Chiswick Auctions - Islamic & Indian Art - October 2019 by Chiswick Auctions

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Islamic & Indian Art 25 October 2019

Islamic & Indian Art London 25th October 2019

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Islamic & Indian Art Department

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Please note that auction dates are subject to change.

Islamic & Indian Art Friday 25th October 2019 1pm This auction will be preceded by the Fine Rugs & Carpets sale, 12pm Selected Highlights at South Kensington Monday 30th September - Tuesday 15th October 11am - 5pm Please note that the South Kensington Gallery is closed during weekends except for events. Full Sale & Viewing at Chiswick Saturday 19th October 11am - 5pm Sunday 20th October 11am - 5pm Monday 21st October 10am - 6pm Tuesday 22nd October 10am - 6pm Wednesday 23rd October 10am - 6pm Thursday 24th October 10am - 6pm Friday 25th October 10am - 1pm

Lots of Iranian Origin 1. Bidders are advised that some countries (such as the USA) prohibit or restrict the purchase and import of Iranian “works of conventional craftsmanship” (works that are not by a recognized artist and/or that have a function, such as lacquer decorative objects, pottery bowls and XMPIW QIXEP[EVI WGMIRXM½ G MRWXVYQIRXW ERH XI\XMPIW ERH GEVTIXW 8LIWI restrictions do not apply to “informational materials” such as paintings, manuscripts and works on paper. All bidders are responsible for familiarising themselves with the laws that apply to them and ensuring that they do not bid or import properties in contravention of relevant sanctions or trade embargoes. 2.The Gulf Cooperation Council (GCC) has imposed a ban on the importation of Iranian goods to or via its member states. Please check with your shippers whether you will be able to ship Iranian artworks to the GCC member states prior to bidding.

Buyer’s Premium The buyer shall pay Chiswick Auctions Ltd. a premium on the hammer price of 25% +VAT on that commission. Collection of Lots Buyers are asked to collect their lots on the day of the sale or between 10am - 6pm up until close of business on Friday following the sale. Cites Please be aware that all lots marked with the symbol λ are subject to CITES regulations. Please see our Terms & Conditions for more information. Import Tax Please be aware that all lots marked with the symbol * are subject to IMPORT VAT at a preferential rate 5% on the hammer price and the prevailing rate on the Buyer’s Premium. Photography Steven McCauley Jordan Salzmann Darrell Russell Basak Ulukose

Front Cover Lot 302, 314, 315 Title Page Lot 275 Back Cover Lot 381

The Warp and the Weft: a weaving story from the Islamic Lands

100 FRAGMENTS FROM TWO CALLIGRAPHIC AND FIGURED SILK TEXTILES Egypt or Iran, circa 12th century The group of lampas weave silks assembled on ivory silk, including large circular motifs with a cheetah chasing an antelope, and calligraphic bands with auspicious greetings, and running hares, in plexy box frame, 41cm x 28.5cm frame. Provenance: Christie’s London, 5 October 2010, lot 125. £600-£800

101 A MAMLUK TEXTILE FRAGMENT Egypt, 15th century The unbleached plain-weave linen brocaded with horizontal bands of stylised animal, vegetal, and star motifs in blue, red, and black, the central band with hexagonal grids, the intact blue horizontal band at the top marking the loom start, laid on ecru cotton mount, padded, mounted on stretcher, 88cm x 94cm, 106cm x 100cm including the mount. £800-£1,200

102 A LARGE SILK HANGING Ottoman Provinces, late 19th century The joined panel of red silk woven in ecru and black silk threads with geometric patterns and stylised flowers, the green side borders similarly worked in off-white and yellow silks, lined in joined brown cotton, interlined in cotton ticking, 396cm x 320cm. £1,500-£2,000 2

103 A LARGE OTTOMAN EMBROIDERED FLORAL PANEL Ottoman Turkey, 18th century The joined panel of unbleached linen finely worked in diagonal stitch with a design of two overlapping and intertwined trelisses, the deep pinkred silk with clusters of stylised flowers, and the dark green silk with serrated saz leaves, the border of alternating pink floral and green lobed motifs maintaining the theme, laid on off-white ground, mounted on a stretcher, 237cm x 106.5cm, 240cm x 110cm including mount. In the 17th and 18th centuries, the Ottoman embroiderers started making large embroidered panels imitating 16th-century luxury silk patterns, some of these presumably for quilt facings. To boost the resemblance, embroiderers even used the same six colours of silk thread: crimson or red, blue, green, brown / black, yellow and white. The patterns were drawn in ink on multiple widths of loosely attached plain linen cloth by professional draftsmen and the embroiderers followed with running stitches and reassembled them (Louise W. Mackie, Symbols of Power, Luxury Textiles from Islamic Lands 7th 21st century, New Haven, 2015, p. 330). £1,500-£2,000 105 A PAIR OF SCUTARI VELVET PANELS Ottoman Turkey, 19th century The panels of cut silk velvet of red and pale green each voided to reveal a sinuous border of vines and palmettes around an elaborate floral centre, the corners with floral sprays, the field with stellar floral sprigs, on silver ground, mounted on ecru ground stretched on frames, 125cm x 60cm, 127cm x 65cm including the frame. Provenance: Bonhams Knightsbridge, 14 June 2012, lot 73. £2,000-£3,000

104 AN OTTOMAN SCUTARI VELVET PANEL Ottoman Turkey, 19th century The panel of cut silk velvet in teal blue and red voided to reveal an undulating border of intertwined floral ribbons around an elongated floral central cartouche, posies of tulips, hyacinths, and carnations to the corners, mounted on off-white ground, framed, 116cm x 57cm, 123.5cm x 65.5cm including frame. Provenance: Bonhams Knightsbridge, 14 June 2012, lot 68. £800-£1,200

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105a A LONG EMBROIDERED PANEL Ottoman Provinces, late 19th - early 20th century The joint length of un-dyed cotton embroidered in rust and polychrome floss silks with alternating triple and single-headed stylised carnations above a floral border, edged in woven figured maroon tape, laid on honey-coloured cotton support, professionally mounted, 38cm x 276cm including mount, 19cm x 276cm panel. £200-£300

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106 A SILVER-EMBROIDERED HANGING Ottoman Turkey, late 19th century The horizontally joined lengths of pale blue satin silk delicately worked in silver and gold threads in a variety of techniques including satin and French knots with a pair of peacocks billing above a stylised palmette, in a symmetrically arranged field of flowering meanders, trimmed with silver thread braiding, backed with gauze, 120cm x 196cm. £300-£500

107 A CENOTAPH COVER LENGTH Ottoman Provinces, late 19th century The length of black silk, brocaded in metallic silver thread wound around a silk core in thuluth script with the declaration of faith in Arabic, laid on modern black cotton, 51cm x 89cm including the mount. £300-£500

108 AN OTTOMAN EMBROIDERED PANEL (BOCHA) Ottoman Turkey, 19th century The joined plain-weave cotton ground chain-stitched in bright polychrome silks with schematised floral clusters, the border with flower-heads and serrated leaves, laid on ecru cotton on stretcher, 92cm x 88cm, 100cm x 100cm including the mount. £400-£600

109 A CIRCULAR EMBROIDERED VELVET PANEL Northern Iran, 19th century The joined cherry red silk velvet ground delicately embroidered in yellow metallic thread wound around a silk core, with a floral arrangement in an octagonal format around a sun-rayed central flower, the border similarly worked with a scrolling floral tendril, the panel edged with a croched chevron silk band in yellow, green, and yellow, backed and lined with red satin silk pencil striped with white, 84cm diameter. £800-£1,200

110 AN EMBROIDERED TASHKENT SUZANI BAND Uzbekistan, late 19th century A strip from a large suzani, the coarse cotton ground boldly worked in strong purples, pinks, and magentas with ten dramatic starbursts in elaborate and competent stitches, the serrated leaves stemming from the circles possibly stylistic remnants of Ottoman Saz style, both selvedges present, 408cm x 33cm. £200-£300

111 A RED VELVET OVERCOAT AND A PURPLE VELVET HOODED CAPE Ottoman Provinces, late 19th century Comprising a sleeveless red overcoat of crimson silk velvet cut in a simplified Piri Piri form, the seams picked in gold bands, the edges with delicate frogging, the side seams over-stitched, the sides and lower back centre with metal thread flourishes, interfaced, lined in rollerprinted cotton, the inner edges in red cotton, 99cm long; and a hooded cape of purple cotton, with gold ribbons radiating from the nape of the neck, the pointed hood embellished with purple and gold bands, culminating in a gilt tassle, lined in pink damask cotton woven with lilies, 82cm long. £250-£350

112 TWO MEN’S COATS WITH SILK IKAT AND VELVET EXTERIORS Possibly Uzbekistan, Central Asia, late 19th century Comprising a coat of rare black silk velvet, cut and voided to reveal a repeating pattern of triple-flowered motifs beneath a starred crescent against a silk ground of pale blue, lined in red, white, and yellow silk ikat, edged with purple and white bias-cut silk ikat, the front and the sleeves hemmed with a woven multicoloured silk band, 128cm long; and a coat of red, white, and yellow ikat, woven with bold double-butis, cotton-wadded beneath the printed floral cotton lining, hemmed with a multi-coloured silk band, 126cm long. £400-£600

113 AN EMBROIDERED TASHKENT GREEN SUZANI Uzbekistan, late 19th - early 20th century The bright green joined silk ground worked in varying shades of dusky pinks, maroons, and black with four rows of flaming circles, the border of scrolling schematic floral tendrils, all motifs within chain-stitched white silk, edged in machine-stitched black silk band, remnants of roller-printed floral chintz lining in running stitch, 224cm x 182cm. £250-£350

114 A RASHT PANEL Caspian region, Iran, early 20th century The joined ground of several bands of face cloth wool in concentric squares around a circular core intricately chainstitched in polychrome silks and appliqued with face cloth flowerheads, the outer border of bright red with a more open design, hemmed, un-lined, 175cm x 160cm. £500-£700

115 A RASHT HANGING Caspian region, Iran, late 19th century The red face cloth wool intricately chain-stitched in polychrome silks and appliqued motifs with a large lobed central cartouche embellished with tendrils and butis, within a floral border, the outer border with alternating butis and floral posies linked by a sinuous gold band in a key design, lined in cream damask cotton, 180.5cm x 130.5cm. It is interesting to note the increasing influence of Russian design and colours in the products of the Caspian region. £400-£600 6

116 A RASHT PANEL Caspian region, Iran, early 20th century The dark blue face cloth wool ground elegantly worked in warm-hued threads in chain-stitch embroidery with an intricate floral design within a lobed central cartouche, the sinuous outer border in cooler tones, un-hemmed and un-lined, 155cm x 135cm. £300-£500

117 A PRINTED HANGING Europe or Russia for the Persian market, late 19th century The fine wool hanging, screen-printed predominantly in red and blue with an Indo-Persian symmetrical design of a central cypress tree stemming out of a European urn, surrounded by scrolling flowers and birds, flanked by peacocks, the ends with large buti, the sides with stylised meanders, 180.6cm x 120.2cm. £200-£300

*See inside front cover for information regarding fees

118 A FULL LENGTH OF TERMEH SHAWL CLOTH Possibly Kashan, Iran, dated 1901 The red wool ground twilltapestry woven in coloured wools with a repeating pattern of flower-filled butis, an elaborate marquiseshaped cartouche embroidered in ivory silk with words pertaining to the high quality of the shawl, dated 1319 AH (1901), 275cm x 110cm. £500-£700 119 A PAIR OF PATEH HANGINGS Kashan, Iran, 19th century The deep red wool ground intricately embroidered in coloured wools with a blossoming tree with intertwining branches in a variety of stitches, the mihrab arch above and the double borders in traditional running stitch, selvedges intact, 265cm x 87cm and 260cm x 90cm. £600-£800 120 A LENGTH OF YELLOW TERMEH SHAWL CLOTH Possibly Kashan, Iran, 19th century The joined saffron yellow wool ground twill-tapestry woven in polychrome wools with repeating horizontal butis and ‘antler’ design and vertical meanders, the selvedges edged in green, 140.7cm x 120.4cm. £300-£500 121 A COMPLETE LENGTH OF UNCUT TERMEH SHAWL CLOTH Possibly Yazd, Iran, late 19th century The deep red wool ground twill-tapestry woven in green, blue, orange, and white with a continuous pattern of horizontal butis, 200cm x 90cm. £250-£300

122 A QALAMKAR SOFREH Possibly Isfahan, Iran, 19th century The floor-spread banqueting cloth of fine white cotton, painted and printed in turkey red, sage, teal, and saffron with scrolling floral stems and birds around three star-burst floral circles symbolising dishes of food, each end with an elegant pair of flower-filled buti, the borders with Persian poetry in bold nasta’liq in cartouches, eulogising the generousity of the spread, three sides edges with bias-cut blue cotton, selvedges present, 475cm x 90.2cm. £400-£600

124 A QALAMKAR HANGING Iran, dated 1278 AH (1861), signed Mohammad Mehdi The fine white cotton ground painted and printed predominantly in turkey red, and blue and ochre, with a large red field of minute buti in horizontal bands, the ends with long floral stems above and below the chevron inner borders, the cartouche at the top with workshop name and date, 230cm x 110cm. £200-£300

123 A LONG KASHMIRI SHAWL PROPERTY FROM LADY CONSTANCE STEWART RICHARDSON COLLECTION India, late 19th century The oblong format elegantly woven in twill tapestry technique in coloured wools with sweeping long butis in scrolling designs infilled with delicate flora around a square black centre invaded by scrolling foliage and stylised cypresses, workshop mark and ‘991’ embroidered in white, the border predominantly in greens, the harlequin horizontal borders in fine pashmina, 340cm x 136cm. Provenance: With Lady Constance Stewart Richardson since her trip to Kashmir in 1902, then by descent in the family. Lady Constance Stewart-Richardson (1883-1932), noblewoman and controversial British dancer and author, incurred the displeasure of Edward VII with her semi-clad dancing and was barred from court. The free-spirited Lady Constance favoured the present shawl as a souvenir of her time in India and Kashmir, and the time she kept warm by sharing a room with her yak on her distant journeys. The shawl has been with her family ever since and quintessentially embodies the fascination that countries like India would have cast on Western visitors at the turn of the century. £500-£700

