUTH INDIA, 17TH / 18TH CENTURY standing in tribhanga, her right hand raised holding the stem of a padma, her left by her side, mounted 11cm high £400-600 78

227 A SMALL BRONZE FIGURE OF HANUMAN, SOUTH INDIA, 18TH / 19TH CENTURY the monkey-headed deity standing on a circular base, his hands in anjali mudra, his long tail sweeping in an arch over his head 5.9cm high £250-350

228 A BRONZE FIGURE OF GARUDA, NORTHERN INDIA, 19TH CENTURY the beaked vehicle of Vishnu kneeling on a piered open lotus throne, with wings and elaborate crown surmounted by a cobra, his eyes hollowed for inlay (now missing) 10cm high

230 A BRONZE FIGURE OF A NAYANMAR, TAMIL NADU, SOUTH INDIA, CIRCA 18TH CENTURY seated on a cushion with legs loosely crossed, his hands in vitarka and dhyana mudra, his hair gathered in a spiralling bun 6.2cm high £400-600

£350-450

229 A SMALL BRONZE FIGURE OF PARVATI, TAMIL NADU, SOUTH INDIA, 19TH CENTURY seated in lalitsanana on a double lotus throne, her right hand in vitarka mudra, her left holding a sivalingam, her hair gathered in a large bun 6cm high £300-400

231 A BRONZE FIGURE OF RAMANUJA, TAMIL NADU, SOUTH INDIA, 18TH / 19TH CENTURY the Vaisnava Acharya seated with legs loosely crossed, his hands in anjali mudra, a staff with banner tucked in his right elbow 6.5cm high Ramanuja lived during the Chola period in South India and was a prominent teacher and philosopher and exponent of Vaisnava thought, writing commentaries on the holy texts and founding the qualified monism school of thought (vishishtadvaita). £400-600 79

232 A BRONZE FIGURE OF A JINA, WESTERN DECCAN, 16TH / 17TH CENTURY seated nude in padmasana on a circular stool, his hands in dhyana mudra, with elongated earlobes and tightly curled hair 8.5cm £450-550 233 A BRONZE FIGURE OF DURGA MAHISASURAMARDINI, WESTERN DECCAN, 17TH / 18TH CENTURY the eight-armed Hindu goddess wielding various weapons, her feet resting on her vehicle the lion and the prostrate corpse of the buffalo, battling with the emerging demon, assisted by her lion 12.3cm £800-1200

234 A JAIN BRASS SHRINE DEPICTING PARSVANATHA, WESTERN INDIA, DATED SAMVAT 1529 / 1473 AD inlaid with silver and copper, of openwork arched form with kalasa finial, the central tirthankara seated on a lion throne under a nine-headed cobra canopy lustrated by a pair of elephants, surrounded by diminutive figures of the other 23 tirthankaras, figures of apsaras, Ganesha and other devotees below, dedicatory inscription in devanagari, include date on the reverse 28cm high £4000-6000

235 A BRONZE FIGURE OF BHAIRAVA, DECCAN, INDIA, CIRCA 18TH CENTURY seated in lalitasana on a lotus stool, with two small skulls(?) on the base, the four armed deity holding khadga, kapala, damaru and trisula, wearing hoop earrings and tall headdress with bud finial 10cm high £450-550

236 A SMALL BRONZE FIGURE OF VISHNU, TAMIL NADU, SOUTH INDIA, 16TH / 17TH CENTURY standing erect on a raised double lotus throne, his primary hands in varada mudra and resting on his hip, his upper hands holding cakra and sankha, wearing tall conical headdress 9.5cm £500-700

237 A JAIN BRASS SHRINE, WESTERN INDIA, DATED SAMVAT 1476 / 1419 AD of arched openwork form, topped with kalasa finial, the central figure seated on a lion throne under a parasol lustrated by elephants, indistinct emblem on the front, flanked by further jinas and a pair of chauri bearers, inlaid with silver and copper, dedicatory inscription including date on the reverse 17.2cm £1200-1500

239 A BRASS LINGAM COVER, WESTERN DECCAN, INDIA, 18TH/19TH CENTURY in the form of a head of Siva, with moustache and prominent eyebrows, wearing a beaded necklace and earrings, mounted 13cm high Provenance: From the collection of Peter Cochrane, acquired in 1978, inv. no. JPC 78/25 £250-350

240 A BRASS SIVA MASK (MOHRA), HIMACHAL PRADESH, 15TH CENTURY OR LATER in the form of a stylised bust, the crowned head with third eye, wearing beaded hoop earrings, the chest with twin medallion-like nipples 12.8cm high £250-350 238 A BRONZE VIRABHADRA PLAQUE, DECCAN, SOUTHERN INDIA, CIRCA 18TH CENTURY of rectangular form, the four-armed manifestation of Siva depicted in relief stepping to his left, wielding sword, shield, bow and arrow within a lobed arch with kirtimukha above, a diminutive figure of Daksha at his side with hands in anjali mudra, large carrying handle at the back 24.3 x 15 x 5cm approximately Daksha offended Siva by not inviting him to attend a sacrifice following an earlier occasion when Siva had slighted him. Sati who was Daksha's daughter as well as being Siva's wife was present and felt so insulted that she threw herself on the pyre. Then Siva appeared as Virabhadra and cut off Daksha's head to avenge his wife. Other gods pleaded for Daksha's life but although Siva decided to spare him, his severed head could not be found so the head of a goat was substituted instead. £300-400

241 A BRONZE HEAD OF HANUMAN, WESTERN DECCAN, INDIA, 18TH / 19TH CENTURY probably a finial, the gaping mouth with prominent teeth and protruding fangs, his face with moustache and diamond shaped emblem on his forehead 16.5cm Provenance: From the collection of Peter Cochrane, acquired in the 1970s, inv. no. JPC 72[?]/105 £300-400

242 AN AYUTHIA FRAGMENTARY BRONZE BUST OF BUDDHA, THAILAND, 16TH / 17TH CENTURY the fold of his robe draped over his shoulder, with tightly curled hair, elongated earlobes and tall pointed usnisa 12cm high £200-300 243 A JAVANESE COPPER EWER, INDONESIA, CIRCA 19TH CENTURY of wide shouldered form, with short, scrolling spout, convex lid and overhanging rim with arched loop handle 30cm high Provenance: Private Collection, London £120-150 244 THREE ANCIENT SOUTHEAST ASIAN BRONZE BRACELETS, CAMBODIA OR THAILAND, CIRCA 12TH CENTURY AND EARLIER the largest with engraved herringbone decoration, the other two with ropework and radiating serrations 8.8cm diam. and smaller Provenance: Private Collection, London £60-80 245 A GROUP OF ANCIENT SOUTH-EAST ASIAN BRACELETS, MOSTLY VIETNAM, THAILAND AND CAMBODIA, 4TH CENTURY BC AND LATER ten of bronze, some plain, one with engraved decoration, four of wire construction, the other two of carved steatite 8.2cm diam. and smaller (12) Provenance: Collection of a deceased diplomat, thence by descent. £120-180 85

246 A DISC MIRROR AND SIX MIRROR HANDLES, JAVA, CIRCA 10TH / 11TH CENTURY the convex mirror engraved with concentric circles on the reverse, the cast handles with vegetal and figural designs in relief, one depicting a seated figure of Buddha 15cm diam. (mirror), 8.5cm and smaller (length of handles) (7) Provenance: Collection of a deceased diplomat, thence by descent. £120-180 247 A GROUP OF SOUTH-EAST ASIAN AXE-HEADS, VIETNAM, THAILAND, CAMBODIA AND JAVA, 400 B.C.-200 A.D. six of bronze, the largest of stone, 13cm long and smaller (7) Provenance: Collection of a deceased diplomat, thence by descent. £150-200 248 EIGHT BRONZE RINGS, JAVA AND CAMBODIA, 9TH-12TH CENTURIES comprising three Khmer earrings, one gilt, another set with rock crystal, and five finger rings, one of spiral form, three with flat engraved bezels and one with a figure of Nandi Bull and a Sivalingam 4cm diam. and smaller Provenance: Collection of a deceased diplomat, thence by descent. £250-350 86

249 A COLLECTION OF SOUTH-EAST ASIAN BRONZE OBJECTS, 4TH CENTURY BC-10TH CENTURY AD comprising three bracelets, five buckles, a belt attachment in the form of a serpent, a mirror handle, an ear ornament and a pendant 11cm diam. (largest bracelet), and smaller Provenance: Collection of a deceased diplomat, thence by descent. £300-400 250 A MISCELLANEOUS COLLECTION OF ANCIENT SOUTH-EAST ASIAN BRONZE OBJECTS, 14TH CENTURY AND EARLIER including three ritual ladles, a weighing balance, an oil lamp, an earring, a buckle, two hairpins and two small vessels 30cm (length of longest ladle) and smaller Approximately 24 pieces Provenance: Collection of a deceased diplomat, thence by descent. £200-300 251 No Lot

part 87

254 A BRONZE MAKARA FINIAL, JAVA, INDONESIA, FIRST HALF 9TH CENTURY the composite beast with the legs and claws of a bird and the head of an elephant, its gaping mouth spewing the head and body of a lion 9cm high, 14cm long 252 FIVE SHEET GOLD FRAGMENTARY PLAQUES, THAILAND, 8TH-13TH CENTURIES repousse relief, comprising one Mon-Dvaravati and two Baphuon depictions of Buddha, and two others, together with an undecorated gold fragment 9.5cm

Provenance: Collection of a deceased diplomat, thence by descent. For two related finials in the Jakarta Museum, see A. J. Bernet Kempers, 'Ancient Indonesian Art', Cambridge (MA) 1959, pls.313-314. £300-400

Provenance: Collection of a deceased diplomat, thence by descent. For related Mon-Dvaravati plaques in the Norton Simon Museum, see Pratapaditya Pal, 'Art from Sri Lanka and South-East Asia', Pasadena 2004, nos.85-87, pp.118-119. £500-700 253 TWO BRONZE HAIRPINS, JAVA, INDONESIA, CIRCA 14TH CENTURY each with top in the form of a human head, the tapered shaft ending in a point 20.5, 19.5cm long Provenance: Collection of a late diplomat, thence by descent £250-350

255 THREE BRONZE BELLS AND A RITUAL THUNDERBOLT (VAJRA), JAVA, 10TH-12TH CENTURIES comprising an upright bell with bottle shaped clapper and handle in the form of a vajra, two pellet bells of bulbous form and the vajra with closed points and ridged handle 16cm high and smaller Provenance: Collection of a deceased diplomat, thence by descent. £250-350

256 (illustrated online) EIGHT SMALL SOUTH-EAST ASIAN OBJECTS, MOSTLY JAVA, CIRCA 14TH CENTURY comprising three finials, two of bronze, one of stone, each with square recessed socket, four seals, three of stone, one of terracotta, and a tuff stone table, probably a gaming piece, with engraved mythical figures on either side 4.8cm long, and smaller Provenance: Collection of a deceased diplomat, thence by descent. £70-90

257 A GILT-BRONZE SEAL RING, JAVA, INDONESIA, CIRCA 10TH CENTURY the engraved oval bezel with staff symbol 2.5cm diam. approx. Provenance: Collection of a deceased diplomat, thence by descent. £200-300 258 A JAVANESE BRONZE OFFERING TRAY, INDONESIA, 10TH-14TH CENTURY with raised sides and overhanging lip, standing on flared rim foot, traces of engraved decoration in the centre 6.5cm high; 29cm diam.

259 TWO SOUTH-EAST ASIAN BRONZE VESSELS, CAMBODIA AND JAVA, 10TH-12TH CENTURIES comprising a reliquary pot and a pierced bowl, probably a funnel 15cm high (reliquary); 7cm high, 12.7cm diam. (bowl) Provenance: Collection of a deceased diplomat, thence by descent. £200-300 260 (illustrated online) A BRONZE HANGING OIL LAMP, JAVA, CIRCA 14TH CENTURY the oil reservoir of lozenge shape, with twin wick holders at each end, the flared holder and finial with trefoil profile 15cm high Provenance: Collection of a deceased diplomat, thence by descent.

Provenance: Collection of a deceased diplomat, thence by descent.

For a related bronze lamp, see A. J. BernetKempers, 'Ancient Indonesian Art', Harvard 1959, pl.268

£200-300

£80-120

261 A KHMER BRONZE OFFERING BOWL, CAMBODIA, 12TH / 13TH CENTURY in the form of a tazza, on flared turned foot, the bowl with concentric flutes and grooves, the overhanging rim with serrated edges 22cm high; 31cm diam. Provenance: Collection of a deceased diplomat, thence by descent. £400-600

263 FOUR JAVANESE BRONZE VESSELS, 10TH-12TH CENTURY comprising a holy water vessel, with cover and stopper on chain, the bowl from a ritual ladle, a beaker and a lime pot 15cm high, 18cm diam. (water vessel) and smaller Provenance: Collection of a deceased diplomat, thence by descent. For a similar holy water vessel from the Samuel Eilenberg collection, now in the Metropolitan Museum of Art, New York, see Martin Lerner and Steven Kossak, 'The Lotus Transcendent', New York 1991, no.175, p.216. For a similar ladle sold in these rooms, see 20 November 2019, lot 82 £300-400 264 TWO JAVANESE BRONZE OBJECTS, INDONESIA, 10TH-12TH CENTURY comprising the handle of a ritual bell with finial depicting a lion and two makaras, and a finial probably from a holy water vessel, with projecting makara figures surmounted by a tiered stupa, mounted 9cm, 11cm

262 A SMALL BRONZE FINIAL, JAVA, INDONESIA, CIRCA 10TH CENTURY with curved neck, depicting an elephant emerging from the mouth of a makara, an inscribed disc on the underside, mounted 10cm long approx.