125 A QALAMKAR HANGING Possibly Isfahan, Iran, 19th century The fine cotton ground painted and printed predominantly in pinks and blues with a symmetrical design of birds and scrolling flowers around a central cyprus tree within an arch, stemming from a hillocky ground, flanked by peacocks, tigers chasing gazelles, and a pair of stylised cypresses, possibly for the Indian market, the cartouche in the top border printed with the factory name ‘Hajj Mohammad bin Agha Asghar Ali Hossein’, lined in later printed cotton, 260cm x 90cm. £400-£600 *See inside front cover for information regarding fees

126 A SQUARE KASHMIRI SHAWL North India, 19th century Twill tapestry-woven in coloured wools, the large scale buti crowned by small palmettes converging towards a hexagonal black centre, the harlequin borders embroidered in coloured silks, inventory number ‘71331’ on white tape attached to the verso, 210cm x 200cm. £400-£600

127 A BROCADE PANEL India, 19th century The length of fuchsia silk brocaded with closely-set rows of small stylised buti, the bases with blue and white silk threads, the chevron foliage alternating between gold and silver thread wound around silk cores, laid on fuchsia silk, on shot blue and gold silk, mounted on stretcher, 92cm x 75cm, 119cm x 104cm including mount. £400-£600

128 A PURPLE SILK ABA Syria, late 19th-early 20th century Of typical rectangular form, the joined silk woven with vertical gold lines emanating from the shoulder schematically representing gold tassels, the seams in gold metal thread wound around a silk core, hemmed, no evidence of machine-stitching, 114cm x 134cm. £200-£300

129 A SQUARE KASHMIRI SHAWL North India, 19th century Twill tapestry-woven in coloured wools, the elaborate and predominantly red palmettes surrounding a residual black centre invaded by rows of floral sprigs, within embroidered harlequin borders, one end with an added border of collaged shawl material, the modern lining of cerise half cotton quilted to the shawl, reinforcing the main design outlines, 190cm x 184cm. £500-£700 9

Early Islamic Art

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133 130 THREE UMAYYAD HOT-WORKED GLASS BOTTLES Syria, 7th - 8th century Comprising three free-blown and hot-worked glass bottles, possibly used as essential oils and perfumed water containers, two of globular shape, resting on a circular foot, with applied decorative roundels recessed to the centre, the third pyriform, on a concave base and with a band of applied geometric lattice to the centre, the tallest 9cm high. The production of this type of glass containers has been attributed to the same Syrian workshop that created the so-called cage flasks. Rarely exceeding a height of 10 centimetres, these bottles were often decorated with whimsical geometric patterns in either the same colour of the vessels or in a contrasting colour, as it is the case of our tall flask. For similar examples, please see Stefano Carboni, Glass of the Sultans, The Metropolitan Museum of Art, New York, 2001, pp. 114 - 115, cats. 33 - 34. £1,000-£1,200 131 THREE FREE-BLOWN MONOCHROME GLASS BOTTLES Iran, 10th century and later Comprising three monochrome glass bottles, two of compressed globular shape with tall cylindrical necks, pontil mark evident to the footless base, of cobalt blue colour; the third pyriform, on a circular foot, with carved decorations to the sides, of light green colour, the tallest 8.3cm high. £600-£800 10

132 A CARVED ROCK-CRYSTAL CHESS GAMING PIECE Possibly Egypt, 10th - 12th century Of zoomorphic shape, possibly an early representation of the knight chess piece, on a flat circular base, 5cm high. £150-£180 * 133 A GROUP OF TWENTY-ONE MISCELLANEOUS SMALL BRONZE ITEMS AND FRAGMENTS PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Iran and Central Asia, 12th - 14th century and later Comprising a broad array of cast, engraved and openwork bronze items, such as a small cauldron, two bracelets, several bottles and pins, a khol jar, and a spoon, all of different size and dimensions, the tallest 13.6cm high and the smallest 1.5cm high. £1,400-£1,800

*See inside front cover for information regarding fees

134 TWO LARGE PAINTED WOOD ARCHITECTURAL MUQARNAS PANELS Possibly Egypt or Post-Nasrid Spain, 14th - 16th century Of rectangular shape, polychrome-painted, with 10 and 11 carved niches respectively, the style mirroring the architectural device of muqarnas, a type of three-dimensional ornamented vaulting typical to the Islamic lands, the painted ogival niches arranged on three overimposed levels divided by a band of black and white knotwork and another band of stylised fretwork, approximately 206cm x 52cm each. Provenance: originally in a French private collection, then recently in the UK art market. £2,000-£3,000

135 A PSEUDO-SYRIAC BRASS DIVINATION BOWL Egypt or Syria, 15th - 16th century Of typical rounded shape, the centre marked with a conical boss with flat head, the engraved decoration with cusped medallions around the cavetto and several talismanic inscriptions in pseudo-Syriac and thuluth script to the interior and exterior, 20.5cm diam. Our “magic” bowl presents several similarities with a divination bowl part of the British Museum collection (OA+.2603). Indeed, both bowls share the same rounded form with a central conical boss; the talismanic inscriptions seem to have been carried out in the same scripts, i.e. thuluth and illegible pseudo-Syriac. A similar bowl successfully sold in these Rooms, 27 April 2018, lot 39. £800-£1,200

136 AN ENGRAVED COPPER BOWL Possibly Egypt or Syria, 15th - 16th century Of circular shape, on a plain base, with straight circular rim, the body heavily engraved with a variety of Mamluk motifs such as interlocking lobed cartouches filled with thuluth calligraphy against cross-hatched ground, rosettes, Y-shaped roundels, bands of knotwork, arabesques and intertwined vegetal scrolls, the natural patina removed through heavy polishing at a later stage, 28.7cm diam. £300-£500

137 A MAMLUK ENGRAVED TINNED COPPER BASIN Egypt or Syria, 14th - 15th century Of hemispherical shape, with a rounded plain base, the rim reinforced, the exterior finely engraved and gadrooned, the decoration consisting of lobed panels in the shape of flower petals filled with arabesques and stylised sprays in the lower section, the upper section characterised by two lobed cartouches with calligraphic inscriptions in thuluth against a cross-hatched ground, interspersed with medallions and other cartouches filled with typical Mamluk motifs, such as Yshaped pattern, infinite knots and rosettes, the interior plain, 27cm diam. £1,500-£2,000 11

The Arts of the Book

138 A SCHOLARLY MISCELLANEOUS COLLECTION OF THIRTY-TWO FRAGMENTED CALLIGRAPHIC FOLIOS Near East, Morocco, Egypt and Iran, 11th - 19th century Comprising seven fragments of Eastern Kufic script on cream-coloured paper, the calligraphy in black ink and diacritic marks in red ink, sura headings in faded brownish ink, evidence of rosettes as border illuminations, the tallest 20.5cm high; three folios from Firdawsi’s Shahnama, two of the Injuid period, one in later nasta’liq, the text divided in vertical columns and in black ink, the largest 36.5cm x 28.5cm; eight folios of 19th-century North African hadith, 9ll. of black and red ink to the page, 22.5cm x 16cm; a 19th-century printed squared Kufic composition, 23cm x 19.6cm; a large Ilkhanid Qur’an loose folio with golden and cobalt blue roundels and drop-shaped illuminations, 40.5cm x 30cm; a late Mamluk loose Qur’an folio with golden rosettes as verse markers, 26cm x 17.5cm; a Southern Iraqi loose folio from a 15th-century student’s Qur’an, 30cm x 20.5cm; three loose folios from a 16th-century Moroccan Qur’an, 27cm x 20.2cm; seven folios of hadith in North African or Ethiopian script, 23ll. of black and red ink to the page, 22.5cm x 16.5cm. £1,000-£1,500

140 JUZ’ XVI FROM A MAMLUK QUR’AN Cairo, Egypt, early 16th century Arabic manuscript on paper, 30ff. plus two fly-leaves, each folio with 7ll., in black naskh script, verse markers of gilt rosettes, larger divisions marked in the margin in gold thuluth script, sura headings in thuluth, waqf inscriptions and later ownership seals on the title page, the opening folio with silver and blue illuminations, in blue and gold rules, endowed by Sultan Qansawh Al-Ghuri, in contemporary brown tooled morocco binding, the text panel 17.3cm x 11.7cm, the folio 16.5cm x 11cm. £2,000-£3,000

139 A MAGHRIBI QUR’AN North-West Africa, 12th - 14th century Arabic manuscript on parchment, 22ll. of sepia ink maghribi script to the page, approximately 127 folios, diacritic marks in red and orange, fifth verse markers as gold ha-shaped illuminations, tenth verse markers as golden roundels, further verse markers with larger roundels, sura headings written in gold ink ornamental Kufic script, the middle of the manuscript (Sura 19, Maryam) with the text framed within a gold border with a marginal sun-shaped medallion, the 19th sura heading within an illuminated panel with a similar illuminated medallion extending to the margin, occasional marginal notes, lacking the original bounding, 12.6cm x 13.1cm each page. A similar example, though only made of two juz’, was successfully sold in these Rooms, 26 October 2018, lot 27. £2,000-£3,000

141 JUZ’ III FROM A QUR’AN Egypt, dated 1715 Arabic manuscript on paper, 24ff. plus four fly-leaves, each folio with 9ll., in black naskh script, diacritics and vowel points in black, verse markers in gold roundels, in black, red, and gold rules, sura headings in red, title page incorporating the waqf inscription mentioning the Sanbati family of Al-Azbakieh in Cairo as donors, in contemporary red morocco with gilt tooled medallions enclosing floral motifs, the doublures of flapped brown morocco, the text panel 21.5cm x 13.8cm, the folio 30cm x 20cm. £1,000-£2,000 *See inside front cover for information regarding fees

142 A SAFAVID QUR’AN LOOSE FOLIO Iran, 16th - 17th century Sura 16 (Al-Nahl), vv. 104 - 127, Arabic manuscript on paper, 12ll. of black naskh and 3ll. of gold thuluth to the page, golden roundels as verse markers, diacritic marks and vowels in black ink, amendments in red ink, marginal illuminated roundels in the style of Persian shams, painted in red, cobalt blue, green, white and gold, the text flanked by abstract illuminations reminiscent of pole medallions, 34cm x 24cm. Provenance: Bonhams Knightsbridge, London, 1 May 2003, lot 25. £300-£400

144 A MISCELLANEOUS BRICOLAGE OF MANUSCRIPT ILLUMINATIONS Ottoman Turkey or Iran, 17th - 18th century and later Opaque pigments, ink and gold on paper, the vertical composition put together as a later-combined tiling of different manuscript illuminated roundels, lobed medallions, arabesques, vegetal and floral scrolling tendrils, mounted, framed and glazed, 56.5cm x 38cm including the frame. £300-£500

143 A QAJAR MINIATURE QUR’AN Iran, dated 1231 AH (1816) Arabic manuscript on paper, 256ff. plus three fly-leaves, each folio with 19ll. of black naskh script, inscribed for Mirza Mohammad by Agha Seyyed Ali Seyyed Sadegh, punctuation in red, gold florets between verses, gold and polychrome marginal medallions and sura headings, gold crenelated rules, black outer rules, catchwords, the text preceded and followed by illuminated bifolia predominantly in gold and blue containing preparatory and follow-up prayers to read before and after Quranic recitation, the opening bifolium intricately illuminated in polychromes with gold interlinear clouds, in lacquer binding painted in polychromes against black with roses within a gilt border, the doublures in gilt scrolling floral motifs against red, the spine in brown leather, the text panel 7.3cm x 3.8cm, the folio 9cm x 5.2cm. £1,200-£1,600

145 A MUNAJAT MANUSCRIPT PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Iran, dated 1240 AH (1824), signed by Muhammad Muhsin Al-Isfahani Arabic manuscript on paper, 78ff. plus four fly-leaves, each folio with 10ll., in black naskh script, with interlinear Persian translations in red ink in nasta’liq script, the Arabic text within gold clouds, in gold and blue rules, the opening folio with intricate illumination in polychromes and gold, the prayers of the fourth Shia Imam ending with two prayers quoted from the saint Ali, with madder lambskin end paper, within termeh shawl cloth binding edged with gilt tooled leather overlaid on brown lambskin, the folio 15.8cm x 10cm, the text panel 10.5cm x 6.3cm. £800-£1,200 13

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154 *See inside front cover for information regarding fees

146 THE OLD MAN REVIVING LEYLA AND MAJNUN Turkoman school, Iran, late 15th - early 16th century Opaque pigments, gold and black ink on paper, an illustration to a Persian Leyla va Majnun manuscript from the Khamsa of Nizami Ganjavi, the black nasta’liq text at the top of the composition divided in four columns, narrating the story illustrated below of Majnun’s excitement anticipating the meeting with Leyla and of an old tribesman reviving the star-crossed lovers, the tented landscape revealing female companions in a state of agitation, the beasts not straying far from Majnun, the tents decorated with large arabesque medallions and surmounted by curled Chinese-inspired clouds, 28cm x 12cm the folio, 45.5cm x 28.5cm including the frame. £1,500-£2,000 * 147 A MURAQQA’ PAGE PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Iran, late 16th century Persian manuscript on paper, the left hand folio from sonnets of Orfi, 17 lines of black nasta’liq script to the page, the text within gold clouds; the right hand folio with 7 lines of black nasta’liq script to the page, from the strap composition (tarkib band) of Orfi employing a simile to the story of Leyla and Majnun, the folio illuminated with a miniature painting in opaque pigments depicting Leyla visiting Majnun in the wilderness surrounded by beasts, her camel and howdah visible on the left, the margins with scrolling floral motifs in gold, on a terra-cotta mount, 25.3cm x 24cm overall. £2,000-£3,000 148 SHIRIN VISITING FARHAD AT MOUNT BISOTUN Iran, late 15th century Opaque pigments, gold and black ink on paper, an illustration to a Persian Khosrow o Shirin manuscript from the Khamsa of Nizami Ganjavi, the text in the upper right corner in four columns of black ink nasta’liq, the painting portraying the Armenian princess Shirin on her horse Shabdiz, visiting the stone-carver Farhad, depicted on his knees in the action of offering a jar of milk to the princess, mount Bisotun lying behind him and characterised by the traditional purple rocks of Timurid school’s paintings, mounted, framed and glazed, 16.2cm x 12.5cm the folio, 39cm x 30.5cm including the frame. £800-£1,000