Provenance: Collection of a deceased diplomat, thence by descent.

For a holy water vessel with similar finial, see A. J. Bernet-Kempers, 'Ancient Indonesian Art', Harvard 1959, pl.220

£200-300

£250-350

265 FIVE BRONZE BELLS, JAVA, CIRCA 14TH / 15TH CENTURY each with suspension ring, including two crotal bells and one in the form of a human head; together with five south-east Asian bronze bells, mostly 10th-12th centuries, one with faceted sides, another with later handle 21cm high and smaller Provenance: Collection of a deceased diplomat, thence by descent. £200-300 266 THREE ANCIENT SOUTH-EAST ASIAN BRONZE OBJECTS, 14TH CENTURY OR EARLIER the two smaller probably foot scrapers, the other consisting of twin tapered pipes with bird finial and loop attachment at the top 11, 6 & 23.5cm long

part

Provenance: Collection of a deceased diplomat, thence by descent. £120-180 267 TWO ANCIENT SOUTH-EAST ASIAN BRONZE MIRRORS, CIRCA 9TH-12TH CENTURIES both of disc shape, one of bell metal with central conical boss, the other with handle in the form of a scrolling leafy tendril 13.1, 20cm diam. Provenance: Collection of a deceased diplomat, thence by descent. £150-200

268 AN EXTENSIVE COLLECTION OF GOLD JEWELLERY FRAGMENTS, SOUTH-EAST ASIA, MOSTLY JAVA, 14TH CENTURY AND LATER comprising bead, sequin, chain and pendant elements, a few with gemstone inlay 5mm (average size), weight: 61g (A lot) Provenance: Collection of a deceased diplomat, thence by descent. £2500-3000

269 FOUR GOLD BRACELETS, JAVA, INDONESIA, CIRCA 14TH CENTURY AND LATER one composed of a double coil of sheet metal with hinged opening, the second of single coil spiral form with ropework and repousse floral decoration, the third with repousse stippling and the other of wire construction with applique medallions 6.8cm diam. and smaller, weight: 49g Provenance: Collection of a deceased diplomat, thence by descent. £1500-2500

270 A GOLD EARRING, JAVA, INDONESIA, 8TH-10TH CENTURY composed of a series of small discs arranged in a circle, applique ropework in four strands running along each side 2.7cm diam., weight: 17g. Provenance: Collection of a deceased diplomat, thence by descent. For a very similar pair from the Eilenberg-Rosen Collection, now in the Metropolitan Museum of Art New York, see inv. no. 1998.544.104a & b £700-900

271 FOURTEEN ASSORTED JAVANESE GOLD EAR ORNAMENTS, INDONESIA, MOSTLY 14TH-18TH CENTURIES each profusely decorated in relief with various scrolls, lotus and abstract patterns, a few originally inlaid with gemstones, 3cm max. diam. and smaller, overall weight: 113g Provenance: Collection of a deceased diplomat, thence by descent. £5000-7000

272 A JAVANESE GOLD REPOUSSE RELIEF PLAQUE, INDONESIA, CIRCA 14TH CENTURY of arched form, the base slightly concave, depicting a Buddhist monk, standing holding staff and begging bowl, with elaborate headdress or scarf, wearing patterned sarong, two embossed letters near the top, 18.4cm high, weight: 34g Provenance: Collection of a deceased diplomat, thence by descent. £1500-2500 273 A JAVANESE GOLD REPOUSSE RELIEF PLAQUE, INDONESIA, CIRCA 14TH CENTURY of arched form, the base slightly concave, depicting a figure, probably Siva, standing while carrying a trident and a torch, a crescent moon above 17.5cm high, weight: 27g Provenance: Collection of a deceased diplomat, thence by descent. £1000-1500 274 A JAVANESE GOLD REPOUSSE RELIEF PLAQUE, INDONESIA, CIRCA 14TH CENTURY of arched form, the base angled inwards, depicting a goddess, probably Parvati, holding a lotus in her left hand, wearing a floral sarong 15.8cm high, weight: 39g Provenance: Collection of a deceased diplomat, thence by descent. £2000-3000 94

275 A CHAM GOLD NECKLACE, VIETNAM, 12TH/13TH CENTURY OR LATER in the form of a triple strap of ropework ribbons made of gold wire held with three ring bands, the locking attachment at each end with applique lozenge decoration 43cm long opened out, weight: 119g Provenance: Collection of a deceased diplomat, thence by descent. £4000-6000 276 AN ASSORTED GROUP OF SEVEN GOLD EARRINGS, JAVA, INDONESIA, PROBABLY 10TH-14TH CENTURIES comprising a pair of crescent shape with hinged opening and gem inlay, a pair of octagonal shape with repousse lotus design and three other single pieces 3.3cm max diam. and smaller, weight overall: 20g Provenance: Collection of a deceased diplomat, thence by descent. £1200-1800

277 THREE GOLD RINGS, JAVA, 14TH CENTURY AND LATER one with repousse scroll decoration in relief, the second with engraved scrolls, the third for a child with thin wire shank 2.5cm widest diameter, weight: 12g together Provenance: Collection of a deceased diplomat, thence by descent. £800-1200 278 A FRAGMENTARY GOLD REPOUSSE ‘TIGER CLAW’ PENDANT, JAVA, 10TH-12TH CENTURY the convex body with profuse scrolling decoration, a beaded neck above supporting a tubular suspension loop 4.5 x 4.2cm, weight 12g Provenance: Collection of a deceased diplomat, thence by descent. There is a complete ‘tiger claw’ necklace from the EilenbergRosen collection, now in the Metropolitan Museum of Art New York. Our fragment is closest to the central pendant. See https://www.metmuseum.org/art/collection/search/49722 £800-1200 279 A GOLD REPOUSSE 'TIGER CLAW' PENDANT, JAVA, 10TH12TH CENTURY the convex body with profusely scrolling decoration in relief, set with two amethysts, a beaded neck above supporting a tubular suspension loop, and pointed finial below 6.5 x 4.5cm, weight 13g Provenance: Collection of a deceased diplomat, thence by descent. See footnote to lot 278 £600-900 96

280 A GOLD NECKLACE, JAVA, MOSTLY 10TH-12TH CENTURY re-strung with associated ancient beads of various shapes, including melon, faceted and openwork forms, 39cm long (extended), weight: 52g Provenance: Collection of a deceased diplomat, thence by descent. £2500-3000 281 ~ A GOLD AND CORAL NECKLACE, TIBET, 18TH CENTURY OR EARLIER with ten spherical hollow gold beads, some with remaining turquoise inlay, engraved with floral and medallion motifs on stipled fround, interspersed with smaller coral beads, further coral beads at each end 39cm long (extended), weight: 50g including coral Provenance: Collection of a deceased diplomat, thence by descent. £1500-2500 282 A JAVANESE PARCEL-GILT SILVER RUBY-SET RING, INDONESIA, 19TH CENTURY OR EARLIER with ridged flank, flared shoulders and applique beadwork around the head 2.5cm diam. Provenance: Collection of a deceased diplomat, thence by descent. £200-300 97

283 A KHMER BROWN GLAZED JAR, CAMBODIA, 12TH/13TH CENTURY of flattened spherical form, with stylised birdshaped handle, narrow shallow neck and nipple spout, with impressed abstract decoration in rings around the shoulder, 13cm high; 20cm wide Provenance: Collection of a deceased diplomat, thence by descent. For a closely related jar, see John Guy, Ceramic Traditions of South-East Asia, Singapore 1989, p.22, pl.17. £150-200 284 A KHMER BROWN GLAZED JAR, CAMBODIA, 12TH/13TH CENTURY with small twin loop handles and concentric turned ring design on the shoulder 17cm high;18cm wide Provenance: Collection of a deceased diplomat, thence by descent. For a similarly shaped vessel, but without the handles, see Dawn Rooney, 'Khmer Ceramics: Beauty and Meaning', Bangkok 2010, p.118. £150-200 285 EIGHT BROWN GLAZED STONEWARE OBJECTS, KHMER, CIRCA 12TH CENTURY comprising a small ewer, a small melon-shaped jar, three lids and two further jars, together with a small glass jar and a Chinese bottle with carved landscape design, probably 19th century 16cm high and smaller (10) Provenance: Collection of a deceased diplomat, thence by descent. £300-400 286 TWO SAWANKHALOK CELADON VESSELS, THAILAND, 14TH/15TH CENTURY comprising a kendi and a bowl with underglaze carved leaf decoration, together with Two Moulded Small Dishes, probably Vietnam, 15th century, with lotus designs in relief 16.5cm. (height of kendi) 17cm (diam. of bowl) Provenance: Collection of a deceased diplomat, thence by descent. £250-350

287 (illustrated online) ☐ A PALM-LEAF BUDDHIST MANUSCRIPT, BURMA (NOW MYANMAR) CIRCA 19TH CENTURY of long rectangular form, approximately 350 gilt edged folios, each inscribed with nine lines of Burmese script, with twin piercings for binding, enclosed by a pair of gilt wood covers with stylised foliate decoration, 5.5 x 50.5cm (folios); 22cm deep (including covers); together with two further palmleaf Buddhist manuscripts, Burma, 19th/20th century, each of long rectangular form, with approximately 300 gilt-edged folios, each inscribed with eleven lines of Burmese script, with twin piercings for binding, enclosed by a pair of wood covers, one lacquered in red, 6 x 49.5, 6 x 49cm (folios); 21.5, 19cm deep (including covers) (3) Provenance: From the collection of a retired manuscript curator £40-60 288 (illustrated online) A BETEL BOX, BURMA, 19TH/EARLY 20TH CENTURY lacquered split bamboo, of cylindrical form with linear sgraffito decoration mostly in russet lacquer, containing two inner trays 16cm high; 16.8cm diam. Provenance: Collection of a deceased diplomat, thence by descent. £120-180

289 FIVE BALINESE GEM-SET GOLD RINGS, INDONESIA, CIRCA 19TH CENTURY each with granular decoration, inlaid with tourmaline, moonstone, ruby, garnet and emerald respectively, together with three hardstone intaglio seals 2.5cm max diam. and smaller (8)

290 A MISCELLANEOUS GROUP OF SOUTH-EAST ASIAN JEWELLERY, MOSTLY 19TH-20TH CENTURY comprising ten amber and one gold bead drops, the former with gold mounts, two intaglio seal rings, a nephrite frog pendant, an amber necklace with gold mounts, two large gilt pendant earrings, a single gold earring and another element each set with a spinel and five other gold elements 36.5cm (necklace extended straight), 3cm average height (bead) (24) Provenance: Collection of a deceased diplomat, thence by descent. £1000-1500

Provenance: Collection of a deceased diplomat, thence by descent. £1200-1500 99

291 TWO LACQUERED BOWLS, BURMA (NOW MYANMAR), 20TH CENTURY one in plain black, the sides with six ridges terminating in short feet, the other with fluted sides and red interior 20cm high; 35cm diam, 8.5cm high; 33cm diam. Provenance: Collection of a deceased diplomat, thence by descent. £150-200 292 A LACQUER BETEL BOX, BURMA (NOW MYANMAR), 20TH CENTURY of cylindrical form with intricate sgraffito figural and abstract decoration in green, black and red lacquer, containing two inner trays 14cm high; 16cm diam. Provenance: Collection of a late diplomat, thence by descent £80-120 293 A PARCEL GILT SHEET SILVER HEAD OF A DEITY, JAVA, CIRCA 18TH CENTURY wearing elaborate twin-peaked headdress, and tiara and earrings, his face gilded with moustache, and raised eyebrows 3.5cm high Provenance: Collection of a deceased diplomat, thence by descent. £150-200 294 AN ANGLO-BURMESE LACQUERED WOOD SIDE TABLE, LATE 19TH CENTURY the octagonal top resting on folding arcaded legs, the outer surfaces with engraved black lacquer forming a peacock and scroll design, red lacquer on the inside 40cm high; 40.5cm max. diam. Provenance: Collection of a late diplomat, thence by descent £120-150 100

295 A LACQUERED WOOD CARRYING POLE, BURMA (NOW MYANMAR), CIRCA 1900 of bowed form, a carved figure of a rat at either end nibbling at the basket holder 137cm long Provenance: Collection of a deceased diplomat, thence by descent. £200-300

296 A COLLECTION OF BURMESE LACQUER OBJECTS, 20TH CENTURY split bamboo with red-orange lacquer, several painted and sgraffitoed, comprising a bowl and cover, six cylindrical betel boxes, three trays from betel boxes, and two rectangular boxes 26.5cm diam. (12) Provenance: Collection of a deceased diplomat, thence by descent. £250-350 297 A PAIR OF JAVANESE EARRINGS, INDONESIA, 20TH CENTURY gilt metal, each with rosette set with crystals and garnets, hinged clips 2.7cm long approx. Provenance: Collection of a deceased diplomat, thence by descent. £150-200

101

298 THREE SILVER ITEMS, INDIA AND BURMA, 20TH CENTURY comprising a belt with openwork floral links and convex buckle engraved with lion design, a bracelet composed of interlaced wire element with chain and drops below and a ropework silver chain 86.5cm long (belt) and smaller Provenance: Collection of a deceased diplomat, thence by descent. £150-250 299 (illustrated online) A SILVER-GILT BRACELET, SOUTH-EAST ASIA, PROBABLY JAVA, 20TH CENTURY of circular form with overlapping ends, each engraved with a leafy sprig motif 8.5cm diam., weight: 27g Provenance: Collection of a deceased diplomat, thence by descent. £120-180 300 A JAVANESE CARVED WOOD FIGURE OF A MEDICINE MAN (DUKUN), INDONESIA, EARLY 20TH CENTURY with frowning expression, wearing a bun-shaped headdress, holding a bottle and cup 20cm high £80-120 301 A PIDAN HANGING, CAMBODIA, CIRCA 1900 polychrome ikat dyed silk, both sides with horizontally arranged design comprising repeated Buddha images with shrines and paired figures of devotees below 93 x 285cm For an article on pidan cloths, see https://www.cooperhewitt. org/2018/09/17/hol-pidanan-otherworldly-cambodianexperience/ £250-350

detail 102

302 ☐ A LARGE CARVED AND PAINTED WOOD BOAT PROW, JAVA, INDONESIA, 19TH CENTURY in the form of a stylised fish, with scrolling fins, serpentine forked tongue and bowed body, mounted 220cm long; 56cm high (approx.) £1000-1200 303 (illustrated online) ☐ A COLLECTION OF SIX JAVANESE SHADOW PUPPETS (WAYANG KLITIK), INDONESIA, 19TH CENTURY polychrome-painted wood, carved in low relief with leather attachments, each in the form of a figure, comprising a European figure wearing a coat, a maiden wearing a cloth skirt, and five others, including animal headed deities, each with grotesque faces 49cm long and smaller £150-250 ☐ 304 A CARVED WOOD FIGURE OF A KOMODO DRAGON, INDONESIA, 20TH CENTURY realistically carved, with green and yellow painted scales 14cm high; 126cm long £250-350

103

part 305 ☐ A BEADED SKIRT, KALIMANTAN, BORNEO, FIRST HALF 20TH CENTURY formed from a rectangular panel stitched into a cylinder with cowrie shells along the seam, the glass beads forming a vibrant polychrome abstract design, mounted on cotton cloth, tassels with metal pendants along the lower edge 54 x 44cm (laid flat) For a closely related skirt in the Metropolitan Museum of Art, New York, see inv. no.1997.420.1 £300-500 306 ☐ TWO WOVEN CLOTH HANGINGS, SUMATRA, INDONESIA, EARLY 20TH CENTURY each of long vertical form, depicting a stylised male figure, surrounded by geometric motifs, tasselled ends, with carved wood hanging rod 175 x 35cm £200-300 307 ☐ A GROUP OF WOVEN TEXTILES, INDONESIA, 20TH CENTURY each of rectangular form with tasselled ends, comprising three ikat cloths and two inscribed polychrome hangings 175 x 100cm (average size) £150-250

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part

308 A GROUP OF DAYAK CARVINGS, BORNEO, CIRCA 19TH CENTURY comprising three standing and two seated wood figures, a pair seated back to back and a small figure of a monkey with Chinese characters inscribed on the base, all but the last mounted 12cm high and smaller (7) Provenance: The stands are labelled 'Ex-De Vriess Collection'. £200-300

309 A GROUP OF DAYAK CARVINGS, BORNEO, CIRCA 19TH CENTURY comprising three standing figures, a mother and child, a seated male figure and a group of four figures arranged around a top from a container, all but mother and child mounted 11.4cm high and smaller (6) Provenance: The stands are labelled 'Ex-De Vriess Collection'. £200-300

310 ☐ A PHOTOGRAPH DEPICTING A CAMBODIAN MUSICAL ENSEMBLE, 19TH CENTURY albumen print, the scene showing seven boys playing various instruments, watched over by two adult men, inscribed in French: 'Pnom-Penh, Un orchestre cambodgien compose de jeunes' 13 x 18cm Two of the boys are playing instruments similar to the Chinese erhus in lot 399. £80-120

311 (illustrated online) ☐ A COLLECTION OF INTERNATIONAL AUCTION CATALOGUES, MOSTLY AFRICAN AND OCEANIC ART, 1990-2008 Sotheby's, Christie's, Bonhams and Phillips including the collections of Baudouin de Grunne, the Egon Guenther Family, Marc and Denyse Ginzburg, Saul and Marsha Stanoff, Kuhn, Peter Hallinan, Michel Gaud, Andreas and Kathrin Lindner, William W. Brill, Peter and Veena Schnell and Brian and Diane Leyden (approximately 50) £80-120

105

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THE TONY BINGHAM COLLECTION: ASIAN, OCEANIC AND AFRICAN MUSICAL INSTRUMENTS TO BE SOLD WITHOUT RESERVE LOTS 213 - 429

Tony Bingham has been one of the leading international figures in the world of antique musical instruments for over fifty years. He started in a shop on the King’s Road in the 1960s, followed by premises on Soho’s Poland Street. He then moved into a gallery on Pond Street, Hampstead, which was his base for almost four decades. Tony is best known as an authority on European and American instruments, many major examples of which he has sold to some of the world’s leading institutions and collectors. However, a visit to his house in North London reveals a wider interest, with a profusion of less familiar types of instrument, many purchased on his frequent travels with his wife, Irene. The array offered in this auction comes from places as diverse as Africa, India, Afghanistan, the Indonesian archipelago and New Guinea. Particularly notable is how just as much of the craftsmen’s skill has been devoted to their aesthetic and spiritual properties as to their main, music making function. Now retired, Tony and Irene have decided it is time to part with their collection so that these unique instruments can be enjoyed by the next generation of collectors. Photocopies of the references mentioned in the footnotes of most lots are available on request.

Tony Bingham’s former showroom in Hampstead 107

312 ☐ A CUP GONG (DOBACHI), JAPAN, 7TH CENTURY OR LATER beaten copper alloy, of bowl shaped form, the lower sides with stippled decoration in low relief, inscribed around upper edge in Japanese, together with later lacquer stand and leather lined turned wood beater 27cm high, 40cm wide approx. The inscription has been read: 'Tenmu, second year, first month (ie. 674 A.D.), Honsho Temple Offering'. The Dobachi, also known as Kin or Keisu, is used by the head priest in Buddhist ritual to mark important parts of the ceremony. There is a closely related example in the Metropolitan Museum of Art, New York, inv. no. 89.4.1540. For an illustration of a priest striking a cup gong during 'Hoyo' (a Buddhist ceremony), see Kishibe Shigeo, 'The Traditional Music of Japan', Tokyo 1969, fig. 40. For further information see also F. T. Piggott, 'The Music and Musical Instruments of Japan', London 1893, p.206f and pl.XVII and William P. Malm, 'Japanese Music and Instruments', Rutland VT, 1990, pp.68-69. £400-600

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313 ☐ A CUP GONG (DOBACHI), JAPAN, DATED 1534 A.D. beaten copper alloy, of bowl shaped form, the lower sides with waving ridges in relief, inscribed around upper edge in Japanese, together with later lacquer stand and leather lined turned wood beater 31cm high; 43cm wide A transcription and part translation of the inscription, which includes the date, is sold with this lot. See footnote to lot 312 £700-900

314 ☐ A CUP GONG (DOBACHI), JAPAN, DATED 1565 A.D. beaten copper alloy, of bowl shaped form, the lower sides with scale motifs in relief, inscribed around upper edge in Japanese, together with later lacquer stand and leather lined turned wood beater 31cm high; 41cm wide The inscription has been part translated: 'Ei Roku, eight year, third month, Kyoto South Zen temple, treasure...Oda Nobunaga'. A transcription is sold with this lot. Oda Nobunaga, known as the Demon King, was a feudal lord and one of the most important figures in 16th century Japan.

315 ☐ A CUP GONG (DOBACHI), JAPAN, DATED 1682 A.D. beaten copper alloy, of bowl shaped form, the lower sides with scale motifs in relief, inscribed around upper edge in Japanese, together with later lacquer stand and leather lined turned wood beater 32cm high; 44cm wide The inscription has been part translated: 'Tenwa, second year (year of dog), fourth month, lucky day... Janen temple treasure'. A transcription is sold with this lot. See footnote to lot 312 £700-1000

See footnote to lot 312 £600-900

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316 ☐ A CUP GONG (DOBACHI), JAPAN, MEIWA ERA, 1764-1772 beaten copper alloy, of bowl shaped form, the lower sides with stippling in relief, inscribed around upper edge in Japanese, together with later lacquer stand and leather lined turned wood beater 27cm high; 39cm wide The inscription includes the names of temples and a date in the Meiwa era (1764-1772). A transcription and part translation is sold with this lot. See footnote to lot 312 £600-800 317 ☐ A CUP GONG (DOBACHI), JAPAN, DATED 1782 A.D. beaten copper alloy, of bowl shaped form, the lower sides with scale motifs in relief, inscribed around upper edge in Japanese, together with later lacquer stand and modern turned wood beater 34.5cm high; 47cm wide approx. The inscription has been part translated: 'The ninth month of the second year of Tenmei (1782), a good/lucky day, Hyogetsu temple, Mt. Tomyo'. A prayer is included. A transcription is sold with this lot. See footnote to lot 312 £700-900 318 ☐ A CUP GONG (DOBACHI), JAPAN, CIRCA 18TH CENTURY beaten copper alloy, of bowl shaped form, the lower sides with scale motifs in relief, inscribed around upper edge in Japanese, together with modern cushion stand and turned wood beater 26cm high; 36cm wide See footnote to lot 312 £300-400 110

319 ☐ A CUP GONG (DOBACHI), JAPAN, CIRCA 18TH CENTURY beaten copper alloy, of bowl shaped form, the lower sides with stippled relief decoration, embossed Japanese characters on lip, together with later beater 31cm high; 42cm wide A transcription of the writing is sold with this lot. See footnote to lot 312 £300-500 320 ☐ A CUP GONG (DOBACHI), JAPAN, DATED 1884 A.D. beaten copper alloy, of bowl shaped form, the lower sides with stippling in relief, inscribed around upper edge in Japanese, together with later lacquer stand and wood beater 28cm high; 38cm wide approx. The inscription has been transcribed and part translated and includes the date: 'Meiji seventeen years old, third month (1884)' See footnote to lot 312 £200-300 321 ☐ A SET OF SEVEN HARDSTONE CHIMES (QING), CHINA, EASTERN ZHOU PERIOD OR LATER each of undecorated arched form, of differing sizes, with piercing at the apex for suspension 33.5cm long and smaller According to A.C.Moule, the qing is struck at the end of each line of the hymn to Confucius, (A.C.Moule, 'A List of Musical and Other Sound Producing Instruments of the Chinese', Shanghai 1908, p.30 & pl.I) £700-900 111

322 ☐ A SET OF FOUR HARDSTONE CHIMES (QING), CHINA, EASTERN ZHOU PERIOD OR LATER each of arched form, with a pair of incised horses and chariots on each side, with piercing at the apex for suspension 39.5cm long and smaller See footnote to lot 321 £400-600

323 ☐ A SMALL CIRCULAR DRUM (PANG-KU), CHINA, CIRCA 1900 the frame composed of five thick wood wedges held within a slender brass frame, the hide face fixed with multiple iron nails, label with Chinese writing inside 9cm high; 26cm diam. The pang-ku is traditionally used to lead the orchestra in Chinese theatre, resting on a folding stand, accompanying singing along with gong, cymbals and stringed and wind instruments. See A.C.Moule, 'A List of Musical and Other Sound-Producing Instruments of the Chinese', Shanghai 1908, p.48 & pl.VII(8). £120-180

324 ☐ A SPINNING GONG (KYI-ZI), BURMA, CIRCA 19TH CENTURY bronze, of flat, stupa shaped form with upturned sides, pierced at the top for suspension, 17 x 24.5 x 1.5cm (max. thickness) A graduated set of these gongs, each sounding a different note, were hung in temples. For a modern example in the British Museum, see inv. no. 1996,0501.49 £120-180

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325 ☐ A DONG SON DRUM, NORTHERN VIETNAM, 5TH CENTURY BC OR LATER cast bronze, the circular top with stellate central medallion in low relief, the sides with bands of stud and hatching decoration, several random square piercings, twin strap handles on either side, a frieze of repeated triangular motifs around the foot, 29cm high; 54cm max. diam. For a related drum, also with the piercings to the body, in the Musee Guimet, Paris, see inv. no. P 243. Drums such as these have been found in burial sites datable to the Dong Son period (5th century BC-1st century AD) and are thought to have had a role in fertility rites. Although this appears to be an early example, similar drums continued to be produced much later in other parts of South-East Asia (see lot 326). £800-1200