149 KING GAYUMARS IN THE WILDERNESS Turkman school, Western Iran, late 15th century Opaque pigments, gold and black ink on paper, the nasta’liq text divided in four vertical columns, the two lateral ones with 17ll. and the two central ones with 9ll. to the page, the title to the scene in golden ink at the top centre of the page, the illustration with King Gayumars portrayed sitting down on a rock, wearing a simple floral dress and covering his shoulders with a tiger skin coat, four Turkic-looking attendants taking part to the gathering, wearing similar dresses and fur hats, one with a tiger skin coat, typical Chinese-inspired ru clouds against golden ground, mounted, glazed and framed, 45.4cm x 32cm including the frame. £400-£600 150 TALHAND DIES ON THE BACK OF AN ELEPHANT Possibly Herat, modern-day Afghanistan, late 16th century Opaque pigments and black ink on paper, the vertical composition on an illustrated loose folio from the Shahnama of Firdowsi, the reverse with 25 lines of black nasta’liq arranged in four columns of poetry, the heading in red naskh, the front illuminated in opaque pigments and gold with the Indian prince dying in battle against his brother Gav, surrounded by warriors in a rocky landscape, the folio 29.5cm x 20cm, the text panel 23cm x 12.8cm. A legendary source of the game of chess is this myth of brothers Gav and Talhand’s struggle for the throne. £1,000-£2,000 151 THE BATTLE OF BARIR AND YAZID Iran, late 15th century Opaque pigments, gold, and black ink on paper, the folio a loose illustrated page from Rauza-t al Shohada (Kashefi, 1502) depicting two opposed armies, in the upper corner on the left a veiled saint in flaming halo, possibly Muhammad the Prophet, observing the warrior Barir against Ibn Mu’alaq Yazid, the scene showcasing a variety of late Timurid costumes and helmets and in tune with Sultan Bayqara’s painting production, the battle field framed with two lower and upper cartouches in Persian nasta’liq kitabat, the verso in similar calligraphic style narrating the story of Barir followed by the story of the bridegroom Wahab ibn Abdullah Kalabi, the scene set within red, gold and green rules, mounted, framed and glazed, 17.8cm x 12.7cm the folio, 32.2cm x 25.7cm including the frame. £1,000-£1,500

152 AN ILLUSTRATED LOOSE FOLIO FROM THE SHAHNAMA OF FIRDOWSI Iran, late 17th- early 18th century Persian manuscript on paper, 25 lines of black nasta’liq to the page, chapter heading in red, the poetry organised in four columns on the reverse, the front with a scene from the story of Goodarz and Kai Khusraw in opaque pigments with gold highlights, depicting riders including a burqa-clad lady crossing the Oxus, observed by king and attendants on horseback, heralded by banner and trumpet, the folio 31.5cm x 20cm, the text panel 25.5cm x 15cm. £800-£1,000 153 AN ILLUSTRATED LOOSE FOLIO FROM THE SHAHNAMA OF FIRDOWSI Possibly Shiraz, Iran, late 17th - early 18th century Persian manuscript on paper, 27ll. of black nasta’liq script to the page, the front illuminated in opaque pigments and gold with a courtly scene with seated saluting courtiers, and a corpulent sofreh master in orange robes, with arches opening towards a flowering garden, the wazir Piran presenting a young prince, possibly Kai Khusraw, to the enthroned Afrasiab, in gold and blue rules, the folio 27.5cm x 18cm, the text panel 15.5cm x 27.5cm. £300-£500 154 TWO PAINTINGS OF COURT GATHERINGS Iran, 18th century Opaque pigments heightened with gold on paper, the two vertical compositions depicting lively garden scenes, the first portraying a scholar holding a book, seated under a blue-domed building with an attendant serving tea, accompanied by musicians and visitors indulging in drinks and fruits, on the verso poetic text in Persian nasta’liq calligraphy, mounted on white cardboard, 32cm x 23cm; the second painting depicting a nobleman under a green dome embellished with floral decoration, surrounded by female musicians and companions drinking, mounted on cream-coloured cardboard, 32cm x 23cm. £2,000-£3,000

155 A KULLIYAT (THE COMPLETE WORKS) OF SA’DI PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Iran, dated 1241 AH (1825), signed by Ali Muhammad Shirazi and made for Hassan Khan Persian and Arabic manuscript on paper, 211ff. plus three fly-leaves, each folio with 23ll. of kitabat nasta’liq script, the prose within gold clouds, the poetry in four columns, chapter headings in red and gold, the opening bifolio heavily illuminated with gold and polychromes, in gold and blue ruling, catchwords, one page illuminated with a courtly scene of an enthroned prince in an interior, debating with courtiers, one fly-leaf bearing the stamp ‘Persian Exhibition New York 1940’, numbered KF14, in lacquer binding, the exteriors of mirroring nightingale in floral bushes, the interiors with a sage instructing a youth seated in a green landscape, bound with a calf spine, the text panel 9.9cm x 6cm, the folio 13cm x 8cm. £1,500-£2,000

157 A TALISMANIC PENDANT WITH SCROLL PROPERTY FROM THE PARKER LIBRARY COLLECTION Possibly Iran, 19th century Arabic manuscript in ghubari script on gazelle skin, the text related to the Qur’an and additional prayers, the opening illumination in gold, blue, green, yellow and red pigments, the text in black ink with golden rosettes as decoration, stored within an engraved silver case with four ayats from sura 114 (Al-Nas), the scroll 31.8cm high, the pendant 6.5cm long. £150-£200

156 THE GULESTAN OF SA’DI Safavid Iran, late 17th century Persian manuscript on paper, 95ff. and 7 fly-leaves, each folio with 15ll., in black ink in kitabat nasta’liq, chapter headings and other markers in red ink, the opening bifolio in a different hand and of later production, possibly 18th century, library stamp of Ahmad bin Fazli, signed Darwish Mohammad Taqi, and inscribed ‘88’, possibily indicating 1088 AH (1677), with marbled end paper, in flapped blind-tooled brown calf binding, 15.5cm x 11cm. £800-£1,200

158 A NATHR UL LA’ALI ATTRIBUTED TO FAZL BIN HASSAN TABARSI (d. 548 AH): ALPHABETISED QUOTATIONS FROM THE SAINT ALI IN CONCERTINA MURAQQA PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Iran, 18th century and later, inscribed Ahmad Al-Nayrizi Arabic manuscript on paper, 34ff., each folio with 7ll. of naskh script in black ink within gold clouds, alphabet headings in red, text markers in gold, within scrolling borders of varying floral designs, and blue and gold rules, the text panel set low within the page, containing 313 quotations from the saint, the final folio inscribed in shekasteh nasta’liq with a dedication to the prime minister Amin ul Sultan (1858-1907) from Iqbal ul Dowleh (stamped), Mohammad Ghaffari Kashani (1847-1923), dated 13 October 1889, Qazvin, re-bound with printed cotton strips, pink end paper water-marked Picardo, within painted, lacquered and gilt cotton covers stretched on board, with calf trimming, the folio 24.5cm x 15.5cm, the text panel 14.3cm x 15.3cm. £1,500-£2,500 *See inside front cover for information regarding fees

159 SELECTED PRAYERS FROM ZAD UL MA’AD (PROVISIONS OF THE HEREAFTER, 1695) BY MOHAMMAD BAGHER MAJLESI (1627-1698) PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Iran and Southern Iraq, dated 1159 AH (1746) Arabic and Persian manuscript on paper, 282ff. plus three fly-leaves, each folio with 11ll., in black naskh script, markings in red, the opening folio illuminated in gold and polychromes, marginal notes in gold cartouches, two facing pages of name charts in red and black, in gold and blue ruling, signed by Muhammad Muhsin Al-Isfahani, commissioned in Najaf (Iraq) by Seyyed Mohammad Ibrahim Tabatabaie, dedicated Tuesday 27 Rajab 1297 AH (5 July 1880), in mirroring lacquer binding of a rose bush and a flying insect against black, the interior of plain red lacquer with gold ruling, with brown calf spine, the text panel 12.5cm x 6.5cm, the folio 18.5cm x 10.5cm. £1,000-£1,500

160 AN EARLY MANUSCRIPT ON GRAMMAR AND PUNCTUATION: QAWA’ID AL-’ARAB BY ‘ABDALLAH IBN YUSUF IBN HISHAM Ottoman Anatolia, dated 1433, with an ownership dated 1576, signed Tahir Ibn Ibrahim Ibn Shaykh ‘Amr Allah Arabic manuscript on paper, 36ff., each folio with 9ll. of black naskh script, marked in red, with printed end paper, in brown calf binding, the folio 18cm x 13cm. £2,000-£3,000

161 A MANUSCRIPT ON RELIGIOUS PRACTICE Ottoman Turkey, dated Shawwal 1096 AH (1684) Ottoman Turkish manuscript on paper, 75ff., each folio with 13ll., in provincial naskh script in black ink, Arabic text in red, catchwords, in red rules, in contemporary calf binding, the text panel 13.8cm x 7.7cm, the folio 17.5cm x 12cm. £400-£600

162 A TAFSIR AL JALALAYN BY JALAL ED DIN MAHALLI (d.1469) COMPLETED BY HIS PUPIL JALAL ED DIN SIYUTI (1505) Iran, late 18th century Arabic manuscript on paper, 344ff. plus three fly-leaves, each folio with 15ll. of Quranic text in black naskh, catchwords to the margins, the commentary in red, profusely annotated in the margins in diagonals, some comments in Persian, the colophon with reference to Al-Mizan and Abd al Qadir Jaylani, in black morocco binding, the folio 18.5cm x 17cm. £400-£600

163 AN ARABIC PRIMER Possibly North Africa, late 19th - early 20th century Arabic manuscript on light blue paper, 18ff., each text folio with 7ll. of black ink naskh, the opening bifolium painted in bright orange, green, yellow and gold, the following pages with charts and study exercises in varying letter combinations, the final four pages with the abjad lettering and prayers in praise of the creator, the declaration of faith (shahada), praises for the Holy Prophet and for the Prophet Ibrahim, in embossed paper binding with vegetal decorations, 22cm x 17cm. £180-£200

164 A MINIATURE PRAYER BOOK Ottoman Turkey, 19th century, signed Seyyed Ahmad Al-Hamdi Arabic and Ottoman manuscript on paper, each folio with 7ll. of black naskh script to the page, including suras from the Qur’an, prayers, charts containing sacred names, and illustrations of the tomb of the prophet, the opening bifolio illuminated in polychromes, within dull gold, red and blue rules, the top and bottom edge inscribed ‘Do’a En’am Sharif’, embossed mint-green end paper, in gilt, tooled flapped calf binding, the text panel 6cm x 3.3cm, the folio 9cm x 5.5cm. £800-£1,200

165 A SUB-SAHARAN QUR’AN Possibly Nigeria, Africa, late 19th - early 20th century Arabic manuscript on paper, 593ff., each loose folio with 12ll. of sepia ink crude maghribi script, diacritic marks and vocalisation in red and orange ink, the verse markers yellow dots turning into roundels with longer sequences, marginal notes and sporadic illuminations in the shape of roundels and star-shaped elements, grouped within a tooled brown calf leather case-shaped binding, held within a camel leather squared bag decorated with calligraphy and woven leather roundels, 25cm x 20cm each page, the bag 24cm x 26cm x 16cm. £400-£600

165a AN EAST AFRICAN QUR’AN East Africa, 19th century Arabic manuscript on paper, 223ff., plus three fly-leaves, each folio with 15ll., text markings, highlights and rules in madder red, opening bifolium illuminated in red and black geometric designs, the paper watermarked 1819, providing a terminus post quem for the tome, in contemporary brown calf binding, boards detached, the text panel 14.6cm x 8.3cm, each folio 20.5cm x 14cm. £300-£500

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Arts from the Ottoman Lands

166 A FRAGMENTARY STEEL CHAMFRON Ottoman Turkey, 17th century Of typical shape, the forehead engraved with the tamga (mark) of the Ottoman Arsenal based in the church of St. Irene in Istanbul, built on orders of Constantine I, rebuilt by Justinian I and converted into a weapons repository by Sultan Mehmed II (1432 - 1481), 51.5cm long. Provenance: Christie’s South Kensington, 28 April 2017, lot 242. £2,000-£3,000

167 AN OTTOMAN STEEL AXE HEAD Ottoman Turkey, 16th - 17th century With the typical crescent cutting edge, the knob at the back squared and joint to the axe head via a circular ridged ring, 18cm long. £300-£500

168 λ AN OTTOMAN YATAGHAN SWORD Ottoman Turkey, late 19th century With a curved single-edged blade, embellished with silver inlay emblem, etched script and engraved decoration, the copper forte decorated with glass beads and engraved geometric motifs, the tang’s ridge encrusted with drop-shaped coral to the top and red glass beads to the bottom, the walrus ivory grip plates and large extended ‘ears’ characteristic of the weapon type, housed in a scabbard of leather over wood, with brass fittings, overall length in scabbard 77cm. £200-£300