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326 ☐ A KAREN FROG DRUM, BURMA, 18TH/19TH CENTURY cast bronze, the circular top with central stellate medallion, surrounded by concentric ridges in low relief, four stylised frogs around the edge, the sides with two pairs of loop handles and ridged decoration 35cm high; 48cm diam. This type of drum which ultimately derives from the much earlier Dong Son type (see lot 324) was traditionally made in the Shan states for the Karen people. The drum would be beaten during a ritual to encourage rainfall to enable the harvest. The Karen are a major ethnic group in Burma with origins in Yunnan province in China. See Richard M. Cooler, 'The Karen Bronze Drums of Burma: Types, Iconography, Manufacture and Use', Leiden 1995 £800-1200

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327 ☐ A BUDDHIST RITUAL DRUM (DAMARU), TIBET, 19TH CENTURY the twin hemispherical wood bowls with hide faces, the neck fringed with cowrie shells, long Chinese brocade tasselled ribbon attachment 10 x 15cm (excluding ribbon) This smaller type of damaru is known as Da-Chung. For a 19th century image of a Tibetan lama holding a similar damaru, see Francoise Borin, 'Le Tibet d'Alexandra David-Neel', p.120. For further information on the damaru, see David A. Scheidegger, Tibetan Ritual Music, Rikon (Switzerland) 1988, pp.5354. £200-300

328 ☐ A DOUBLE SIDED FRAME DRUM (PHYED-RNGA), TIBET, 19TH CENTURY painted wood and hide, of circular form with bulging sides painted with cloud designs 14cm high; 32cm wide The Phyed-rNga is similar to the Lag-nga, but without the long handle. It is associated with the indigenous Bon religion in Tibet. For an account of legends associated with this drum, see Peter Crossley-Holland, ‘Musical Instruments in Tibetan Legend and Folklore’, Los Angeles 1982, p.26f. See also A. Buchner, ‘Folk Music Instruments of the World’ pl.21, for an illustration of an ensemble of folk musicians in Lhasa including a drummer with a phyed-rNga. £300-500

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329 ☐ A DOUBLE HEADED FRAME DRUM (LAG-NGA), TIBET OR TIBETAN DIASPORA, 19TH/20TH CENTURY the bulging carved and painted wood body decorated with the auspicious Buddhist symbols, the heads of stretched hide, the carved and painted wood handle with lotus designs in relief with vajra finial, fitting into a socket in the body, together with associated beater 122cm long; 47cm diam. of head For an illustration of a Tibetan monk playing a similar ritual drum, see Ivan Vandor, ‘Bouddisme Tibetain: Les Traditions Musicales’, Paris 1976, pl.21. For further information on this type of drum, see Daniel A. Scheidegger, ‘Tibetan Ritual Music: A General Survey with Special Reference to the Mindroling Tradition’, Rikon 1988, pp.3536. £300-500

330 ☐ A DOUBLE HEADED FRAME DRUM (LAG-NGA), TIBET OR TIBETAN DIASPORA, 19TH / 20TH CENTURY the bulging painted wood body decorated with dragons amidst stylised clouds, the hide heads painted in green, the carved wood handle with lotus designs in relief, fitting into a socket in the body 126cm long; 51cm diam. of head See footnote to the previous lot. £300-500

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331 ☐ A PAIR OF METAL DRUMS (NAGARA), RAJASTHAN, INDIA, 20TH CENTURY in the form of two bowls of different sizes, painted with coloured stripes, the heads of hide held with grids of leather tensioning, each with ring stand wrapped with rope, 40cm, 27cm diam. respectively Drums of this typical Rajasthani type are always played in pairs tilted towards each other and beaten with sticks. They are seen on festive occasions and accompany dancing. The pitch is adjusted by allowing the head to heat up in the sun. For a photograph of a pair being played and further information, see K.S.Kothari, 'Indian Folk Musical Instruments', New Delhi 1968, p.40 & pl.45. £200-300 332 ☐ A TWELVE-SIDED FRAME DRUM, RAJASTHAN, INDIA, 19TH CENTURY in the form of a dodecagon, the wood frame with painted decoration and iron brackets, the inner surfaces with repeated images of Krishna, Radha and flower motifs 58.5cm max. diam., 8.5cm deep This type of drum is held on its side and beaten with the player's fingers. For an early depiction of a similar drum, referred to as a 'dump', see F. Balthazar Solvyns, 'A Collection of Two Hundred and Fifty Coloured Etchings Descriptive of the Manners, Customs and Dresses of the Hindoos', published 1799, Section 11, no.12. £150-250 333 ☐ A DOUBLE-HEADED DRUM (PAKHAWAJ), PUNJAB, INDIA, 20TH CENTURY of bulging cylindrical form, with turned decoration, the heads held tight with multiple leather straps, with wood reels (gatte) inserted for tensioning 56cm long; head diameter 17cm The pakhawaj, which is thought to be the forerunner to the better known tabla, is positioned horizontally in front of the player, who uses both hands to beat each end. For further information and a photograph of a similar example being played at the Sikh centre of Bhaini Sahib in Punjab, see Alka Pande, 'Folk Music and Musical Instruments of Punjab, p.87 £80-120 117

334 ☐ A FRAME DRUM, RAJASTHAN, INDIA, 20TH CENTURY of circular form, the hide head mounted on bent wood hoop, with repousse silver applique decoration 6cm high; 29cm diam. £80-120

335 ☐ A SINGLE HEADED DRUM (TABLA), NORTHERN INDIA, 20TH CENTURY of jar shaped form, the wood body with turned decoration, the head tensioned with multiple leather straps and tightened with inserted painted wood reels (gatte) 27cm high The term tabla is also generally used for a duo of drums, the other type being the copper bowl-shaped baya. See Thomas E. Cross, 'Instruments of Burma, India, Nepal, Thailand, and Tibet: The Shrine to Music Museum, Catalogue of the Collections, Vol II, 1982, p.5. £70-90 118

336 ☐ A NEW GUINEA COLUMN DRUM (KUNDU), PAPUAN GULF, 19TH / 20TH CENTURY of slightly waisted slender cylindrical form, with reptile skin head, opened at the bottom to form a stylised crocodile mouth 103cm long For two drums of similar form, see 'The Artifacts and Crafts of Papua New Guinea', Port Moresby 1988, p.19, fig.104. £150-250

337 ☐ A NEW GUINEA COLUMN DRUM (WALUWA), GOGODALA PEOPLE, 19TH / 20TH CENTURY of waisted cylindrical form, the hollowed body with central handle, the head of reptile skin, the sides with abstract carved and painted insignia 91cm high

338 ☐ A COLUMN DRUM, MIDDLE SEPIK RIVER, NEW GUINEA, CIRCA 19TH CENTURY of waisted cylindrical form, the hollowed body with central handle, the head of reptile skin, the sides with carved and painted designs and faces with beaked noses in relief, 61cm high

For six similar waluwa drums in European collections, see A.L. Crawford, 'Aida: Life and Ceremony of the Gogodala', Bathurst 1981, p.350. See also 'The Artifacts and Crafts of Papua New Guinea', Port Moresby 1988, p.19.

For related examples, see 'The Artifacts and Crafts of Papua New Guinea', Port Moresby 1988, p.19. £500-700

£300-500 119

339 ☐ A LARGE CEREMONIAL SLIT DRUM (GARAMAT), LOWER RAMU OR COASTAL SEPIK, NEW GUINEA, EARLY 20TH CENTURY of long cylindrical form with linear opening running along the top, the sides carved and painted with abstract motifs in red, white and green, a projecting finial at each end in the form of a human figure with overside mask-like face, 201cm long Provenance: Acquired by the Christensen Fund; donated to the Western Australia Museum; de-accessioned in the early 1990s, when acquired by the vendor. Published: Alex Bortignon (ed.), 'Social Rite and Personal Delight' Perth 1980, p.66. For an illustration of another garamat in East Sepik District, see K.A.Gourlay, 'Sound Producing Instruments in Traditional Society', Port Moresby and Canberra 1975, p.114, pl.14 £1000-1500

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340 ☐ A LARGE CEREMONIAL SLIT DRUM (GARAMAT), KADOVER ISLAND, NEW GUINEA, CIRCA 19TH CENTURY of long cylindrical form, carved from a single tree trunk, with linear opening running along the top, the sides carved with abstract scroll motifs, a projecting finial at each end in the form of a composite figure 214cm long Provenance: Peter Hallinan (1938-2015). Collected in Kadover Island following a volcanic eruption c.1970. Copies of three photographs by Hallinan of the drum being taken by boat to the mainland are included with this lot. For illustrations of other, similar garamat drums, see Gloria Stewart, 'Introduction to Sepik Art' Port Moresby 2000, pp.56, 58 and Barry Craig, 'Papua New Guinea: The Sepik', figs.38-40. See also footnote to lot 339. £2000-3000

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341 ☐ TWO GARAMAT DRUMSTICKS, UPPER SEPIK REGION, NEW GUINEA, 19TH / 20TH CENTURY wood, each of long, slightly tapering form, with scrolling zoomorphic carved decoration, the larger with zigzag head, the other rounded 73, 60cm long For closely related examples in the Museum fuer Volkerkunde, Berlin, see Heinz Kelm, 'Kunst vom Sepik II, Berlin 1966, nos.171176. For Garamat drums, see lots 339 & 340. £300-500

342 ☐ A CAST BRONZE DRUM (MOKKO), SUNDA ISLANDS, INDONESIA, CIRCA 19TH CENTURY of waisted, double bell-shaped form, with flat bronze head and open base, the upper portion with four loop handles, the exterior decorated with scrolling tendrils in low relief 54.5cm high Provenance: formerly in the H. L. Diamond Collection, Vienna Published: A. Janata, 'Musikinstrumente der Volker: Ausseuropaeische Musikinstrumente und Schallgaraete; Systematik und Themenbeispiele', Vienna 1975, pp.2627, pl.18. £700-900

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343 ☐ A NEW HEBRIDES (NOW VANUATU) SLIT DRUM, 20TH CENTURY OR EARLIER carved from a hollowed tree trunk, in the form of a stylised figure, with crescent-shaped head, with large circular eyes and serrated hair and beard, the cylindrical body with slit running down the belly 143cm long For a similar example from Fanu Nasara in the British Museum, see inv. no. Oc1976,11.80 £300-400 344 ☐ A KETTLEDRUM (NIHASS), SUDAN, DATED A.H. 1203 / 1788 A.D. copper with hide head and tensioning cords, the sides with repeated beaten lozenge design, incised inscription in arabic including date, 37cm high; 53cm wide Provenance: Acquired in Sudan in 1899 by Lord Edward Cecil (son of the British Prime Minister, Lord Salisbury), ADC to General Kitchener. It is thought to have been brought to England following the battle of Omdurman. Purchased by the vendor in 1995 at an auction of some contents from Hatfield House. The first line of the inscription appears to be the original owner's name. Malkh (or Malik) Rahamah al-Amin. The second line is a place name, Hifah or Heifah. This type of drum was used in northern, central and western Sudan and played in time of war, to announce a great calamity or the death of a chief. £400-600

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345 ☐ A CEREMONIAL SLIT DRUM (GARAMAT), MIDDLE SEPIK AREA, NEW GUINEA, 19TH CENTURY OR EARLIER of cylindrical form, carved from a single tree trunk, with linear opening running along the top, the sides carved with semi-abstract cloud and figural motifs, a projecting finial at each end in the form of paired human and animal figures 152cm long See footnotes to lots 339 & 340. £600-800

346 ☐ A BRONZE RATTLE, 19TH/20TH CENTURY composed of an archaistic Chinese bronze mirror with central ring handle, eight pellet bells attached to the lobed rim 20cm diam. £80-120

347 ☐ A SET OF SIX SUSPENDED BRONZE BELLS, CHINA, EARLY 20TH CENTURY of descending size, each of hemispherical form, strung together, decorated in gold with red and black lacquer, with central lotus surrounded by flower and tree motifs, with key design around the rim 21.5, 18.3, 15.5, 13, 11.2 and 9.5cm diam. £200-300

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348 ☐ A PAIR OF RITUAL CYMBALS (ROLMO), TIBET, 19TH CENTURY alloy, the interior of the domes with red and gold svastika design, each with leather handle, in wood and cloth hinged case 16cm diam., 4cm deep approx. each cymbal; 7.5cm high, 18cm diam. (case) The rolmo is played by the priest master of ceremonies, known as Oom-dse. It is also played during mask dances. For further information, see Daniel A. Scheidegger, 'Tibetan Ritual Music', Rikon 1988, pp.59-60. £500-700

349 ☐ A GROUP OF FOUR BRASS RITUAL BELLS, INDIA, 18TH/19TH CENTURY each with open top and arched suspension loop, linked by iron chain 10cm and smaller (height of bell) £100-150

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350 ☐ A PAIR OF RITUAL RATTLES (PUJARI KAICHILAMBU), TAMIL NADU, SOUTH INDIA, 19TH CENTURY tinned bronze, in the form of a double crescent, the hollow body filled with pellets, an open slit on each side to emit the sound, the sides with applique Hindu emblems, beadwork and ridge decoration, one inscribed in Tamil 17.5 x 17 x 4.5cm approx. For a picture of a pair of similar rattles and a woman holding two in the playing posture, see Prof. P. Sambamoorthy, 'Laya Vadyas', New Delhi, 1962, p.41. See also British Museum, inv. no. 2005,0716,0.1.3, for a Tiruchirapalli painting of a story teller reciting to villagers with the aid of pujari kaichilambu. £150-250 351 ☐ A LARGE RITUAL RATTLE (PUJARI KAICHILAMBU), TAMIL NADU, SOUTH INDIA, 19TH CENTURY brass, in the form of a double crescent, the hollow body filled with pellets, an open slit on each side to emit the sound, a loop at each end, one with a Nandi finial, the sides with applique Hindu emblems and beadwork and ridge decoration, one inscribed in Tamil with European numbers and initials 22.5 x 24 x 11cm approx. See footnote to the previous lot. £250-350 352 ☐ A BRONZE RITUAL BELL, NEPAL, 18TH / 19TH CENTURY with lotus and stylised leaf decoration in relief, the arched suspension loop with bud finial 29.5cm high £80-120

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353 353 ☐ TWO PAIRS OF RATTLES (KARTAL), NORTH INDIA, 19TH / 20TH CENTURY the smaller pair of brass, the oval body with central finger loop, a trio of pellet bells on the loop and at each end, the larger pair of wood with rectangular iron frame and two pairs of brass jingles either side of the central grip 10.5cm long each (brass), 25cm long each (wood) (4) For an illustration of similar rattles of both of these types, see Ram Avtar, 'Musical Instruments of India' New Delhi c.1980, p.95, pl.84, and for the wood type being played in Rajasthan, see Chandramani Singh, 'Performing Arts of Rajasthan, Jaipur 2007, pl.59A

354 354 ☐ TWO PAIRS OF RATTLES (KHARTAL), NORTHERN INDIA, 19TH / 20TH CENTURY carved wood, each with central handle flanked by twin jingles at each end 27, 25cm For a pair of kartals from Uttar Pradesh in the Shrine to Music Museum, Vermillion, South Dakota, see Thomas E. Cross, 'Instruments of Burma, India, Thailand and Tibet', Vol.II, 1982, p.4. For an illustration of a musician in Rajasthan playing khartals, see K. S. Kothari, 'Indian Folk Musical Instruments', New Delhi 1968, pp.16, 19, 23. £150-250

£200-300

127

355 ☐ A GROUP OF DANCE RATTLES, RAJASTHAN, INDIA, 19TH CENTURY two with a long and a short turned wood handle, attached with chains threaded with brass jingles, another similar with wood and iron handle, together with a large Ritual Rattle (Kartal), with four rows of paired jingles 44cm long and smaller £250-350 356 ☐ A BOXWOOD SHAMISEN PLECTRUM (BACHI), JAPAN, 19TH CENTURY of typical flared form, with pierced palmette finial and two columns of Japanese script on one side 19cm long The shamisen ('three strings') is a stringed instrument similar to a mandolin, used to accompany Kabuki and folk song performances. £80-120

128

357 ☐ AN ARCHED HARP (SAUNG GAUK), BURMA, 20TH CENTURY lacquered and parcel gilt wood body with glass inlay and relief decoration, with deerskin soundboard and long curved neck made of the root of the sha tree, the fourteen strings with cord tuners, associated folding stand 72cm high For an earlier saung gauk in the Victoria and Albert Museum, see inv. no. 258-1882. See also Thomas E. Cross, 'Instruments of Burma, India, Nepal, Thailand, and Tibet: The Shrine to Music Museum, Catalogue of the Collections', Vol II, 1982, p.3 £250-350 358 ☐ TWO JEW'S HARPS (CHANG), PROBABLY NORTHERN AFGHANISTAN, EARLY 20TH CENTURY the tapered wood handle covered with inlaid metal, the forked iron lamella with scrolling tip 19cm approx. each For a closely related example in the Museum of Fine Arts, Boston, see Mitchell Clark, 'Sounds of the Silk Road: Musical Instruments of Asia', Boston 2005, pp.132-133. £150-250 129

359 ☐ A CHITRALI SITAR, NORTH-WESTERN PAKISTAN, LATE 19TH / EARLY 20TH CENTURY the long-neck with six tuning pegs at the end, the drop-shaped body carved in low relief with arabesque designs on the back 109cm long The chitrali sitar is a popular type of tanbur or lute found in several parts of Northern Pakistan and Afghanistan and closely related to the Iranian setar which usually has a more rounded body. It is only indirectly related to the Indian sitar. £300-500 130

360 ☐ A LONG NECKED LUTE (TANBUR), AFGHANISTAN, EARLY 20TH CENTURY the headstock with six tuning pegs, eleven further pegs for the 'sympathetic' strings arranged along the neck, with bone and black lac(?) decorative inlay, the gourd shaped body with small pierced holes 102cm long For further information and illustrations of a similar tanbur, see Mark Slobin, 'Music in the Culture of Northern Afghanistan, New York 1976, pp.235-280. £600-800

361 ☐ A SMALL BRASS TANDURA, ORISSA, 19TH CENTURY with repousse and chased decoration, the body with double headed peacock design, the neck with scrolling irises, the headstock in the form of a vyala head, with small lobed plaque depicting Saraswati in front 98cm long £300-500

131

362 ~ ☐ A RAJASTHAN LUTE (TANDURA), INDIA, 19TH CENTURY wood, with bone and ivory inlay, with long slender neck terminating with five tuning pegs and hemispherical hollow body, the surface decorated throughout with incised circle and dot designs 113cm long The tandura, also known as chautara, been or nissan, is generally played as part of an ensemble including various percussion instruments. For a similar example, see Komal Kothari, 'Folk Musical Instruments of Rajasthan: a Folio', Borunda 1977. £300-500 132

363 ~ ☐ A RAJASTHAN LUTE (TANDURA), INDIA, 19TH CENTURY wood, with silver, ivory and bone inlay, with long slender neck terminating with five tuning pegs and hemispherical hollow body, the surface decorated with rows of silver repousse plaques depicting various Hindu deities, birds and floral designs, the ivory and bone with incised circle and dot designs 125cm long See footnote to previous lot. £400-500

365 ☐ A SANTAL LUTE (DHODRO BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY wood and hide, of stylised female human form, her head forming the headstock with single string emerging from her chin, a tuning peg on one side, with long neck and rectilinear body, carved with hands, breasts and shallow linear decoration, hide resonator at the bottom front 58cm high approx. The dhodro banam is related to the sarinda or sarangi, usually with just a single string, played with a bow in vertical position, and thought to have origins in Central Asia. The Santal people consider these instruments as an aspect of their own self. This is evident in the overall shape, sometimes overtly depicting a human figure, at other times merely hinting at it, perhaps with the addition of human arms, as in lot 375. The Santal are a large tribe which speak their own language, and most live in the newly created Indian state of Jharkhand in Eastern India. Smaller groups are to be found in neighbouring states. For further information on the dhodro banam, including an illustration of another example of female form, see Bengt Fosshag, 'The Lutes of the Santal' in 'Tribal Art', Arquennes, Autumn 1996, pp.62-72. See also Onkar Prasad, 'Santal Music: A Study in Pattern and Process of Cultural Persistence' New Delhi 1985, pp.100-103, for further detail on the cultural significance, construction and nomenclature of the instrument and also an illustration of a typical example being played. £300-500

364 ☐ A HIMALAYAN LUTE (SGRA-SNYAN), NORTH INDIA OR TIBET, 19TH CENTURY carved wood, the heart-shaped body with hide soundboard, the large scrolling openwork headstock with turned tuning pegs, the underside profusely carved with abstract linear design 66.5cm long For a very closely related sgra-snyan in the Bengt Fosshag collection, see Wolf Dieterich and Bengt Fosshag, Ausser Europaish Lauten, Frankfurt-am-Main 1992, pp.90, 93 £300-500

133

366 ☐ A SANTAL LUTE (DHODRO BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY wood and reptile skin, the body with central open face and lower portion covered with skin resonator, the faceted tapered neck terminating in headstock (bohok) in the form of a human head, his gaping mouth with bared teeth and groove running down his chin for the playing string (now missing) 67.5cm high approx. See footnote to the previous lot. £250-350

134

367 ☐ A SANTAL LUTE (DHODRO BANAM), EASTERN INDIA, PROBABLY JHARKHAND, EASTERN INDIA, CIRCA 19TH CENTURY wood and hide, with open rectangular body, the lower portion covered with hide resonator, the tapered neck leading to cuboid headstock (bohok), with twin tuning pegs for the two strings, a further openwork carved panel above depicting a row of five female figures within a rectangular frame, hide resonator at the bottom front 75cm high approx. See footnote to lot 365. £250-350

368 ☐ A SANTAL LUTE (DHODRO BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY wood and hide, in the form of a human figure, the belly and pelvis forming the resonator, the latter covered with hide, the head with twin tuning pegs, the strings emerging from under the chin, 61cm high approx. See footnote to lot 365. £500-700

369 ☐ A SANTAL OR MUNDA LUTE (HUKA BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY wood and hide, in the form of a human figure, the hide resonators on either side of the torso, the head and neck with painted details, a tuning peg attached to the feet 57cm high approx. The Munda people live in the same regions as the Santal, as well as Tripura and Bangladesh, and speak their own distinct language Mundari. The Huka Banam is similar to the Dhodro Banam, but the parts are reversed, with the resonator higher up, here in the figure's torso and the tuning peg down across the feet. It is interesting to note that the figure is depicted with a wooden leg, perhaps reflecting the case of the maker or original musician; as noted above, these instruments were viewed as organic and an extension of the physical being. For related examples in the Bengt Fosshag Collection, see 'Rabab Sarangi Sarinda & Verwandte', nos.16-20. See also footnote to lot 365. £700-900 135

370 ☐ A SANTAL LUTE (DHODRO BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY carved wood, the body with double opening, the lower pierced around the edge for the hide resonator (now missing), the cuboid headstock with arched relief finial depicting a trio of figures holding hands and a horseman at the back, 61cm high approx.

371 ☐ A SANTAL LUTE (DHODRO BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY carved wood, the tapered body with reptile skin resonator, the back with abstract low relief carving, double opening, the lower pierced around the edge for the hide resonator (now missing), the cuboid headstock with single tuning peg, surmounted by a stylised pair of dancing figures, 79cm high approx.

See footnote to lot 365.

For a similar instrument in the Bengt Fosshag Collection, see 'Rabab Sarangi Sarinda & Verwandte', no.56.

£250-350

136

£200-300

372 ☐ A SANTAL LUTE (DHODRO BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY wood, the sides carved with a pair of stylised arms and abstract relief decoration, the lower portion with hide resonator, an inscription in devanagari script on one side, the headstock with single tuning peg, surmounted by four carved horsemen, holding hands and each with plume of horsehair, 89cm high excluding hair See footnote to lot 365. £300-400

373 ☐ A SANTAL LUTE (DHODRO BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY carved wood, the lower body with hide resonator, the headstock with twin holes on either side for a pair of tuning pegs (now missing), a pair of stylised human heads above, 80cm high For a similar instrument in the Bengt Fosshag collection, see 'Rabab Sarangi Sarinda & Verwandte', no.59. £150-250

137

138

374 ☐ A SANTAL LUTE (DHODRO BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY carved wood, the body with double opening, the lower for the hide resonator (now missing), the tapering neck with stylised human head, four holes on either side for tuning pegs (now missing), the strings originally issuing from the mouth 73cm high approx.

375 ☐ A SANTAL LUTE (DHODRO BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY carved wood, the body with stylised arms carved in low relief on either side, the belly with double arched opening, the lower part with hide resonator, the cuboid headstock surmounted by carved finial depicting two couples holding hands and a horseman at the back, 80.5cm high approx.

See footnote to lot 365.

£300-400

£200-300

376 ☐ A SANTAL LUTE (DHODRO BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY carved wood, the body with shallow carved floral and abstract designs, the opening in the form of a double oval, hide resonator below, the cuboid headstock surmounted by a couple holding hands, the man wearing a hat 74cm high approx. See footnote to lot 365. £250-350

377 ☐ A SANTAL LUTE (DHODRO BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY carved wood, the rectangular belly with X-shaped crossbars over the opening, flared hide resonator below, the tapered neck with herringbone design, the cuboid headstock with carved rosette in low relief drilled with a hole for the single string, surmounted by a trio of figures holding hands and a horseman at the back, 68.5cm high See footnote to lot 365. £200-300 139

378 ☐ A SANTAL LUTE (DHODRO BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY wood, the body with heart-shaped belly, carved with repeated stylised rosettes around the back, the resonator of reptile skin below, the tapered neck with a human figure in relief, the cuboid headstock with two monkeys carved at the back, a pylon finial above, 69cm high See footnote to lot 365. £300-400 140

379 ☐ A SANTAL LUTE (DHODRO BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY carved wood, the body with double oval opening, rectangular hide resonator below, the cuboid headstock surmounted by five figures holding hands 73cm high See footnote to lot 365. £200-300

380 ☐ A SANTAL LUTE (DHODRO BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY carved wood, the open body with lower hide resonator, the cuboid headstock with tuning peg, the finial above with two human heads facing front and back 64cm high

381 ☐ A SANTAL LUTE (DHODRO BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY carved wood, the bell-shaped body with lower resonator faced with reptile skin, the rectangular headstock surmounted by a pair of figures 82cm high

See footnote to lot 365.