169 λ A WALRUS IVORY-HILTED CAUCASIAN DAGGER (KINDJAL) Ottoman Caucasus, 19th century Of typical shape, with a sharp double-edged blade, a recessed ridge to the centre, the handle and scabbard with walrus ivory fittings and decorative panels, with fine gold inlay, the rest of the scabbard in nielloed silver with vegetal decoration, the panel at the back in green velvet, 36.5cm long including the scabbard. £400-£600

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170 AN OTTOMAN GILT COPPER (TOMBAK) LANTERN Ottoman Turkey, 19th century Of circular shape, cast in two separate sections, each disk originally encasing a paper lantern within the central field now void, the top cover with a border of openwork, embossed and ridged roundels interspersed with drop-shaped medallions filled with stylised rosettes, the lateral hinges once used for a loop handle, the lower cover with spiralling openwork decoration, 33.8cm diam. For a very similar, though complete, example, please see Christie’s South Kensington, 26 April 2013, lot 810. £500-£700

171 A SMALL GILT COPPER ALLOY (TOMBAK) BOWL Ottoman Turkey, 18th century Of circular shape, with a flat concave base, the sides worked in fish-scale pattern and surmounted by a band filled with floral tendrils, the negative decoration on the cavetto, a lush flower head to the centre with remains of gilding, 13.6cm diam. £200-£300

172 A COPPER EWER AND BASIN PROPERTY FROM THE THEO SARMAS COLLECTION Ottoman Turkey, late 19th - early 20th century Comprising a copper ewer with a pyriform faceted body, on a short circular foot, rising to a flared neck, a sinuous handle and spout to the sides, the lid dome-shaped and topped by an engraved globular finial, 34.5cm high; and a large circular basin, the base for the ewer decorated with rhomboidal openwork, with a large hoop to the side, 36.5cm diam. £200-£300

173 A LOW GRADE COPPER ALLOY BOWL Ottoman Turkey, 19th century Of circular shape, with a flat circular base, the sides gadrooned in honeycomb pattern and surmounted by a band filled with floral tendrils, the interior plain, possibly an example of Ottoman haft ju (seven metals), 20cm diam. £200-£300

174 λ A MOTHER-OF-PEARL, TORTOISE SHELL AND IVORY-INLAID QUR’AN CASE Ottoman Turkey, 19th century Of rectangular casket-like shape, on four straight legs, the body clad in mother-of-pearl, tortoise shell and ivory marquetry work, the tesserae of typical triangular, squared and rhomboidal shape, the interior clad in dark purple velvet, changed at a later stage into a travel case with floral compositions to the side and a mirror to the centre, 33cm x 46.5cm x 27.3cm. £400-£600

175 TWO WOODEN GILT CALLIGRAPHIC ROUNDELS Ottoman Turkey, late 19th century Of circular shape, the centre with a monumental naskh inscription with the names of Abu Bakr and Omar, two of the Four Rightly Guided Caliphs (rashidun), in gold against a green-painted ground, with wooden gilt circular frames, sturdy brass hoops at the top, the composition reminiscent of Hagia Sophia monumental roundels, 74cm x 73cm. £1,200-£1,600

176 A SET OF CARVED AND PAINTED DOORS Ottoman Turkey, late 19th century Carved and painted in symmetrical designs on green ground, the central panels decorated with stylised floral motifs around a central mirror each, the top and lower panels painted with naive townscapes and domed structures, joined with brass hinges, 157cm x 63cm. £400-£600 177 A MOTHER-OF-PEARL AND COLOURED WOOD-INLAID DRUM Ottoman Turkey, 18th century Of typical shape, with a tall cylindrical base rising to a cup-shaped body, the rim clad in stretched leather, the body decorated with squared mother-of-pearl and wood tesserae, several decorative roundels with eight-pointed stars, and lattice work in several bands to the base, 40.5cm high and 20cm diam. £600-£800

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178 SIX PORCELAIN CUPS WITH CLOISONNÉ ENAMELLED FILIGREE ZARFS Ottoman Turkey, 19th century The cups of traditional cylindrical shape, polychrome-painted with a floral band below the rim over a light pink ground, the rim gilded, no marks to the base, each 5.5cm diam.; and the silver filigree zarfs decorated with parcel gilt palmettes, turquoise cloisonné enamelled rosettes and lush vegetation, each 6cm diam. and 4.5cm high. £600-£800

179 A KUTAHYA POTTERY COFFEE CUP WITH HOLDER Western Anatolia, first half 18th century Comprising a conical, egg-shaped coffee cup, resting on a small circular foot, the rim slightly everted, the white body painted in raised bole red, yellow, cobalt blue and black, the decoration consisting of fully bloomed floral bouquets interspersed amidst stylised cypress trees, 7cm high and 6.4cm diam.; and a matching holder decorated with similar motifs, with an old inventory sticker to the base, 11.5cm diam. £200-£300

180 A PAIR OF KUTAHYA-STYLE POTTERY VASES Samson, France, late 19th century Of deep cylindrical shape with an everted circular rim, resting on a short straight foot, the body painted in over-glaze red, black, yellow, green and blue, the decorative style clearly reminiscent of 18th-century Kutahya pottery with fish-scale pattern, stylised lotuses and palmettes, and lush vegetal sprouting, the base with maker’s mark, 11.5cm high and 14.8cm diam. each. £800-£1,200

181 TWO DAMASCUS POTTERY TILES Ottoman Syria, 18th century Comprising a squared tile, the white body painted in cobalt blue, manganese purple, copper green and turquoise, the decoration mostly floral with sprays of rosettes, tulips and hyacinths, mounted on a white perspex, 23cm x 23.4cm; and a small rectangular tile, possibly part of a frieze, decorated with rosette tendrils and lobed floral medallions, similarly mounted, 22.5cm x 10.5cm. £300-£500

182 AN IZNIK POTTERY DISH WITH FLORAL DESIGN Ottoman Turkey, first half 17th century Of typical shallow shape, with a flat everted rim, on a circular short foot, the white interior painted in raised bole red, cobalt blue and green within black lines, the centre decorated with a rosette and concentric rows of blue and red petals, the cavetto with young leaves, the rim with flowerheads within a triangular lattice work, with circular blue and green motifs to the exterior, inventory number ‘289’ to the base, 26cm diam. £800-£1,200

183 A LARGE IZNIK-STYLE POTTERY SERVING PLATE Marked ‘BFK’, Belgium, late 19th - 20th century Of circular shape, on straight circular foot, the blue, green and red painted decoration on white ground with a floral spray of tulips and carnations rising from a tuft of grass intersected by a central saz leaf, the sloping rim with alternated blue tulips and red carnations, the exterior with oval and spiralling decoration in blue and green, the base marked ‘BFK 5 / 24’, 50.2cm diam. £500-£700

184 AN OTTOMAN PARCEL-GILT REPOUSSÉ SILVER BOWL (TAZA) Balkans, Ottoman Provinces, 16th century Of circular shape, with reinforced rim and flattened raised centre, the cavetto fully decorated in high relief with a variety of animals including a stag, several birds, a long-eared quadruped, and a stylised haloed standing figure with a bird on his shoulder, all against a ringpunched ground, the centre with an applied parcel-gilt recumbent stag, the head now missing, three bands of beading from the centre to the rim, 168gr., 15.7cm diam. A variety of these early Ottoman Balkan silver bowls has appeared on the auction market in recent years. For further reference, please see Christie’s South Kensington, 24 April 2015, lot 354; Christie’s London, 26 October 2017, lot 201; and Sotheby’s London, 24 April 2012, lot 165 and 3 October 2012, lot 250. They all share common features such as the vegetal and animal decoration in high relief to the cavetto, applied animals, often quadrupeds, to the omphalos, ring-punched grounds, and an overall Byzantine influence in the decorative vocabulary and its articulation. £1,200-£1,400 185 AN UNUSUAL AND RARE BROWN-GLAZED CANAKKALE POTTERY VASE Ottoman Turkey, late 19th - early 20th century The body pyriform, resting on a stepped circular foot, with a curved handle to the side, the tall wide tubular neck surrounded and decorated by a virtuoso pottery masterpiece of moulded figural applications of military officers including three riders and one on foot holding a long sword, the cap of the tallest figurine used as the vase’s mouth, their uniforms realistically portrayed and painted in over glaze bright red, further moulded decorative applications to the body including lizards, gold-painted flowerheads and vegetal tendrils, 51.5cm high. £600-£800

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186 A SILVER REPOUSSÉ LIDDED BOX Ottoman Turkey, 19th century Tureen-shaped, with a squashed hemispherical body on an oval straight base, the tent-like top with a bulbous finial embellished with applied metal wire and cast floral and avian decorations, the sides with two oval handles, the exterior highly chased with rows of rosettes, floral festoons and lush palmette leaves, all applied elements stamped with sah and tughra marks, the base with French import marks, 25.8cm x 24cm. £400-£600

187 A SQUARE LITURGICAL BOX Ottoman Greece, dated 1873 Squared, with embossed decoration to the centre depicting a holy man with halo holding a Bible, the inscription above him referring to St. Bassilis (Basil), the background worked with ring-punched vegetal patterns, the back with a ringpunched Christian cross decorated with zig-zag pattern and the abbreviated inscription Jesus Christ wins, dated 1873, 6cm x 5.5cm. £180-£200

188 A NIELLOED SILVER SNUFFBOX Ottoman Greece, late 19th century Of oval shape, the top and bottom with niello decoration depicting traditional Balkan buildings, four military flags and two stylised halberds amidst a stylised vegetal triumph, the sides with floral and vegetal decorations, 7.5cm x 5cm. £200-£300

189 A SILVER-INLAID OPENWORK BRASS YEMENI INKWELL Yemen, 16th - 18th century Of typical shape, the penbox of narrow rectangular form soldered onto two squared inkwells, decorated with pierced scrolls, silver-inlaid floral medallions, fretwork and a calligraphic inscription to the top of the penbox, the body engraved with abstract spiralling designs, 28cm long. £1,500-£2,000

190 A SILVER AND NIELLO TOBACCO PIPE Georgia, ex-Sovietic Caucasus, early 20th century Of typical shape, with an hexagonal cylindrical silver body, engraved with vegetal motifs and fretwork, part of the decoration and a Cyrillic calligraphic band filled in with niello, the mouth piece made of red Baltic amber, the cane stamped ‘84’, with maker’s mark ‘BA’ (ба) and with an undeciphered city mark, 13cm long. Provenance: from a diplomatic Greek private collection. £300-£500

191 A WOODEN MOTHER-OF-PEARL INLAID MIRROR Jerusalem, late 18th century and later Of rectangular shape, the exterior clad in mother-of-pearl tesserae, several of them engraved in black and red and depicting saints, angels, flowers and Franciscan symbols, at the top an engraving showing the vision of St. Francis receiving the stigmata, the mirror a later replacement, 41.5cm x 28cm. £300-£400

192 A PIRI PIRI GOLD-THREAD EMBROIDERED SLEEVELESS ROBE Ottoman Albania or Greece, 19th century The ground of Prussian blue face cloth wool densely and symmetrically embroidered with lattice pairs of foliate tendrils bearing floral blossoms scrolling towards the centre at the back, the gold woven ribbon borders edged with sinuous gold thread frogging, the embroidery further embellished with gold spangles throughout, lined in red and white machine-woven chequered cotton, 120cm long. Provenance: UK private collection - purchased by the present vendor’s grandparents in Ohrid (aka Ohrida), Yugoslavia (now North Macedonia) on 9th September 1935, thence by descent to the present vendor. £400-£600

193 AN HISPANO-MORESQUE CARVED WOODEN DOCUMENT BOX Possibly Spain or North Africa, late 19th 20th century Squared, the front intricately carved with a central calligraphic composition, surrounded by a triumph of Hispano-Moresque decorative motifs such as split palmettes, geometric intaglio bands and vegetal scrollwork, the back and interior plain, the side fitted with two later added hooks, 35.8cm x 25cm. £200-£300

195 FOUR SPANISH POTTERY TILES Possibly Seville, Post-Nasrid Spain, 16th - 17th century Of rectangular shape, comprising two Arista tiles with typical raised sides between one geometrical segment and the other, one panel with star motifs, the latter with arrow-shaped designs; and two Cuerda Seca tiles, the sides once filled with a manganese cord keeping the different colours apart, decorated with similar motifs, painted in the same hues of amber yellow, brown, copper green and light blue, mounted and framed, 34cm x 34cm each. £600-£800

194 A SILVER-INLAID IRON HORSESHOE Bosnia, Ottoman Provinces, dated 1900 Of typical hoof-like shape, the sides raised, the interior with silver-inlaid decoration in both Arabic and Roman characters, mentioning the city of Sarajevo, the region Bosnia, the date 1900 and the function of souvenir (yadegar), with four circular holes on each side and a larger central one, 11cm long. £300-£500

195a EIGHT SPANISH ARISTA POTTERY TILES Possibly Seville, Post-Nasrid Spain, 16th - 17th century Squared, each composition comprising four tiles, decorated with a central star motif, the corners with other geometric designs, painted in the hues of amber yellow, brown and copper green, mounted and framed, 35cm x 35cm each. Provenance: Christie’s London, 17 April 2007, lot 12. £400-£600

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The Armenians in the Islamic Lands

Armenian Art The broad and rather vague term Armenian Art fails to honour the long-standing history of the arts produced by Armenian craftsmen and to truly grasp their sensational multi-layered variety of medium, motifs and traditions. A community in diaspora, dispersed across vast geographical areas, through the centuries Armenian merchants, artists and religious scholars not only played a pivotal role in the circulation of goods and information; they also served as vehicles for visual culture (Amy S. Landau, ‘From the Workshops of New Julfa to the Court of Tsar Aleksei Mikhailovich: the Initial Look at Armenian Networks and the Mobility of Visual Culture’, in Metalwork and Material Culture in the Islamic World, London, 2012 p. 413). Differently from Western merchants and artists, the Armenians residing in the Islamic Lands always tried to mingle with the local communities, by speaking the local vernacular languages and attempting to integrate in the society as seamlessly as possible, without diluting their cultural identity and millennial heritage. As Landau notes, conversant with foreign cultural paradigms which they interwove into their artistic language through a creative process of reception and adaptation, and then transmitted to the host society, these individuals demonstrated an unprecedented adaptability and a rare capability at crossing boundaries: geographical, linguistic, religious and ethnic (ibidem, p. 414). The selection of Armenian lots here gathered humbly aims to highlight the different customs and traditions embedded in the Armenian foreign residents’ multi-layered culture and to showcase the seamless synthesis achieved by the artists and the community between their Christian heritage and the new cultures and environments they interfaced.

196 A SAFAVID BRASS TORCH-STAND (MASH ‘AL) WITH ARMENIAN INSCRIPTION Western Iran, late 16th - early 17th century Of cylindrical shape, resting on a gently splayed base, rising to a reinforced everted rim decorated in reserve with an Armenian ownership inscription, the body finely engraved and decorated with recurrent Safavid metalwork motifs such as split and full palmette scrolls, arabesques, stylised flowerheads and chevron design, the neck with a central calligraphic nasta’liq band grouped in four polylobed cartouches, three hemistiches from the Bustan of Sa’di and the fourth hemistich from the Diwan of Ahli Torshizi, also known as Ahli Khorasani, framed within two vegetal scroll bands, the central body chamfered in zig-zag cuttings interspersed with floral scrolls, the flared foot with three concentric decorative bands repeating the same motifs, 31.5cm high. Provenance: from the private collection of James and Ana Melikian. Inscription: Endranos (?) to son of Mnatsakan and to them Exhibited and published: Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture, Brigham Young University Museum of Art (February – September 2012) and Indianapolis Museum of Art (November 2012 – January 2013), p. 196. Persian mash’al / masha’el, also known as pillar candlesticks, became very prominent during the reign of the Safavid ruler Shah Tahmasp (r. 1524 - 1576). Their Golden Age, however, can be witnessed during the reign of Shah Abbas I (r. 1588 - 1629), when a stronger rhythm and emphasis on their architectural form is added. The decorative patterns peculiar to this period, and present on our mash’al as well, are chevrons, lozenges, a variety of spiralling / scrolling vegetal and floral tendrils, lobed medallions and the typical escutcheon-shaped pendants, often around the base (A. S. Melikian-Chirvani, Islamic Metalwork from the Iranian World 8th-18th centuries, London, 1982, p. 264). Our candlestick shares several features with another one published in the same book (cat. 139, p. 311) and dated to the late 16th century, leading to suggest a similar dating for ours. Two more torch-stands with analogous features to ours, one highly polished, the latter unpolished, successfully sold in the UK auction market at Sotheby’s London, 5 October 2011, lot 258 and at Lyon & Turnbull Edinburgh, 22 October 2013, lot 7. However, differently from ours, they did not present an Armenian ownership inscription, possibly connecting our lot to the Armenian community of New Julfa, Isfahan. £8,000-£12,000

197 A LARGE SAFAVID BRASS BOWL WITH ARMENIAN INSCRIPTION New Julfa, Isfahan, Iran, dated 1065 AE (1616) Of compressed globular shape, on a flat base, rising to a flared short neck, the exterior decorated with two bands of engraved motifs, on the body twelve figural scenes interspersed by tall cypress trees, each scene divided in two different bands, possibly highlighting a different chronology, with groups of naively-drawn men kneeling and sitting back on their heels, drawn in threequarter facing, wearing long robes fastened by belts and broad turbans on their heads, banqueting, horse and elephant-riding, offering animals to a ruler and sharing drinks, in a typical atmosphere of bazm scenes (garden feasting), all against a stylised vegetal ground, on the neck a continuous band of split palmettes and arabesques interrupted by an Armenian inscription, the base with an unfinished row of typical Safavid medallions filled with hares, deer and other quadrupeds, 12cm high and 26cm diam. Provenance: from the private collection of James and Ana Melikian. Inscription: Nour Bek, son of Tasali, 1065. Exhibited and published: Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture, Brigham Young University Museum of Art (February – September 2012) and Indianapolis Museum of Art (November 2012 – January 2013), p. 196; Theo Maarten van Lint and Robin Meyer, Armenia: Masterpieces from an Enduring Culture, Oxford, 2015, p. 210, cat. 75. The shape and the inscription of this brass bowl suggest it could have been used in the Armenian community of Isfahan, possibly during Christian liturgies as a ritual washing basin (Theo Maarten van Lint and Robin Meyer, Armenia: Masterpieces from an Enduring Culture, Oxford, 2015, p. 210). The date recorded in the inscription makes this bowl an extremely early example of Armenian artefact made in New Julfa, the suburb of Isfahan where Shah Abbas I (r. 1588 1629) moved the Armenian community of the South-eastern Anatolian territories in 1604. The honorary title of Bek (or Beg) derives from a former Persian title used for chieftains or princes, and it alludes to the social standing of the owner. Although nothing else is known of him, it is reasonable to speculate that he could have been connected to the semi-independent Armenian melikdoms, to which Shah Abbas I granted a special status with an edict in 1603 and thus, the title and the commission of such a lavish bowl. The almost caricatured nature of the portrayed figures, their features and bazm setting show a strong degree of affinity with the decoration encountered on a Safavid brass torch-stand, dated early 17th century, illustrated in Assadullah Souren Melikian-Chirvani, Islamic Metalwork from the Iranian World 8th - 18th centuries, London, 1982, p. 326, cat. 148. £3,000-£5,000 *See inside front cover for information regarding fees

196 Armenian Inscription Details

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198 λ A PASTORAL STAFF (PATERITSA) IVORY HANDLE Possibly Armenia, Ottoman Provinces, 18th - 19th century Of typical shape, carved as a pair of confronting dragons or serpents, the engraved almond-shaped eyes with residues of red paint, 4cm x 15.8cm. Handles with this specific design have often been connected to pastoral staves (pateritsai) used by the Armenian communities living in the East (Anatolia, Ottoman Provinces and Iran). The symbol of the snake acquires here a positive value, as epitome of prudence and wisdom, two pivotal characteristics for a community’s pastor (Brigitte Pitarakis and Christos Merantzas, A Treasured Memory: Ecclesiastical Silver from Late Ottoman Istanbul in the Sevgi Gönül Collection, Turkey, 2006, p. 80). Our handle can be compared in shape and design to one made in Izmir, dating 18th century, and now preserved in the Armenian Monastery of San Lazzaro in Venice (ibidem, p. 174) and to another one part of the Sevgi Gönül Collection, published in the same book, fig. 59. £800-£1,200

200 A CHRISTIAN LITURGICAL BOWL Armenia or Ottoman Balkans, 19th century Of circular shape, resting on a flared foot, expanding to a wide flat rim worked in repoussé with twelve niches filled with the Apostles, each holding an attribute, interspersed with volute-shaped stylised vegetal sprays, 22cm diam. Possibly used during baptisms, this bowl seems to be connected to the Christian ritual of the blessing of the water. The iconography of the Twelve Apostles links it to the 17th - 19th-century Armenian tradition, in which liturgical purification played a crucial part. A liturgical bucket (aspersorium), part of the Sevgi Gönül Collection, is decorated in the same fashion and with the same iconography (Brigitte Pitarakis and Christos Merantzas, A Treasured Memory: Ecclesiastical Silver from Late Ottoman Istanbul in the Sevgi Gönül Collection, Turkey, 2006, pp. 57 - 58, fig. 43). £300-£500

199 AN ENGRAVED INCENSE BURNER Possibly Western Anatolia or Armenia, Ottoman Provinces, 18th century With a hemispherical body with flat rim and reinforced, flattened edge, lying on a tall, conical foot, the rim and foot engraved with vegetal and floral motifs, the flattened edge of the rim decorated with infinite knots pattern and an ownership inscription in Western Armenian, 12.5cm high and 16cm diam. Inscription: Belonging to Agop, son of the Chatzimartyros (honorific title for the believers that performed the pilgrimage to the Holy Land). £800-£1,000

201 AN ENGRAVED CHRISTIAN DONATION CUP Greece, dated 1829 Of cylindrical shape, on a plain flat base, the body lightly engraved with vegetal scrollwork and polylobed cartouches filled with stylised rosettes, below the rim an inscription in Western Armenian stating this moneybox is a donation from Myriam Hatoun, wife of Haroutioun, to the church of Saint Kevork (Armenian for George) in Didimotiho (far northern Greece) in 1829, 7.5cm high and 7.5cm diam. £500-£700

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202 A COPPER ALLOY CERAMIC MOULD Western Anatolia, Ottoman Provinces, dated 1777 Of rectangular shape, engraved with the traditional Christian iconography of St. George (Kevork in Armenian) stabbing the dragon, the saint portrayed with his full armoury and a halo, the top of the composition framed by a polylobed festoon filled with vegetal motifs typical of Armenian illuminated manuscripts, in the background a mountain and an undeciphered inscription in Armenian characters, the date 1777 to the left hand-side of the scene, with a fitting to the back, 16.5cm x 11cm. The motif on this mould is a very common one, dear to the Armenian community living in the Western Anatolian territories. In the 18th century, the Armenian potters at Kutahya flourished, producing a wide range of vessels as well as pictorial and decorative tiles for the Armenian Cathedral of St. James in Jerusalem, dating to the first half of 18th century. Several of these tiles depict the motif of St. George slaying the dragon and one in particular is dated 1168 AH (1718) (John Carswell, Kütahya Tiles and Pottery from the Armenian Cathedral of St. James, Jerusalem, vol.I, Oxford, 1972, tile CI, pl.10). It is likely to believe that as the potters’ skill increased, they started moving from flat to threedimensional figural representations, which in order to accomplish would have needed a mould such as ours. An example of a Kutahya flask with moulded panels depicting St. George was successfully sold at Christie’s London, 25 April 2013, lot 254. £1,200-£1,400

204 A KUTAHYA POTTERY JUG WITH CHRISTIAN ICONOGRAPHY Western Anatolia, 19th century Of typical pear-like shape, with a rounded body, on a short circular foot, rising to a flared circular mouth, a curved handle to the side, overglaze painted in cobalt blue, manganese purple, light blue, yellow and black against a white ground, the all-round decoration depicting two scenes from the life of Christ in chronological order (Pontius Pilate’s audience; the preparation to the Crucifixion), in the centre the Virgin Mary with a yellow nimbus lifting her typical blue veil and revealing Christ’s head instead of her heart, surrounded by human-like winged angels crossing their arms in sign of sorrow, a Turkish inscription in Armenian characters running around the rim, 14cm high. £1,000-£1,500

203 A BLUE AND TURQUOISE-PAINTED KUTAHYA POTTERY TILE Western Anatolia, first half 18th century Squared, painted in underglaze cobalt blue and turquoise and overglaze black, the decoration consisting of an outer frame filled with blue crown-like attributes amidst turquoise vegetal sprays, the inner square’s corners with blue flowers, the centre with a stylised rosette, mounted, 23cm x 23cm. £600-£800

205 A CHRISTIAN-THEMED DECORATIVE PLAQUE Ottoman Greece or Balkan Provinces, early 19th century Of circular shape, the centre with repoussé decoration showcasing the birth of Christ, the baby flanked by Mary and Joseph, the bull and the donkey, above him the symbols of the Holy Trinity with the dove and the triangle with God’s eye, at the bottom and top of the composition two holes suggesting perhaps the object’s use (i.e. woven onto an ecclesiastical robe, pinned onto a liturgical wooden board), 11.6cm diam. £400-£600

206 A NIELLOED SILVER CUP Possibly Van region, Western Anatolia, Ottoman Provinces, late 19th century Of hemispherical shape, resting on a short, flared and pierced foot, with a reinforced rim, a sinuous handle with a dove-shaped thumb rest to the side, the interior decorated with a nielloed tremblant silver fish, suspended on a pole and made of movable components, the exterior exquisitely inlaid with niello with floral bouquets, vegetal festoons and three oval cartouches, two with landscape scenes and one with the Ottoman Sultan coat of arms and tughra, possibly Abdul Hamid II (1842 - 1918), marked to the base with several hallmarks mentioning Van and Dikran in Arabic lettering and the initials ‘D.A.’ in Roman alphabet, 6.5cm high and 13cm diam. The shape of this cup and the presence of the dove and the fish suggest a likely use in a Christian rather than Muslim community. This cup could have been used in several ways but its connection both in terms of design and motifs to christening cups seems undeniable. Perhaps produced in the region of Van, an area renowned for its large Armenian settlement, this cup was used in the local communities’ liturgical ceremonies. £600-£800 interior

207 A CLOISONNÉ ENAMELLED SILVER SNUFFBOX Ottoman Provinces, 18th - 19th century Drop-shaped, on a flat and plain base, the lid and sides decorated with fine silver filigree work in the shape of lush leaves and greenery, filled in with cloisonné blue, green and turquoise enamel, the central panel showing the facade of an Ottoman brick building with a tall gate and crescent-shaped finials, 6cm x 5.2cm. £600-£800

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208 TWO SILVER SNUFFBOXES Ottoman Provinces, one dated 1822, the latter 18th - 19th century Comprising a lobed cartouche-shaped snuffbox, the body engraved with a large vase with floral bouquet surrounded by brick buildings, below it an Armenian inscription and the date 1822, on the hinged lid a large brick building complex resembling a Christian church or basilica, below it a dove, 4.6cm x 5.2cm; and an octagonal silver filigree box with a central amber-looking bead, 4cm x 5.5cm. £800-£1,000