£250-350

£200-300

141

382 ☐ A SANTAL LUTE (DHODRO BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY carved wood, the open belly with resonator below faced with reptile skin, the rectangular headstock with arched opening and a twin holes on either side for tuning pegs (now missing), surmounted by a pair of female figures figures 84cm high See footnote to lot 365. £200-300

142

383 ☐ A SANTAL LUTE (DHODRO BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY carved wood, the belly with X-shaped crossbars over the opening, a hide resonator below, the tapered neck surmounted by a human head, holes for pegs (now missing) in the sides 65cm high See footnote to lot 365. £200-300

384 ☐ A SANTAL OR MUNDA LUTE (HUKA BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY wood and hide, in the form of a male figure, a hide resonator on his chest, a central support between the legs 53cm high approx. See footnote to lot 369. £250-350

385 ☐ AN UNUSUAL LUTE, NORTHERN INDIA OR NEPAL, EARLY 20TH CENTURY the body and neck set into an openwork panel, carved with animals and two figures wearing cloth garments, incorporating panels carved with devanagari script, a bird and abstract designs in relief 112cm long £500-700

143

386 ☐ TWO BOAT LUTES (JUNGGA), SUMBA, INDONESIA, CIRCA 19TH CENTURY the neck forming the prow, with twin tuning pegs at the top of each, the larger instrument with finial in the form of a head in profile, the frets at the bottom of the neck, the body with strings attaching to the boat's funnel, the underside forming a resonator with three holes in a separately attached flat panel 76.5, 67cm long For another example of a jungga in the Helena Folch collection, see Raymond Ammann et al., 'Invocando a los espiritus: Instrumentos Musicales de Indonesia y Oceania en la coleccion Helen Folch, Barcelona 2011, no.31, p.244. See also Jaap Kunst, 'Music and Dance in the Outer Provinces' in 'Indonesian Music and Dance', Amsterdam 1994, p.198. £150-250

387 ☐ TWO BOAT LUTES (JUNGGA OR KACAPI), SUMBA OR SULAWESI, INDONESIA, CIRCA 19TH CENTURY the neck forming the prow with twin tuning pegs at the top of each, the frets at the bottom of the neck, the body with strings attaching to the boat's funnel, the underside forming a resonator with three holes in a separately attached flat panel 89, 72.5cm long Although similar, the kacapi, which comes from western Sulawesi, has a longer, more slender shape than the jungga. For a kacapi in the Helena Folch collection, see Raymond Ammann et al., 'Invocando a los espiritus: Instrumentos Musicales de Indonesia y Oceania en la coleccion Helen Folch, Barcelona 2011, no.29, p.90. See also footnote to the previous lot. £150-250

144

388

389 390

388 ☐ A BATAK LUTE (KULCAPI OR HASAPI), NORTHERN SUMATRA, 19TH/20TH CENTURY wood, of long slender form, the body with opening at the back, the headstock with twin tuning pegs and finial with seated figure at the top, the underside carved with a human face and a figure 69cm long For similar examples, see Achim Sibeth, ‘The Batak: Peoples of the Island of Sumatra’ pp.211-213 £300-500 389 ☐ A BATAK LUTE (KULCAPI OR HASAPI), NORTHERN SUMATRA, 19TH/20TH CENTURY wood, of long slender form, the body with abstract carving at the bottom and back, the headstock with twin tuning pegs and finial in the form of a seated man 70.5cm long See footnote to the previous lot. £150-250

391

390 ~ ☐ A BATAK LUTE (HASAPI), NORTHERN SUMATRA, 19TH/20TH CENTURY wood, of long slender form, the body with opening at the back, and carved lizard eating a fruit at the bottom, the neck with ivory inlay, the headstock with twin tuning pegs and finial in the form of a parakeet pecking at a man’s head, traces of red paint 74cm long See Raymond Ammann et al., ‘Invocando a los espiritus: Instrumentos Musicales de Indonesia y Oceania en la coleccion Helen Folch’, Barcelona 2011, p.242 £250-350 391 ☐ A BATAK LUTE (KULCAPI OR HASAPI), NORTHERN SUMATRA, 19TH/20TH CENTURY wood, of long slender form, the body with opening at the back, the headstock with twin tuning pegs and finial in the form of a seated man wearing a cap 74cm long See footnote to lot 388. £300-500 145

392 ☐ A LUTE (GAMBUS), NORTH SULAWESI, INDONESIA, MID-20TH CENTURY the bulbous wood body with hide face, tapering into the hollow neck, the scrolling headstock in the form of a fish, the tailpiece (buntut) inscribed with date, reading 1.7.1955 87cm long The gambus is derived from the South Arabian qanbus. This example is one of two types, the gambus Melayu which has a hide resonator unlike the gambus Hadhramaut, made of wood. For a photograph of the instrument being played in Bolaang Mondondow, accompanied by a drum, see Jaap Kunst, 'Music and Dance in the Outer Provinces' in 'Indonesian Music and Dance', Amsterdam 1994, p.176. £120-180 393 ☐ A BATAK LUTE (GAMBUS), SUMATRA, 19TH/20TH CENTURY the body carved with scrolling flame or wave design, the headstock with three tuning pegs, surmounted by a seated figure with horsehair plume, the tailpiece carved with a grotesque grimacing face 85cm excluding plume £300-500

146

394 ☐ A DAYAK LUTE (SAPE), BORNEO, PROBABLY 19TH CENTURY carved wood, the long hollow body narrowing into a slender neck, the headstock in the form of a crocodile head 94.5cm long See Dirk J. Balfoort, 'De Indonesische Instrumenten in Het Muziekhistorisch Museum Scheurleer te 'S-Gravenhage', The Hague nd., p.19, no.7, and p.21 (in Dutch) £250-350

395 ☐ A DECORATED GUITAR, PROBABLY EUROPE WITH OTHER ALTERATIONS, 19TH CENTURY with mother of pearl, bone and wood inlay, the inlaid neck terminating in ebonised headstock with brass tuning keys, surmounted by a grotesque face 90.5cm long £500-700

147

396 ☐ A HARP, PHILIPPINES, 19TH CENTURY made from local wood in 17th century Spanish style, the tapered faceted sound box with three circular holes at the back, surmounted by undulating neck 137cm high; 62cm wide £300-400

148

397 ☐ A TUBE ZITHER (VALIHA), MADAGASGAR, DATED 30TH MARCH 1905 bamboo with bone and velvet, of cylindrical form, the bone relief decoration comprising animals and figures, including the bust of a colonial official, bone applique inscriptions reading 'Valia Malagasy Antanarivo, 30 mars 1905', the strings of brass and bamboo strips arranged around the shaft 91cm long The name of this bamboo zither, which is considered the national instrument of Madagascar, is also the name of the local type of bamboo from which it is made. It is played in both religious and secular contexts and is played either solo or in a small orchestra. As well as brass strings, this example has traditional bamboo strings which are no longer used on more modern instruments. £250-350

149

398 ☐ A FOLK HARP, MEXICO, 19TH/EARLY 20TH CENTURY wood, with steel strings and iron pegs, the tapered faceted sound box with three holes at the back, surmounted by undulating neck, old iron tuning key attached, two projecting support feet below 91 x 53 x 31cm For a drawing of a troupe of Mexican folk musicians, two playing similar small harps, see Alexander Buchner, 'Folk Musical Instruments of the World', 1971, p.113\ £200-300 399 ☐ TWO CHINESE VIOLINS (ERHU), 20TH CENTURY the two-stringed instruments with slender hardwood neck and cylindrical bamboo soundbox with reptile skin head, the headstocks with large tuning pegs, one with bone finial and label written in Chinese 67, 51cm long The smaller of these two bowed string instruments is a version of erhu known as a 'chung-hu'. For two closely related erhus in the Gemeentemuseum in the Hague, see Paul Wolff, 'Musical Instruments from the East- and South-East Asian Mainland, The Hague 1989, pp.142-3. See also lot 310. £150-250 150

400 ☐ A GAINE SAARANGI, GANDAKI ZONE, CENTRAL NEPAL, CIRCA 19TH CENTURY the bulbous pinched hollow body with soundboard of stretched reptile skin, the thick neck with lobed pegbox and scroll terminal 59cm long The Nepalese saarangi is best known of the folk instruments of the region, played with a bow and used by itinerant musicians as an accompaniment to traditional folk songs. See Ram Prasad Kadel, 'Musical Instruments of Nepal', Kathmandu 2007, p.246. £250-350 401 ☐ A MAYURI VEENA, PROBABLY PUNJAB, NORTHERN INDIA, 19TH CENTURY painted wood with bone applique, the resonator in the form of a peacock 97cm long The mayuri veena, or 'taus', from the Persian equivalent word, is named after peacock shape of the body. According to Mitchell Clark, it was a popular instrument in the 19th century, used to accompany singing. See Mitchell Clark, 'Sounds of the Silk Road: Musical Instruments of Asia', pp.116f. £300-500

151

402 ☐ AN ESRAJ (BOWED FIDDLE), BENGAL, EASTERN INDIA, EARLY 20TH CENTURY wood, brass, bone and hide, the small body of scooped shape with hide resonator, the thick long neck with makara terminal and four machined pegs for melody strings, a parallel plate along the neck with fifteen further standard pegs for tuning the sympathetic strings, the reverse of the body carved with a female head amongst acanthus leaves 95cm long The esraj was first developed in Punjab about 300 years ago where it was particularly favoured by the Sikh community. In the 20th century it became increasingly popular in Bengal where it was actively encouraged by Rabindranath Tagore in his music academy (Shantiniketan) as accompaniment to his songs, known as Rabindra Sangeet. See Suneera Kasliwal, 'Classical Musical Instruments', New Delhi 2001, pp.193-197. £400-500

152

403 ☐ A NORTH INDIAN SARANGI, EARLY 20TH CENTURY wood, with bone, leather, hide and metal, the pear-shaped body with hide resonator, the thick tapered neck with inlaid fish motif, the headstock supported by an open Mughal style arch, multiple tuning pegs along one side of the neck and the top of the headstock, four larger pegs on either side of the headstock for the primary strings, together with an associated bow 67cm high (sarangi), 71cm length of bow (2) For an account of the evolution of the sarangi and illustrations of various types including examples similar to this, see Joep Bor, 'The Voice of the Sarangi' in the Quarterly Journal of the National Centre for the Performing Arts, Amsterdam 1987, pp.75-79. £300-500

153

404 ☐ TWO SARINDA (BOWED LUTES), AFGHANISTAN OR PAKISTAN, EARLY 20TH CENTURY wood with mirror glass and metal inlay, the bodies of inverted egg-shape, with deep lobed indentations on either side, the lower section forming a hide-faced resonator, with short neck supporting a rectangular headstock set with turned tuning pegs, surmounted by upward scrolling finial, each with leather strap, one with coloured and beaded cushion 69, 59cm approx. high The sarinda is a distinctively shaped stringed instrument, played in upright position with a bow, found in India, Pakistan and Afghanistan. It is thought to derive from the dhodra banam sarangi (see lots 365-384). For a closely-related sarinda from Afghanistan in the Bengt Fosshag collection, see 'Rabab Sarangi Sarinda & Verwandte', no.9. £300-500

405 ☐ TWO SARINDA (BOWED LUTES), PROBABLY PAKISTAN, EARLY 20TH CENTURY wood with metal and mirror glass inlay, the bodies of inverted egg-shape, with deep lobed indentations on either side, the lower section forming a hide-faced resonator, with short neck supporting a rectangular headstock set with tuning pegs, surmounted by upward scrolling finial, each with leather strap and cloth hanging ornaments, together with an associated bow 69, 59cm approx. high See footnote to the previous lot. For a closely-related sarinda found in Karachi in the Bengt Fosshag collection, see 'Rabab Sarangi Sarinda & Verwandte', no.8. £300-500

154

406 ☐ A BALKAN GUSLE, CIRCA 1900 carved maple wood, the bulb-shaped body with hide resonator, surmounted by slender neck with scooped design, the finial in the form of a horseman, indistinct number engraved on the back of the neck 85cm long The gusle is played with a bow in a vertical position and is used throughout the countries of the former Yugoslavia and Albania to accompany singing. £400-600

155

407 ☐ A CHINESE OBOE (HAIDI), 19TH CENTURY the faux bamboo wooden shaft with oval finger holes, the straight brass bocal with openwork globe elements, a detachable brass bell at the other end, remnants of an old ink inscription inside the bell 34cm long The haidi, also known as 'suona', although the latter often refers to a slightly larger version, is a double reed wind instrument with a sound similar to an oboe. It has ancient origins and is traditionally used in ensembles particularly in northern China. For an example of a haidi and a suona in the Hague Gemeentemuseum, see Paul Wolff, 'A Checklist of Musical Instruments from the East and South-East Asian Mainland', The Hague 1989, pp.210-211. £80-120