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*See inside front cover for information regarding fees

Arts from Iran and Central Asia

209 A COPPER-LUSTRE POTTERY JUG Kashan, Iran, late 12th - early 13th century Of compressed globular shape, resting on a short splayed foot and rising to a tall flared neck, the decorative handle to the side in the shape of a lion, the body decorated with two concentric bands of copper-lustre vegetal scrollwork, the neck with a pseudo-calligraphic band, the interior painted in cobalt blue, 17cm high. £300-£500

211 A LION-SHAPED COPPER-LUSTRE POTTERY AQUAMANILE Possibly Iran, 19th century Zoomorphically shaped as a lion on his paws, resting on a rectangular base, on the head and back two cylindrical spouts, the larger with an everted rim and connected to a thin curved handle, the white body painted in copper lustre, the face realistically rendered, the rest of the body decorated with stylised split palmettes and vegetal scrolls, 12cm x 15cm. Vessels made of pottery modelled in the form of animals, birds and human figures are rare but not entirely uncommon in Seljuk Iran. Often, these figurines served the function of liquid containers embellished with one or more spouts. Their exact use is still debated but it is generally acknowledged that some figurines entered the fabric of everyday life with domestic functions, whilst others must have had a more symbolical meaning, probably forming part of the Islamic culture of storytelling and oral narrative (Sabiha Al Khemir, Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture, exhibition catalogue, Utah, 2012, p. 120). A very similar aquamanile to ours, though in the shape of a bull, can be seen in the Duke Foundation for Islamic Art, Honolulu, Hawaii, inv. no. 48.109. That said, the face of our lion, the decoration on his body and the overall appearance give away the impression that this could be a Qajar homage to the 12th-century Kashan pottery production, rather than an authentic artefact of that time. £200-£300 34

210 TWO POLYCHROME-PAINTED MINA’I POTTERY SHARDS Kashan, Iran, late 12th - early 13th century Comprising two circular Mina’i pottery shards, the frit body covered in opaque white glaze with in-glaze painting in blue, turquoise, black and overglaze painting in red, brown and gold, the decoration with the central rider on a horse typical of the time, the larger piece with an old inventory sticker 47/100, 13.8cm and 8.2cm diam. The Leitmotif of the rider is very common in Mina’i pottery production. Often identified as Bahram Gur or one of the mythical kings of the past, the rider was a well-fitting motif at the Iranian court just before the Mongol invasions. For similar examples of complete Mina’i bowls with this motif, please see Oliver Watson, Ceramics from Islamic Lands, 2004, pp. 366 - 369, cat. P.2, P.3, P.4. £300-£500

212 A TURQUOISE AND BROWN-PAINTED CUERDA SECA POTTERY NICHE TILE (MUQARNAS) Uzbekistan, Central Asia, late 14th - early 15th century Of vertical rectangular shape, bent in the middle and with an arched and pointy head, decorated with concentric bands of alternated turquoise and brown-painted chevrons, the cuerda seca linings evident to the edges, framed within a plain white border, 27cm high. Provenance: London private collection since early 1980s. £1,200-£1,400

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213 A TURQUOISE-GLAZED CARVED POTTERY NICHE TILE (MUQARNAS) Possibly Samarkand, Uzbekistan, Central Asia, late 14th - early 15th century Of vertical rectangular shape, bent in the middle and with an arched head, in the typical style of Timurid muqarnas (honeycomb) architectural vaults, deeply carved with scrolling tendrils linking flowerheads, trefoils, lotus flowers and palmettes within a plain white border, 25cm high. Provenance: London private collection since early 1980s. Specifically associated with Islamic architecture, muqarnas is a well-known decorative method to achieve threedimensional and highly ornate vaulting, thus avoiding to show the bare architectural infrastructure between the main bearing walls and a domed area. From the 12th century onward, muqarnas were typically used to decorate entrance portals and especially interior spaces in and around domes. In particular, in Iran and Central Asia, muqarnas vaults were achieved through the multiplication of several individually carved and moulded pottery tiles (often referred as alveolus), such as our example. The overall effect was breathtaking. For further similar examples, please see a tile preserved at the LACMA (M.2014.40), and other two tiles successfully sold at Christie’s, 23 October 2007, lot 69 and at Sotheby’s, 18 November 2013, lot 72. £1,400-£1,600

214 A MOULD-BLOWN LIGHT GREEN GLASS VASE Iran, 18th - 19th century Of globular shape, resting on a concave, footless, ridged base, with a short cylindrical neck with reinforced mouth, the light green body gently ridged with fine vertical ribs from the bottom to the top, the centre with a continuous band of mould-blown cypress trees, 17cm high. The mould-blown decoration present on this vase with vertical ribs and the cypress trees band in the centre is typical of the 18th - 19thcentury glass production in Iran (S. Carboni and D. Whitehouse, Glass of the Sultans, The Metropolitan Museum of Art, New York, 2001, p. 278). £200-£300

Properties from an Important European Private Collection Lots 215 - 227

* 215 A QAJAR COBALT BLUE GLASS BOTTLE Iran, 19th century With a globular body, resting on a thick circular foot, rising to a tapering neck with faint spiralling ribs, four S-shaped cobalt blue glass applied hooks surrounding the base of the neck and two ruffled light blue applied collars around the mid of the neck and the mouth, 25.8cm high. £800-£1,200

* 216 A SAFAVID BLUE AND RED POTTERY WATER PIPE BASE (QALYAN) Kirman, South Eastern Iran, 17th - 18th century Of compressed globular shape, on a straight circular foot, rising to a tall flared neck with everted rim, a bulbous spout to the side, the white body painted in underglaze cobalt blue and copper red, the decoration of the body consisting of polylobed medallions filled with stylised lotus flowers and interspersed by vegetal branches with leaves, the neck with Chinese-inspired cobalt blue chrysanthemums, the base with a continuous band of Chinese style ‘ru’ clouds, a zigzagged mark to the base, 20.5cm high. £1,000-£1,500

* 217 A SAFAVID BLUE, RED AND GREEN POTTERY PILGRIM FLASK Kirman, South Eastern Iran, 17th century The moulded body of compressed circular shape, the edges ridged and shaped as a floral collar, resting on a flat plain base, with a short conical neck, the brass spout at the top a later addition, the white body painted in underglaze cobalt blue, red and green, the central moulded medallion decorated with a red rosette and eight drop-shaped cartouches filled with tufts of greenery and red rosettes, the border with Chinese-inspired scrolling chrysanthemum sprays and stylised flowerheads, 21.6cm high. Departing from the original plain shape and decorated with vibrant colours and themes, moulded polychrome-painted pilgrim flasks can be frequently encountered not only in the Kirman ceramic production but also in the Western Anatolian Kutahya as well (see for example Bonhams, 12 October 2006, lot 169; Christie’s London, 25 April 2013, lot 252). Both productions share the use of new shapes and of the chromatic combination green - red - blue, with the addition of brown and yellow hues in the Anatolian creations. Although the original inspiration for these flasks may well derive from China and its renown moon-flasks, the Iranian and Turkish potters played with colours and design to achieve different, unique artefacts showcasing their genius. £2,000-£3,000

* 218 A SAFAVID BLUE AND RED POTTERY DISH Kirman, South Eastern Iran, first half 17th century Of octagonal shape, on a short circular foot, with rounded sides and an everted flattened rim, the white interior with four radiating underglaze-painted red arabesques amidst a cobalt blue scrolling leafy vine, the cavetto plain, the rim with a zigzag design, the exterior divided into panels each with a central lozenge-motif, tassel mark to the base, 19.5cm diam. Provenance: Christie’s London, 11 October 2005, lot 107. The mark to the base is strikingly similar to the one on another Kirman bowl, part of the al-Sabah collection at the Kuwait National Museum (Oliver Watson, Ceramics from Islamic Lands, London, 2004, p. 471, cat. U.25). As Watson explains, Kirman polychrome wares attempted to provide a locally available alternative to the exotic Chinese blue and white porcelain models. The designs in blue and the stylised mark to the base showcase almost always elements of Chinese derivation reinterpreted by the Persian potters’ minds. £1,000-£1,500

*See inside front cover for information regarding fees

* 219 A CHINESE EXPORT PORCELAIN BOWL AND SAUCER Persia and China, dated 1260 AH (1844) Comprising a hemispherical bowl, on a very short circular foot, the white porcelain body polychromepainted in a variety of overglaze enamels in hues from pink to green, cobalt blue, copper red to gold, the decoration consisting of a shamsa-shaped calligraphic medallion with 5ll. of nasta’liq poetry to the centre, surrounded by a continuous band of polychrome boteh (paisley design), below the rim several lobed cartouches inscribed with Persian verses in cobalt blue against a golden ground, the exterior and saucer replicating the same design, the text on both the bowl and saucer of Shi’a content by the renown marsiya (elegiac) poets Wisal al-Shirazi (1783 - 1846) and Mohtashem Kashani (1500 - 1588), an eulogy to the great Imam Husseyn, his martyrdom in Kerbela and his thirst, with specific hints to the use of this bowl for ice water and to the act of commemorating the Kerbela’s massacre when drinking from this bowl, with an ownership inscription and date to the outer rim of the saucer, the bowl 17cm diam. and the saucer 21.8cm diam. Inscription: By order of Mirza Bozorg Shirazi, 1260. £800-£1,200

* 220 A CHINESE EXPORT PORCELAIN TEA CUP AND SAUCER China, dated 1264 AH (1848) Comprising a rounded tea cup, on a circular straight foot, the base flared, with squared thumb-rest to the side, the white porcelain body painted with overgalze copper red, cobalt blue and gold enamels, the palette reminiscent of Japanese imari wares, the exterior decorated with red-bordered cartouches filled with golden bouquets and rosettes against a cobalt blue ground with golden stars, the interior characterised by a reverse inscription in Arabic characters against blue ground, a red and gold cross-hatched fretwork band below the rim, 12cm diam. and 7cm high; the saucer similar, 16cm diam. Inscription: By order of Mojtahed Al Zaman, 1264. £800-£1,200

* 221 A SET OF THREE PORCELAIN BOWLS AND SAUCERS WITH ‘FAMILLE ROSE’ DECORATION FROM THE QAJAR PRINCE MAS’UD MIRZA ZILL ALSULTAN’S SERVICE China and Persia, two bowls dated 1297 AH (1879-80) and one dated 1301 AH (1883-4) Comprising three porcelain bowls and matching dishes, each of varying size, from small to monumental, each one with typical Guangdong famille rose decoration and composition, the interior of the bowls embellished with bright polychrome colours and lobed medallions filled with Chinese interior scenes with figures alternated with floral bouquets and birds, butterflies and fruits against a gold ground, the rim fully gilt, the exterior of the bowls and the interior of the matching dishes with similar compositions with the addition of calligraphic roundels filled with golden ownership inscriptions, the exterior of the dishes plain, base unmarked, the largest bowl 37cm diam. and 15.5cm high; the largest dish 36.5cm diam. and 7.5cm high; the two smaller bowls 14cm and 11cm diam., 7.5cm and 4.5cm high; lastly, the two smaller dishes 22cm and 16cm diam., 4cm and 3.5cm high. Inscription: Commissioned by His Excellency, the auspicious, the most glorious, the most high, the most noble, the eminent Sultan Mas’ud Mirza Yamin al-Dawlah Zill al-Sultan, 1297 AH or 1301 AH The golden inscriptions on this set of vessels identify them as part of a much larger service commissioned by Prince Mas’ud Mirza Yamin al-Dawlah Zill al-Sultan (1850 – 1918), the eldest son of Naser al-Din Shah (1831 – 1896). Although he was the son of the ruling Shah, his mother was a commoner. This link cost him the much longed-for crown as it excluded him from being the next in line to the Qajar throne, a role inherited by his younger brother Muzaffar al-Din. Instead, Mas’ud Mirza was appointed governor of Isfahan in 1866, where he ruled almost uninterruptedly for 33 years (Heidi Walcher, In the Shadow of the King: Zill al-Sultan and Isfahan under the Qajars, London, 2008, p. 35). In 1870, Naser al-Din granted him the title of Zill al-Sultan (the Shadow of the King). From then on, Mas’ud Mirza turned Isfahan, the largest economic and trading centre in Iran at the time, into his own quasi-royal dominion. Only nine years later, Mas’ud Mirza commissioned his own vessels from the same kiln that had produced his father’s 1865 service, adding unique features which make them clearly attributable to him. Indeed, each vessel is marked with a gold roundel with a golden epigraphic inscription clearly mentioning his name, Mas’ud Mirza, and title, Zill al-Sultan. Moreover, his choice of background colour, a tinge of grey–mauve, is very much characteristic of this production and hadn’t been seen in Iran before his time (Daniel Nadler, China to Order – Focusing on the 19th century and surveying polychrome export porcelain produced during the Qing Dynasty (1644 – 1908), France, 2001, p. 171). Several porcelain sets and vessels from his service have appeared and successfully sold in the London auction market starting from these very Rooms, 3 May 2019, lot 226 to Sotheby’s London, 25 October 2017, lot 221; 25 April 2018, lot 199; and Bonham’s London, 8 October 2009, lot 157; 25 April 2017, lot 177. £6,000-£8,000

* 222 TWO SILVER BOXES WITH PAINTED ENAMEL PORTRAITS Iran, 19th century Each of rectangular shape, the hinged lid embellished with polychrome-painted enamel oval portraits of a prince with full regalia and lavish jewellery on one box, on the latter a courtier, both figures holding a wine cup in their hands, 4.8cm x 3.6cm. £800-£1,200

* 223 A BROOCH WITH PAINTED ENAMEL PORTRAITS Iran, 19th century Made of brass, the two central oval panels filled with polychrome-painted enamel miniatures, the one on the left portraying Naser al-Din Shah in his official uniform, on the right a youth, possibly a young officer from his epaulets, three pendants with pearls to the lower edge, 2.7cm x 3.5cm. £600-£800

* 224 A QAJAR ENAMELLED COPPER QALYAN CUP Iran, 19th century Of typical flaring form, with everted rim, the exterior finely embellished with polychrome-painted enamels, alternating roundels and escutcheon-shaped cartouches filled with Western-inspired figures amidst lush floral sprays and rose bouquets against a gold ground, the two largest cartouches with a Mother and Child composition reminiscent of Western paintings, the smaller roundels with attendants in the action of bathing and cleansing their hair, more roundels with landscape scenes, the interior painted in turquoise enamel, 6.6cm high. £1,800-£2,500

*See inside front cover for information regarding fees

* 225 A PAIR OF QAJAR ENAMELLED EARRINGS Iran, 19th century Each with a hemispherical bell-shaped body surmounted by an umbrellashaped cap and with an interior drop-shaped pendant, fully caparisoned and enamelled in polychrome floral designs, the hooks embellished with rosettes encrusted with untested seed pearls and a faceted white stone to the centre, each 10cm high. £1,500-£2,500

* 226 A CARNELIAN-ENCRUSTED SILVER BAZUBAND Iran, late 19th century Made of three interlinked silver pendants of oval shape, each encrusted with an engraved carnelian inscribed in nasta’liq, the silver chain a later addition, 20cm full length. £600-£900

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* 227 A QAJAR ENCRUSTED AND ENAMELLED GOLD RING Iran, 19th century The plateau drop-shaped, caparisoned with a row of untested seed pearls, encrusted with a row of untested bezel-set cabochon-cut red gems, possibly spinels, and an untested faceted emerald to the centre, the external row and the back painted in polychrome enamels with floral designs and birds, size Q, 3.5cm high. The decoration, the setting and the use of painted enamels lavishly combine in this ring some of the most quintessential features of Qajar jewellery. The same drop-shaped design and external row of enamel-painted blue petals can be encountered on a heavily diamond-encrusted gold bottle part of the Crown Jewels of Iran (case 27, no. 1), dating to the reign of Naser al-Din Shah (1831 1896) (V. B. Meen and A. D. Tushingham, Crown Jewels of Iran, Toronto, 1968, p. 112). The setting of the seed pearls as an external frame is also similar to dropshaped floral ornaments part of the same collection (ibidem, case 13, p. 76). £1,200-£1,800

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The Art of Persian Lacquer The art of lacquer has always played a crucial role in the artistic output of the Islamic Lands. However, it seems hard to disagree that its most impressive and long-lasting successes were matured and achieved in the Persian lands. Indeed, from the 15th - 16th century onward, lacquer was kept in high regard and chosen as the preferred material for pen cases and book covers. Then, in the Qajar era, the popularity of this medium grew to an unprecedented extent and encompassed all kinds of decorative objects and arts. Lacquer masters werenâ&#x20AC;&#x2122;t only trained artist, painters and lacquerers: beyond mere creative genius, lacquer decoration assumed a strong knowledge of classical Persian literature; a solid understanding of Muslim religious texts to build relevant references to pivotal figures and names (the takhallos of many lacquer artists was often connected to the Shia Imams); and a strong attention to details, to the contemporary fashion and trends. The selection of lacquer works here presented comes from three main private collections, which have been passionately build through the years with meticulous method and expert eye.

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228 A QAJAR LACQUERED PAPIER-MÂCHÉ PEN CASE (QALAMDAN) Iran, early to mid 19th century, Mohammad Zaman school With rounded ends and sliding tray, the top with a horizontal composition of varied feminine scenes, the centre with an odalisque half-clad in diaphanous drapery in a landscape with a Western-looking edifice in the background fixing the viewer with a knowing look, flanked by scenes of frolicking female bathers, possibly the ritualistic pre-wedding bath or the post-natal one, the sides and ends with a narrative cycle of life and death, possibly relating to Armenian Christian iconography, with a candlelit birthing scene and the narrative of an old man’s illness and recovery, the scenes divided by stylised floral cartouches in gold, polychrome painted against translucent light amber ground, the red underside with gilt and dark green grapes and scrolling vine leaves, the inner sides in black with gold borders, wrapped in draw-string pouch croched with geometric forms in orange and purple, 22cm x 4cm x 3cm. The theme of this qalamdan is not entirely obvious, but the common thread is clearly a celebration of female life-giving, bonding and healing arts, possibly inspired by the late Safavid text Aqa’id al Nisa’ (Beliefs of Women). One scene depicts a young mother attended by midwives and supported by helpers, wearing a talismanic necklace, grasping her own knee, while attendants bathe the new-born and prepare to swaddle him, a young female attendant bearing a tray containing protective items to safe-guard the mother and child from the evil Aal, the sword to be used for drawing the khatt magic circle of safety on the ground around the precious new life. The following frames relate to young men discovering a man in poor state of health, and his transference to the care and attention of young ladies as he lies unconscious and vulnerable. The opening end of the sliding tray with a scene of country life: a seated female spinner with a toddler grasping her back, a young man carrying a calf on his shoulders, and a young lady tending the sheep by a tent. The presence of Western-style buildings and compositional short-hands make it a likely Armenian production. The birthing scene shares several pictorial devices with an analogous scene on a mirror case in Massumeh Farhad, Mary McWilliams and Simon Rettig, A Collector’s Passion: Ezzat-Malek Soudavar and Persian Lacquer, Washington DC, 2017, p. 61, inv. no. 2014.383. £1,500-£2,000 229 A QAJAR LACQUERED PAPIER-MÂCHÉ PEN CASE (QALAMDAN) Iran, 19th century With rounded ends and sliding tray, the top painted with riders, possibly Rustam and Esfandiar, surrounded by troops, in hand-to-hand combat, the sides and ends with a hunt narrative in consequent frames, culminating with a hunter attacked by a young lion, the scenes framed by elaborate decoration in illumination-style, the underside and tray with gilt birds and scrolling tendrils against red ground, 23.3cm x 4.3cm x 3.5cm, in fitted green velvet pouch edged with metal thread frogging. £1,000-£1,500 * 230 A SMALL QAJAR LACQUERED PAPIER-MÂCHÉ PEN CASE (QALAMDAN) PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Iran, 19th century With rounded ends and sliding tray, polychrome-painted over a gold-sprinkled black ground, finely worked in the style of Abu Taleb with lobed cartouches containing trellis decorations, the base with gilt diagonal stripes against scrolling floral motifs, the sides in red, gilt with patterns echoing the exterior, 18.5cm x 2.7cm x 3cm. £600-£800

* 231 A QAJAR LACQUERED PAPIER-MÂCHÉ PEN CASE WITH HAND-TINTED PHOTOGRAPHS (QALAMDAN) PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Iran, 19th century With rounded ends and sliding tray, the top and sides applied with early European photographs of couples courting and making music, street scenes, and a seated bearded gentleman, the photographs tinted and gilt, the underside gilt and embellished in traditional style, some photographs repeated but manipulated into outdoor scenes, the base and tray outer sides with gilt meandering palmettes on dark maroon ground, 23.5cm x 3.5cm x 4.3cm; the tray containing a pair of narrow steel calligrapher’s scissors, 15cm long. £800-£1,200 232 TWO QAJAR LACQUERED PAPIER-MÂCHÉ PEN CASES (QALAMDAN) Iran, 19th century Each with rounded ends and sliding tray, comprising a pen case with a later added inkwell (dawat), the top and sides painted with horizontal composition of the typical gul-o-bulbul (rose and nightingale) motif interspersed with oval portrait medallions depicting members of the Qajar high society, all sumptuously clad with fine clothing and heavily bejewelled, one gentleman bald and wearing an Indian embroidered muslin jacket, one nasta’liq inscription in white ink at the top Ya Saheb Al-Zaman 1126 AH (?), a later addition paying tribute to the work of the 18th-century lacquer master Aqa Mohammad Zaman; the latter painted with vertical composition of oval medallions filled with gul-o-bulbul (rose and nightingale) motif; each polychrome-painted against a translucent gold sprinkled dark brown ground, the internal tray and the underside of the first pen case with gold lotus flower and rosette trellis on red ground, the latter plain on red ground, the longest 23.5cm long. £1,000-£1,500 233 A QAJAR LACQUERED PAPIER-MÂCHÉ PEN CASE (QALAMDAN) Iran, 19th century With rounded ends and sliding tray, the top and sides painted with horizontal composition of the typical gul-o-bulbul (rose and nightingale) motif, the birds naturalistically rendered and depicted on branches amidst blooming roses, a nasta’liq inscription in faded white ink to the bottom and top of the composition mentioning the lacquer artist Aqa Mohammad Sadeq and the owner Aqa Hajji Qoli Khan, polychrome-painted against translucent dark brown ground, the internal tray and the underside with intricate gold vine scrolls on red ground, 22.8cm long. £500-£700 * 234 A SMALL QAJAR LACQUERED PAPIER-MÂCHÉ PEN CASE WITH PHOTOGRAPHS (QALAMDAN) PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Iran, 19th century With rounded ends and a sliding tray, the top applied with a pair of identical portrait photographs of Naser AL Din Shah in jewelled and aigretted hat above and below the portrait of an unidentified European lady, the sides and areas between photographs with poetry in praise of calligraphy in Persian nasta’liq script, also using reproduction techniques and repeating half-lines, one end with the photograph of a young European boy, the other end with a photograph of a European lady at her toilette in a state of undress, on gilded black ground, the underside and interior tray in bright red, 16cm x 2.7cm x 3.2cm. £500-£700

235 A QAJAR LACQUERED PAPIER-MÂCHÉ PEN CASE (QALAMDAN) FOR THE KASHMIRI MARKET Iran, 19th century Of rectangular form with detached lid, the top and sides with calligraphic panels of Persian poetry in praise of Alireza Khan in nasta’liq script within cartouches, the top centre with roses in a quatrefoil outlined in blue, the sides further decorated in gold against the black ground and with the rose and nightingale motif in polychromes, the base with a horizontally stretched stylised tree, the underside and tray in red with golden designs, 24.2cm x 5cm x 3.5cm. £800-£1,000 42

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* 236 A QAJAR LACQUERED PAPIER-MÂCHÉ PANEL: FATH’ ALI SHAH HUNTING PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Iran, 19th century Of rectangular shape, the horizontal composition painted and lacquered in warm polychromes with a centrally-positioned riding Fath’ Ali Shah hunting a stag with a lance and hounds in a wooded landscape, the king and steed in full ceremonial regalia in a fashion very much present in Qajar royal portraits, the attendants in a minor scale to the left conveying status and distance, the border of scrolling flowers in gold and maroon, mounted, framed and glazed, 26cm x 40.5cm (visible), 42cm x 56.5cm including frame. For an interesting discussion on Fath’ Ali Shah’s lacquer and pictorial portraits, please see Khalili, Robinson and Stanley, Lacquer of the Islamic Lands: Part 1, London, 1996, pp. 160 - 161. According to these scholars, his portraits as a handsome, virile, fertile, male sovereign were not only due to mere vanity but instead connected to deeply-rooted raison d’état. In both life and art, Fath’ Ali Shah’s deportment and appearance were part of a conscious programme of political propaganda, highlighting him as a man fit to wield absolute power in Iran. A very similar composition to the one in our lot, though smaller, can be seen in a book cover part of the Khalili collection (Khalili, Robinson and Stanley, Lacquer of the Islamic Lands: Part 1, London, 1996, p. 165, fig. 121). £2,000-£3,000

238 A LACQUERED PORTRAIT OF FATH ‘ALI SHAH ON HORSEBACK AND A WOUNDED STAG Qajar Iran, 19th century Opaque pigments on paper, comprising a portrait of the Shah on horseback, with a kneeling soldier in mail grasping the stirrup of the king in a Persian gesture of loyalty and devotion to a commander, the king and white steed in full regalia, laid on cardboard within double pink and green inner borders, 16cm x 10cm; and a wounded stag, the background collaged from various images, 14cm x 11cm. £400-£600

* 237 A QAJAR LACQUERED PAPIER-MÂCHÉ PANEL: SHIRIN VISITING FARHAD ON MOUNT BISOTUN PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Iran, 19th century Of rectangular shape, the horizontal composition polychrome-painted and lacquered with a scene from Nizami’s Khosrow o Shirin, the city walls and gates visible in the background, the queen and the multitude of her female attendants all riding au cheval, the male guards wielding sticks and accompanied by hounds in the foreground, the carver Farhad to the left lifting his eyes expressing his coy nature and at the same time his anticipation to the meeting, within a border of stylised floral motifs, mounted, framed and glazed, 40cm x 59.5cm, 62cm x 80.5cm including the frame. This naive panel is a charming fresco of the incredible range and colourful variety of Qajar costume and textiles, from the parasol over Shirin’s aigretted head, to the head-coverings of the female retinue and the saddle-rugs, to Farhad’s trousers. Despite the strong Western influence and the pictorial devices in the composition, such as Farhad’s dogs symbolising his loyalty, and the axes by the basket-load and in his hands prefiguring his tragic demise, the narrative still moves from right to left in the Persian style. A similar composition in vertical rather than horizontal format can be seen on a cover for a poetical anthology in Massumeh Farhad, Mary McWilliams and Simon Rettig, A Collector’s Passion: Ezzat-Malek Soudavar and Persian Lacquer, Washington DC, 2017, p. 59, inv. no. 2014.401. £1,800-£2,200

239 A GROUP OF ELEVEN LACQUERED PAPIER-MÂCHÉ PLAYING CARDS Qajar Iran, 19th century Comprising a variety of characters from the Iranian gaming tradition such as two enthroned kings, two princes, two riders attacked by a lion, a dancer, two hunters and an erotic scene, the last one with the Shir-o-Khorshid symbol typical of the Qajar dynasty, all plain at the back, each approximately 6.5cm x 4.5cm. £600-£800