156

408 ☐ THREE WOODEN FLUTES (GHOR BAANSURI), NEPAL, 19TH/20TH CENTURY each with six finger holes and a slightly larger mouth hole, of straight ridged form, two carved in two sections, the other made from a single piece, the others with bud finial and metal inlaid ring respectively 58.5, 57.8, 56.5cm long The baansuri is used to play both folk and religious music. For a picture of a Hindu sadhu playing a similar flute during the Shivratri festival, see Mani Lama and Arati Thapa, 'Nepal: The Himalayan Kingdom, New Delhi 1996, p.57. For more information on the baansuri, see Ram Prasad Kadel, 'Musical Instruments of Nepal, Kathmandu 2007, p.49 £150-250

409 ☐ A THAI REED OBOE (PI NAI), CIRCA 19TH CENTURY the long cylindrical body gently flared at either end and bulging in the centre, the ridged central section with six finger holes, the ends overlaid with rings of bone and a variety of types of wood 42.5cm long

410 ☐ TWO THAI REED OBOES (PI GLA-NG AND PI NAW-K), CIRCA 19TH CENTURY hardwood, of long cylindrical form, with gently flared ends and ridged central bulge, each with six finger holes on one side 37.5, 30.3cm long

There are several types of 'pi' (see following lot). The 'pi nai' is the largest and earliest type. It is played by the leader of the 'pi phat' ensemble which accompanies shadow plays, masked drama and public theatre. For further information, see Dhanit Yupho (trans. David Morton), 'Thai Musical Instruments', Bangkok 1960, pp.7072

The smaller 'pi naw-k' is the original type of 'pi', but is little used in recent times. See footnote to the previous lot. £150-250

£200-300

157

411 ☐ A DOUBLE FLUTE (GLING-BU), TIBET, CIRCA 19TH CENTURY fruit-, possibly apricot-wood, the upper and lower sections made of separate pieces, held together by metal bands, the end-blown mouthpiece leading to twin ramps and barrels, each with seven finger holes 39cm The 'gling-bu' is one of the few instruments to be used in Tibetan folk music which is primarily vocal. It is also used by nomadic herders as an accompaniment to their songs. For an example in the Museum of Fine Art, Boston and further information, see Mitchell Clark, 'Sounds of the Silk Road: Musical Instruments of Asia' Boston 2005, p.127. £80-120 412 ~ ☐ A RITUAL HORN (KANG-LING), TIBET, 19TH CENTURY deer horn, with chased and repousse silver mounts set with coral and turquoise, the opening in the form of a dragon head, the mouthpiece with acanthus and key pattern 28cm long There are several types of Kang-Ling. According to Ivan Vandor, examples made of animal horn are only played during certain Gelugspa rituals. See Ivan Vandor, 'Bouddisme Tibetan: Les Traditions Musicales, Paris 1976, pp.70-71. £250-350 413 ☐ A SMALL SILVER KRISHNA FLUTE, PROBABLY WESTERN INDIA, 19TH CENTURY of straight hollow form, with seven finger holes and mouth piece on one side, the open end with a figure of a bird and a group of small pellet bells, the other end with bud finial 26.5cm long For an image of a similar flute with bird figure, see lot 126. £150-250 413

414

158

415 414 (illustrated opposite) ☐ A TAMIL FLUTE, SOUTH INDIA, DATED 1926 wood covered in sheet silver, of long cylindrical form, eight finger holes and mouthpiece along one side, inscription in Tamil below along with a date in arabic numerals, a loop ring at one end 36.2cm long £150-250 415 ☐ THREE INDIAN FLUTES, NORTHERN INDIA, CIRCA 19TH CENTURY each of straight form, one of wood with brass decorative bands at either end and six finger holes and mouthpiece along one side, another with animals and birds on similar bands, the third of bamboo, similarly decorated 81.3cm and smaller For an illustration of a flute similar to the second two in this lot, see Vishnudass Shirali, 'Sargam: An Introduction to Indian Music', Bombay 1977, fig.166. £250-350 416 ☐ AN ASMAT BAMBOO HORN (FU), SIRETS DISTRICT, NEW GUINEA, 20TH CENTURY OR EARLIER of cylindrical form, with circular mouthpiece at one end, the sides with incised lozenge design 24.5cm long According to Schneebaum, this type of horn was used to terrify the enemy when a village was being raided and to announce the successful return of fighters. It was also played together with drums on certain feast days. See Tobias Schneebaum, 'Asmat Images: from the collection of the Asmat Museum of Culture and Progress, Agats 1985, pp.130-133. £300-400

159

417 ☐ A BALKAN END-BLOWN FLUTE (KAVAL), BULGARIA OR ROMANIA, 19TH CENTURY fruitwood, of circular section with faceted ends terminating with horn mounts, a small mirror panel set into the side towards the mouthpiece end, with a group of two and three finger holes decorated with engraved abstract and stylised leaf designs, 96cm long The Kaval and variations are seen in several other parts of the Balkans, including Albania, North Macedonia, Serbia, Greece and Turkey. It originated amongst communities of shepherds and, as with this example, was made from a single piece of wood. More recently it is popular in folk music, both as a solo and ensemble instrument. £150-250 418 ~ ☐ TWO TELESCOPIC SILVER RITUAL HORNS (DSOG-KANG), TIBET, 19TH CENTURY of crescent-shaped form, with chased and repousse decoration depicting dragons, scrolling clouds and a geometrical floral trellis, with pierced ring joints, mouth-like bells and wide mouth pieces, one parcel gilt, the other with turquoise and coral inlay 39.5, 37.5cm For a note and illustration of a similar horn, see Daniel A. Scheidegger, 'Tibetan Ritual Music: A General Survey with Special Reference to the Mindroling Tradition', Rikon 1988, pp.25 & 149. £500-700

160

419 ~ ☐ A RITUAL CONCH SHELL TRUMPET (DUNG-DKAR), TIBET, 19TH CENTURY covered in profusely chased and repousse sheet silver, set with turquoise and coral, the decoration comprising dragons, birds and other animals amidst clouds and densely scrolling vegetation 22cm long This exceptionally fine and elaborate ritual trumpet is completely covered in silver with the shell body only visible on the inner surfaces. For a very similar example in the Museum of Fine Arts, Boston, see Mitchell Clark, 'Sounds of the Silk Road: Musical Instruments of Asia', Boston 2005, p.126. £800-1200

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420 ☐ A PAIR OF COPPER AND BRASS RITUAL HORNS (RKANGLING), EASTERN TIBET, 19TH/ EARLY 20TH CENTURY copper and brass, each of slender tapered form, the faceted bell of flattened section with slightly upturned profile, fitting into compartments together in original wood case with leather strap 46cm long each This type of horn, always used in pairs, was originally made from the thighbone of a priest, although many metal versions were produced. For an illustration of two monks playing similar horns and a discussion of their usage, see Mireille Helffer, 'Mchod-rol: Les Instruments de la Musique Tibetaine', Paris 1994, p.266f. For a similar example see Thomas E. Cross, 'Instruments of Burma, India, Nepal, Thailand, and Tibet: The Shrine to Music Museum, Catalogue of the Collections, Vol II, 1982, p.26 £700-900

421 ☐ A PAIR OF COPPER RITUAL HORNS (RKANGLING), EASTERN TIBET, 19TH CENTURY copper with pierced alloy mounts, each of slender tapered form, the bell with slightly upturned profile, wide discshaped mouthpiece 39cm approx. long each See footnote to the previous lot. £120-180

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422 ☐ A CAST BRASS HORN (KONA KOMBU), KERALA OR TAMIL NADU, SOUTH INDIA, 19TH CENTURY of tapered 'S' form, with flared bell and body divided by ringed ridges 97cm long The Kombu, also known as Kompu or Kombu Pattu, comes in two fomrs, 'S'-shaped as this example, known as Kona Kombu and 'C'-shaped, with the sound directed forwards or backwards respectively. It has ancient martial origins, but in more recent times is associated with temple music, enhancing drum rhythms. For a very similar example, see P. Sambamurthy, 'A Dictionary of South Indian Music and Musicians, Vol II, Madras 1984, pl.XXV & p.323. £250-350

423 ☐ TWO CEREMONIAL OR RITUAL HORNS (RANASRINGA), NORTHERN INDIA, 19TH CENTURY sheet copper, each of tapered S-shaped form, made in detachable sections with ring joints, stylised plant and cloud motifs painted on the body 144, 94cm long approx. The ranasringa, also known Narsingha or Nalsring Gomukh, has ancient martial origins and similar horns can be seen in early sculpture and painting. In recent times it is used in both ceremonial and religious contexts. See Thomas E. Cross, ‘Instruments of Burma, India, Thailand and Tibet’, Vol.II, Vermillion, South Dakota 1982, p.6, no.2421, and Alka Pande, ‘Folk Music and Musical Instruments of Punjab, p.85. £250-350

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424 ☐ TWO CAST BRASS SIDE BLOWN HORN (TURI), BASTAR, CHHATTISGARH, INDIA, CIRCA 19TH CENTURY each of tapered crescentic form, the bodies with ridge and ropework decoration, fringed with pellet bells, the oval mouthpiece on the upper body near the loop terminal, 43.5, 40cm long Horns of this type are used by the Muria tribe. For an almost identical example in the Leo Figiel Collection, Florida, see Pratapaditya Pal (ed.), ‘Dancing to the Flute: Music and Dance in Indian Art’, Sydney 1997, pp.186-188. £120-180 425 ☐ A PAIR OF SHEET BRASS HORNS, NEPAL OR TIBET, 19TH OR EARLY 20TH CENTURY of straight tapered form, made in three sections with ring joints decorated in repousse relief with stylised lotus and rock design, the large flared bells with lotiform fluting 147, 144cm long approx. £300-400

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426 ☐ A BRASS SHAWM, INDIA, EARLY 20TH CENTURY cast in two sections, with tapering shaft and flared bell, with seven finger holes and single thumb hole, engraved abstract decoration 29cm long £30-50 427 ☐ A LARGE ABORIGINAL BULL-ROARER, AUSTRALIA, 20TH CENTURY OR EARLIER wood with abstract painted decoration, string made of human hair 75cm long Bull roarers are known in numerous traditional cultures around the world. In Australia they were used in initiation ceremonies and to deter evil spirits. The instrument is held by the string and swung in circles at speed, producing a vibrating roaring sound. £250-350

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428 ☐ TWO DOUBLE HEADED DRUMS, AFRICA, 19TH/20TH CENTURY each with one piece bodies, hide heads and string and hide tensioning, one from Nigeria or Ghana, the other probably from Congo' 47cm; 35cm £150-250 429 ☐ A STREET ENTERTAINER'S COMPOSITE INSTRUMENT, PROBABLY EASTERN EUROPE, EARLY 20TH CENTURY comprising a banjo mounted on a pole with wood frame, embellished with various bells and corrugated metal, a carved wood grotesque face at the top 165cm high £200-300

End of Sale Next Sale 9th November 2022 Closing for entries by end of September

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Conditions of Business for Buyers 1. Introduction (a) The contractual relationship of the Auctioneers and Sellers with prospective Buyers is governed by:(i) these Conditions of Business for Buyers; (ii) the Conditions of Business for Sellers displayed in the saleroom and available from the Auctioneers; (iii) The Auctioneers Authenticity Guarantee; (iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any Saleroom Notice or Auctioneers Announcement. (b) As Auctioneers, the Ltd Company hosting the auction acts as agent for the Seller. Occasionally, the Auctioneers may own or have a financial interest in a lot. 2. Definitions “Bidder” is any person making, attempting or considering making a bid, including Buyers; “Buyer” is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent; “Seller” is the person offering a lot for sale, including their agent, or executors; “Auctioneers” Thomas Del Mar Ltd, Matthew Barton Ltd and 25 Blythe Road Ltd trading as Olympia Auctions. For other auctioneer’s at 25 Blythe Road, such as Charles Miller Ltd, please see their website for their Conditions of Business “Buyer’s Expenses” are any costs or expenses due to the Auctioneers from the Buyer; “Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Guide for Prospective Buyers; “Hammer Price” is the highest bid for the Property accepted by the Auctioneers at the auction or the post auction sale price; “Purchase Price” is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses; “Reserve Price” (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot. The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable. 3. Examination of Lots (a) The Auctioneers knowledge of lots is partly dependent on information provided by the Seller and the Auctioneers are unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. (b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of the Auctioneers opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at the Auctioneers absolute discretion. 4.Exclusions and limitations of liability to Buyers (a) The Auctioneers shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a Counterfeit, subject to the terms of the Auctioneers Authenticity Guarantee. (b) Subject to Condition 4(a), neither the Auctioneers nor the Seller:(i) is liable for any errors or omissions in any oral or written information provided to Bidders by the Auctioneers, whether negligent or otherwise; (ii) gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded (save in so far as such obligations cannot be excluded by English law), other than the express warranties given by the Sellerto the Buyer (for which the Seller is solely responsible) under the Conditions of Business for

Sellers; (iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by the Auctioneers in connection with the conduct of auctions or for any matter relating to the sale of any lot. (c) Without prejudice to Condition 4(b), any claim against the Auctioneers and/or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither the Auctioneers nor the Seller shall be liable for any indirect or consequential losses. (d) Nothing in Condition 4 shall exclude or limit the liability of the Auctioneers or the Seller for death or personal injury caused by the negligent acts or omissions of the Auctioneers or the Seller. 5. Bidding at Auction (a) The Auctioneers has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form and supply such information and references as the Auctioneers requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case the Auctioneers prior and express consent must be obtained). (b) The Auctioneers advises Bidders to attend the auction, but the Auctioneers will endeavour to execute absentee written bids provided that they are, in the Auctioneers opinion, received in sufficient time and in legible form. (c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to the Auctioneers other commitments; the Auctioneers is therefore not liable for failure to execute such bids. Telephone bidding may be recorded. 6. Import, Export and Copyright Restrictions (a) The Auctioneers and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer's sole responsibility to obtain any copyright clearance or any necessary import, export or other licence required by law, including licences required under the Convention on the International Trade in Endangered Species (CITES). (b) Ivory and Restricted Materials (CITES) ‘~’ Lots marked with the symbol ~ have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export. As the Auctioneers of these articles, the Auctioneers undertakes to comply fully with CITES and DEFRA regulation. Buyers are advised to inform themselves of all such regulations and should expect the exportation of items to take some time to arrange. The information is made available for the convenience of Bidders and the absence of the symbol is not a warranty that there are no restrictions regarding import or export of the Lot. The Auctioneers accepts no liability for any lots which may be subject to CITES but have not be identified as such. 7. Conduct of the Auction (a) The auctioneer has discretion to refuse bids, withdraw or reoffer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary. (b) The auctioneer will commence and advance the bidding in such increments as (s)he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable. (c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer's hammer. (d) Any post-auction sale of lots shall incorporate these Conditions of Business.

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8. Payment and Collection (a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the "Payment Date"). (b) Title in a lot will not pass to the Buyer until the Auctioneers has received the Purchase Price in cleared funds. The Auctioneers will generally not release a lot to a Buyer before payment. Earlier release shall not affect passing of title or the Buyer's obligation to pay the Purchase Price, as above. (c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a). (d) The Buyer must arrange collection of lots within 10 working days of the auction. Purchased lots are at the Buyer's risk from the earlier of (i) collection or (ii) 10 working days after the auction. Until risk passes, the Auctioneers will compensate the Buyer for any loss or damage to the lot up to a maximum of the Purchase Price actually paid by the Buyer. The Auctioneers assumption of risk is subject to the exclusions detailed in Condition 5(d) of the Conditions of Business for Sellers. (e) All packing and handling of lots is at the Buyer's risk. The Auctioneers will not be liable for any acts or omissions of third party packers or shippers. 9. Remedies for non-payment Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, the Auctioneers may in its sole discretion exercise one or more of the following remedies:(a) store the lot at its premises or elsewhere at the Buyer’s sole risk and expense; (b) cancel the sale of the lot; (c) set off any amounts owed to the Buyer by the Auctioneers against any amounts owed to the Auctioneersby the Buyer for the lot; (d) reject future bids from the Buyer; (e) charge interest at 4% per annum above HSBC Bank plc Base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds; (f) re-sell the lot by auction or privately, with estimates and reserves at the Auctioneers discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale; (g) Exercise a lien over any Buyer’s Property in the Auctioneers possession, applying the sale proceeds to any amounts owed by the Buyer to the Auctioneers. The Auctioneers shall give the Buyer 14 days' written notice before exercising such lien; (h) commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs; (i) disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings 10. Failure to collect purchases (a) If the Buyer pays the Purchase Price but does not collect the lot within 10 working days of the auction, the lot will be stored at the Buyer's expense and risk at the Auctioneers premises or in independent storage (b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, the Auctioneers will re-sell the lot by auction or privately, with estimates and reserves at the Auctioneers discretion. The sale proceeds, less all the Auctioneers costs, will be forfeited unless funds or the unsold items collected by the Buyer within 2 years of the original auction.

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11. Data Protection Privacy Policy (a) What is the legal basis on which the Auctioneers rely to process your data? On some occasions, the Auctioneers processes your data with your consent (e.g., when you agree that the Auctioneers may place cookies, or if you ask, the Auctioneers, to send you information about upcoming events). On other occasions, the Auctioneers processes your data when the Auctioneers need to do this to fulfil a contract with you (e.g., for billing purposes) or where the Auctioneers are required to do this by law (e.g., where we have to fulfil anti-money laundering requirements). If it is mandatory for you to provide data for these purposes, the Auctioneers will make this clear at the time and will also explain what will happen if you do not provide the data (e.g., that the Auctioneers will not be able to process a bid at auction). The Auctioneers also processes your data when it is the Auctioneers legitimate interests to do this and when these interests are not overridden by your data protection rights. For example, the Auctioneers has a legitimate interest in ensuring the security and integrity of the auctions, in learning about the interests and preferences of current and prospective clients, in developing new business opportunities, in maintaining accurate business and provenance records, and in ensuring that the Auctioneers websites and apps operate effectively. When the Auctioneers process personal information to meet the Auctioneers legitimate interests, the Auctioneers put in place robust safeguards to ensure that your privacy is protected and to ensure that the Auctioneers legitimate interests are not overridden by your interests or fundamental rights and freedoms. (i) The Auctioneers will use information supplied by Bidders or otherwise obtained lawfully by the Auctioneers for the provision of auction related services, client administration, marketing and as otherwise required by law. (ii) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties world-wide for the purposes outlined in Condition 11 (a) (i) (b) Who gets to see your personal data? The Auctioneers and other auctioneer’s at Olympia Auctions, such as Charles Miller Ltd. The Ltd company that initially receives your data will process it. Your data may also be transferred to and processed by other companies within the group of Auctioneers. The Auctioneers uses EU Commission approved standard contractual clauses to regulate the transfer and processing of data between the Auctioneers. Outside the Auctioneers The Auctioneers do not transfer your personal data to organisations who wish to use it for their own marketing promotions or other purposes. The Auctioneers only transfer your personal data to other organisations where it Is necessary to enable the Auctioneers to provide you with the services you have requested (for example: the Auctioneers may transfer your data to the Auctioneers bank, payment card acquirers, shippers, warehouses, insurers, experts who help the Auctioneers authenticate or value property, event venues, caterers, catalogue and direct marketing fulfilment and distribution). Where the Auctioneers do it will be on the basis that these organisations are required to keep the information confidential and secure, and they will only use the information to carry out the instructed services. Some of these organisations may be located outside the EEA. The Auctioneers may also need to retain and disclose certain information about you to appropriate agencies to conduct antimoney laundering and trade sanction checks and to assist with fraud and crime prevention and detection.

When the Auctioneers receive a request for information from a government or law enforcement agency the Auctioneers will disclose information which is the subject matter of that request, if the Auctioneers are satisfied that the government or law enforcement agency has the right to seek disclosure and the correct procedure has been followed. In all other circumstances such information will only be disclosed if the Auctioneers are ordered to do so by a court of law. (c) How long will the Auctioneers keep your personal data? The Auctioneers will retain your personal data for as long as is necessary to provide the relevant services, maintain business records to satisfy tax, legal and other regulatory requirements, and protect and defend against potential legal claims. In the context of our research and records on ownership of art objects to assist with checks on authenticity provenance and title, we will keep this data for as long as the record is relevant to our legitimate business interest and the public interest. What steps do the Auctioneers take to keep your personal data secure? The Auctioneers will take all reasonable and appropriate steps to protect the security and integrity of all personal information provided via our website, or by any other means electronic or otherwise. The Auctioneers use a variety of security technologies and procedures to help protect your personal details from unauthorised physical and electronic access. As effective as modern security practices are, we cannot guarantee the complete security of personal data held in our systems, nor that information you supply through the internet or any computer related network is entirely safe from unauthorised intrusion, access or manipulation during transmission. Any transmission is at your own risk. We will not be liable for any resulting misuse of your personal data. (d) Third party websites The Auctioneers website may contain links to other websites not operated by us, the Auctioneers. The information you provide to us will not be transmitted to other websites, but these other websites

may collect personal information about you in accordance with their own privacy notice. We as the Auctioneers cannot accept any responsibility for the privacy practices or content of those websites. (e) Your data You have the right to request deletion of your personal data. The Auctioneers will comply with this request, subject to our legitimate interests as noted above. How can I access the information you hold about me? You have the right to request a copy of the information we hold about you. If you would like a copy of some or all of your personal information then please write to the Auctioneers or email the Auctioneers. The Auctioneers have an obligation to ensure that your personal information is accurate and up to date. Please write to the Auctioneers or email the Auctioneers to correct or remove any information that you think is incorrect. (f) Complaints If you have any queries or complaints in relation to the Auctioneers processing your personal data please contact the Auctioneers. 12. Miscellaneous (a) All images of lots, catalogue descriptions and all other materials produced by the Auctioneers are the copyright of the Auctioneers. (b) These Conditions of Business are not assignable by any Buyer or Seller without the Auctioneers prior written consent, but are binding on Bidders' successors, assigns and representatives. (c) The materials listed in Condition 1(a) set out the entire agreement between the parties. (d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect. (e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of the Auctioneers.

Authenticity Guarantee If the Auctioneers sell an item of Property which is later shown to be a “Counterfeit”, subject to the terms below the Auctioneers will rescind the sale and refund the Buyer the total amount paid by the Buyer to the Auctioneers for that Property, up to a maximum of the Purchase Price. The Guarantee lasts for one (1) year after the date of the relevant auction, is for the benefit of the Buyer only and is non-transferable. “Counterfeit” means an item of Property that in the Auctioneers reasonable opinion is an imitation created with the intent to deceive over the authorship, origin, date, age, period, culture or source, where the correct description of such matters is not included in the catalogue description for the Property. Property shall not be considered Counterfeit solely because of any damage and/or restoration and/or modification work (including, but not limited to, recolouring, tooling or repatinating). Please note that this Guarantee does not apply if either:(i) the catalogue description was in accordance with the generally accepted opinions of scholars and experts at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing at the date of the sale that the item was a Counterfeit would have been by means of processes not then generally available or accepted, unreasonably expensive

or impractical; or likely to have caused damage to or loss in value to the Property (in the Auctioneers reasonable opinion); or (iii) there has been no material loss in value of the Property from its value had it accorded with its catalogue description. To claim under this Guarantee, the Buyer must:(i) notify the Auctioneers in writing within one (1) month of receiving any information that causes the Buyer to question the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and the reasons why it is believed to be Counterfeit; and (ii) return the Property to the Auctioneers in the same condition as at the date of sale and be able to transfer good title in the Property, free from any third party claims arising after the date of the sale. The Auctioneers have discretion to waive any of the above requirements. The Auctioneers may require the Buyer to obtain at the Buyer’s cost the reports of two independent and recognised experts in the relevant field and that are acceptable to the Auctioneers. The Auctioneers shall not be bound by any reports produced by the Buyer, and reserves the right to seek additional expert advice at its own expense. In the event the Auctioneers decides to rescind the sale under this Guarantee, it may refund to the Buyer the reasonable costs of up to two mutually approved independent expert reports, provided always that the costs of such reports have been approved in advance and in writing by the Auctioneers.

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Asian Works of Art Date: 11/05/2022

ABSENTEE BID FORM

Code: POUSSIERE Please mail, fax or scan and email to: Matthew Barton Ltd 25 Blythe Road London W14 0PD Fax +44 (0) 20 7806 5546 Email: enquiries@matthewbartonltd.com

Name Address

Important Please bid on my behalf at the above sale for the following Lot(s) up to the hammer price(s) mentioned below. These bids are to be executed as cheaply as is permitted by other bids or reserves and in an amount up to but not exceeding the specified amount. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing responsive or consecutive bids for a lot. I agree to be bound by Matthew Barton Ltd’s Conditions of Business. If any bid is successful, I agree to pay a buyer’s premium on the hammer price at the rate stated in the front of the catalogue and any VAT, or amounts in lieu of VAT, which may be due on the buyer’s premium and the hammer price. Methods of Payment Matthew Barton Ltd welcomes the following methods of payment, most of which will facilitate immediate release of your purchases. Wire Transfer to our Bank Electronic transfers may be sent directly to our Bank: HSBC Bank Plc 38 High Street Dartford Kent DA1 1DG

Debit Card We are pleased to accept UK debit cards. Please note that we do not accept credit cards. Sterling Bankers Draft Drawn on a recognised UK bank. Sterling Cash or Cheque Cheques must be drawn on a recognised UK bank. We require seven days to clear a cheque without a letter of guarantee from your bank.

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Date

Please note that if you have not dealt with us before, you will need to supply us with a copy of photographic ID and proof of address. Lot No

IBAN No: GB90HBUK40190491814001 BIC: HBUKGB4B Sort Code: 40-19-04 Account No: 91814001 Account Name: Matthew Barton Ltd

For Office Use Only: date and time received

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Lot Description

£ Cover Bid

Olympia Auctions, 25 Blythe Road, London W14 0PD Tel:+44 (0) 20 7806 5545 Email: enquiries@matthewbartonltd.com www.olympiaauctions.com