* 240 A QAJAR LACQUERED PAPIER-MÂCHÉ MIRROR CASE PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Iran, 19th century Of rectangular shape, the cover painted with three narrative images of youthful courtship with musicians, debating sages, and a sage taking wine from a maiden, the reverse with three scenes of a semi-undressed sage amid followers, a learned gathering, and an aged scholar receiving wine form a maiden, the reverse of the cover with two scenes celebrating mystical sufi male friendship, each of the narratives within gilt and floral lobed cartouches, within intricate floral borders, inscribed Ya Sadeq al Wa’d, possibly a takhallos to Mohammad Sadiq (active second half of the 18th century), 24.2cm x 15.6cm. The story of Sheikh San’an and the Christian girl, the longest tale of Attar’s Mantiq al Tayr, may be the theme of this mirror case with ideas of transgression and repentance symbolised by the vanity of self-regard absolved by a return to the immaterial. £1,000-£1,500

241 THREE LACQUERED PAPIER-MÂCHÉ WAFER SEAL CASES Iran, late 19th - early 20th century Comprising two rectangular flat wafer seal cases, both with vertical composition of figural cartouches amidst floral bouquets, the ladies on the larger case clad according to Western fashion standards, on the smaller case instead showcasing traditional Iranian clothes with termeh jacket, polychrome painted over a translucent gold sprinkled and painted dark ground, the larger 14cm long; the third case decorated with Safavid-inspired motifs such as arabesques, split palmette tendrils, cloud-bands and golden scrollwork, reminiscent of several 19th-century lacquer products from the city of Shiraz, the underside with lotus trellis against a red ground, 14.5cm long. £300-£500

242 TWO LACQUERED PAPIER-MÂCHÉ PEN CASES (QALAMDAN) Iran, 19th century Each with rounded ends and sliding tray, the top and sides painted with horizontal composition of the typical gul-o-bulbul (rose and nightingale) motif, the birds naturalistically rendered and depicted on branches amidst blooming roses, irises and tulips, the darker qalamdan with a nasta’liq inscription at the top in gold ink Ya Saheb Al-Zaman 1160 AH (1747), the takhallos of Aqa Muhammad Zaman, founder of the Shiraz school of lacquer painting; the latter with a nasta’liq inscription in white ink bottom left Mohammad Baqer 1152 AH (1739), both inscriptions likely later additions, possibly a tribute to the 18th-century artists who originated this specific gul-o-bulbul composition, the first held in a polychrome silver thread-embroidered termeh case, each polychrome-painted against a translucent gold sprinkled dark brown ground, the internal tray and the underside with gold lotus flower trellis and vegetal scrolls on black ground, each 22.5cm long. An almost identical qalamdan to our first one, with the same inscription Ya Saheb Al-Zaman, was once part of the Ezzat-Malek Soudavar Collection (Massumeh Farhad, Mary McWilliams and Simon Rettig, A Collector’s Passion: Ezzat-Malek Soudavar and Persian Lacquer, Washington DC, 2017, p. 32, fig. 8). The large 19thcentury production of pen cases with the typical gul-o-bulbul motif shows that referring to the work of past masters by reproducing cherished motifs was an acceptable, even laudable, practice (ibidem). £1,000-£1,500 44 *See inside front cover for information regarding fees

243 A LACQUERED PAPIER-MÂCHÉ PEN CASE (QALAMDAN) Iran, 19th century With rounded ends and sliding tray, the top painted with vertical composition of polylobed figural medallions amidst a triumph of blooming roses, irises, tulips, carnations and birds, the sides similar but in horizontal composition, the figural medallions filled with a variety of literary characters such as Majnun and Sheikh San’an, scenes of mystical brotherhood and Sufi masters such as the two Safavid philosophers Mir Findiriski and Shaykh Baha al-Din Amili with the lion, and the young dervish inscribing a manuscript’s page, village and courtly scenes, a signature and date in red ink nasta’liq script to the top of the composition the work of Aliquli Jabbedar (active in 1666-1694) dated 1202 AH (1787), a later addition, polychrome-painted against translucent brown ground, the internal tray and the underside with intricate polychrome rosette and floral trellis on amber gold ground, 24cm long. This qalamdan is a wonderful example of the artist’s literacy and flexibility in accommodating themes deriving from foreign cultures and traditions. The pen case bears elaborate designed compositions drawing their inspiration not only from masterpieces of classical Persian literature such as Nizami and ‘Attar’s romances, but also Christian-related scenarios and European-looking figures, not to mention the attention given to themes deriving from Sufism and esoteric beliefs. Some of these compositions can be found on a qalamdan published in Massumeh Farhad, Mary McWilliams and Simon Rettig, A Collector’s Passion: Ezzat-Malek Soudavar and Persian Lacquer, Washington DC, 2017, p. 77, inv. no. S2014.17.64. £1,000-£1,500

* 244 A FLAPPED QAJAR LACQUERED PAPIER-MÂCHÉ BOOK COVER IN SAFAVID STYLE PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Iran, 19th century The outer surfaces painted in gold with red and green highlights on black ground, with phoenixes or simurgh and dragons, birds and deer in flowering shrubs around embossed lobed cartouches, in-filled with embossed scrolling lotuses, the doublure of dark red painted in black with gold and maroon highlights, with pheasants and stylised lotuses in scrolling symmetry around directional central lobed cartouches populated by schematic flowers, fine black leather spine appearing unused, 29.7cm x 18.2cm , 29.7cm x 30cm including the flap. The composition on this book cover is a rather traditional one and it harks back to 16th-century Timurid models (see Khalili, Robinson and Stanley, Lacquer of the Islamic Lands: Part 1, London, 1996, pp. 26 - 27, figs. 5 and 6). The fantastic landscape is decorated with Sino-Islamic beasts, each one outlined in gold, similarly to our lot. £1,000-£1,500 45

* 245 TWO QAJAR LACQUERED PAPIER-MÂCHÉ PANELS WITH BANQUET SCENES PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Iran, 19th century Comprising two rectangular panels, polychrome-painted against a translucent ground, the vertical composition characterised by a man with a tall black Astrakhan kaj-kolah hat and typical Qajar pink dress, the female companion fully bejewelled and wearing an encrusted feather-shaped head ornament, the scene in a traditional Qajar interior with khatamkari high chairs, floral carpet, dancers and musicians joining the scene, the composition bordered by calligraphic cartouches in unreadable nasta’liq, mounted, framed and glazed, 54cm x 47cm including the frame; and the horizontal composition similar, Chinese porcelain bowls and saucers in front of the couple, bordered by several cartouches of white nasta’liq calligraphy, golden roundels with the signature in red of Hajji Mohammad Naqqash-e Isfahan and the date 1272 AH (1855), the polylobed calligraphic cartouche at the back ascribed instead to Hajji Mohammad Taqi Isfahani’s workshop, dated 1272 as well, mounted, glazed and framed, 59.5cm x 45.5cm including the frame. £1,500-£2,000

246 A QAJAR LACQUERED PAPIER-MÂCHÉ PEN CASE (QALAMDAN) Iran, late 19th century With round ends and sliding tray, the top and sides painted with friezes of animals including horses, deer, mountain goats, wild cats, ducks, and other water fowl in a watery landscape, the base and inner sides with boats in a bay between a European town and a settlement with a tented encampment, 22cm x 4cm x 3cm. £300-£500

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247 A QAJAR LACQUERED PAPIER-MÂCHÉ PEN CASE (QALAMDAN) Iran, late 19th - early 20th century With rounded ends and sliding tray, the top painted with an outdoor celebration scene around a young couple, the sides with naive interpretations of European images including Victorian ladies reading and elegant courtship, as well as riders in Persian dress, the base and inner sides in red, gilt with scrolling floral motifs, the interior with a steel inkwell engraved with the portrait of a young lady in an oval cartouche, 22.5cm x 4cm x 3cm; and a small group of calligrapher’s implements comprising two small steel soot scoops and a pair of narrow steel scissors, 13.5cm long. £500-£700

* 248 A QAJAR LACQUERED PAPIER-MÂCHÉ MIRROR CASE PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Iran, 19th century Of typical rectangular shape, the front cover delicately painted with the nightingale in the rose bush, flanked by a hyacinth, carnation, violet, a small moth against an ochre ground, within a floral border on lacquer red ground, the back cover with a very similar painting in a slightly larger scale, the inner cover with an idealised portrait of the saint Ali seated in an interior, holding his sword, the Zulfiqar, in front of him a book, probably his Nahj ul Balagha, his halo in the centre of the arch, the woven palm leaf floor mat a reference to his humility, the interior mirror with a lobed arch cut-out to reveal the black and white portrait of a bearded Arab nobleman, a domed cityscape and palm tree and camel in the background, the quatrefoil cartouche to the right in Persian in shekasteh nasta’liq, signed by the master Efendi, attributing the image to Mohammad ibn Abdullah, 23.4cm x 15.4cm. £600-£900 249 - No Lot

Property from a Lady of Title

250 A MOHAMMAD REZA SHAH PAHLAVI CORONATION COMMEMORATIVE GOLD COIN Iran, dated 1346 AH (1967) The gold coin struck with a double portrait of the king and queen in profile in coronation regalia on the front, the back with the Imperial crown in the centre above the words ‘commemoration of the auspicious celebration of the coronation’ and ‘Mohammad Reza Pahlavi Ariamehr the emperor of Iran and her majesty Farah Pahlavi the empress of Iran’ from the 2 o’clock to the 10 o’clock position near the outer rim, 35gr., 36mm. This limited edition coin is significant as the first, and only, to include a female head in the history of Iran. On the occasion of the coronation, Queen Farah Pahlavi was appointed Regent in the event of the Crown Prince inheriting the crown before reaching majority, another first in a Muslim country. To rule with a female consort as an equal is what the coin celebrates pointedly and powerfully. £1,400-£1,600

251 AN IMPERIAL QUR’AN Iran, dated 1344 AH (1965) Arabic lithograph on paper, in black naskh script, Bank Melli publishers, 788pp., signed by the calligrapher Neirizi, with a dedication page with the signature of Mohammad Reza Pahlavi, in Persian Imperial blue hard slip case, the spine of slip case stamped in gold with the Pahlavi crown, 41.5cm x 26cm. £250-£350

252 AN ENGRAVED SILVER TRAY AND TWO SMALLER SAUCERS Shiraz, Iran, dated 1324 AH (1945) Comprising a circular dish, with everted repoussé rim, the centre engraved with a lobed medallion filled with figural decoration inspired by the Achaemenid reliefs of Persepolis and Takht-e Rustam, Fars region, the outer band with a vegetal scroll with vine leaves and grape in Neo-classical style, 566gr. and 29cm diam.; and two saucers, their lobed rims also in repoussé and decorated with figures echoing Achaemenid and Sasanid reliefs, 108gr. together and each 10.5cm diam. £400-£600

253 A SMALL SILVER JARDINIERE England, 1891 The oval-shaped body on a concave spreading foot, the body chased with swags and bows above acanthus leaves, the foot with stylised acanthus leaves, stamped London 1891 Charles Stuart Harris, 229gr., 16.5cm x 10.3cm x 6.4cm. £150-£250

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A Selection of Iranian Silver

254 TWO ENGRAVED IRANIAN SILVER BOWLS Isfahan and possibly Shiraz, Iran, 19th century Comprising a smaller silver bowl, the exterior fully engraved in Shirazi style, with figures and characters inspired by the Achaemenid stone reliefs of the Fars region, the base slightly convex and finely decorated with a burst of dropshaped petals, each engraved with rosette sprays, the interior plain except for the maker’s mark, Amal-e Ja’far, the work of Ja’far, 12.8cm diam.; the larger bowl engraved with a continuous band of lobed cartouches filled with figural decoration against a lush floral and vegetal ground, no marks evident, 14.5cm diam. £400-£600

255 A MISCELLANEOUS GROUP OF IRANIAN SILVER Isfahan, Iran, early 20th century Comprising a small squared lidded box, the body engraved with lobed cartouches with group of animals in the wilderness, on the lid an Iranian coin with the Qajar symbol of the shir-o-khorshid (the Lion and Sun) dated 1303 AH (1924), stamped with the maker and city’s marks to the base, Amal-e Ja’far (the work of Ja’far) and Isfahan, 7cm high; two candlesticks with typical floral decoration, stamped ‘84’ to the base; and a small huqqa base, the decoration similar to the others in the group, stamped ‘84’ and with city’s mark to the base, Isfahan, 19.8cm high. £240-£260

256 TWO MINIATURE IRANIAN SILVER SAMOVARS Iran, late 19th - early 20th century Comprising two miniature samovars, each one with its matching serving tray, saucer and miniature teapot, the globular body finely engraved with typical late Qajar motifs such as lotus flowers, birds amidst lush leafy branches, stylised rosettes, arabesques, geometrical patterns, split palmettes, fretwork, vegetal and floral interlocking sprays, each single component stamped with silver ‘84’ and lion’s marks, the tallest 30cm x 21cm. £400-£600

257 TWO SILVER REPOUSSÉ CANDLESTICKS AND A SMALL SERVING DISH Possibly Shiraz, Iran, late 19th century Comprising two vase-shaped candlesticks, resting on a stepped circular base, rising to flared and lobed mouth, the body characterised by high relief decoration with animals, mythical creatures and a great variety of human figures echoing the Achaemenid and Sasanian stone reliefs at Persepolis, Naqsh-e Rostam and of the Fars region, each 17.2cm high; and a similar tripod-based serving dish, 16.5cm diam. and 7cm high. £300-£500 49

258 TWO TURQUOISE-SET IRANIAN SILVER SAUCERS AND LARGE BOWL Isfahan, Iran, 19th century Comprising two small saucers of hemispherical shape, the rim encrusted with small turquoise beads, the exterior of one finely engraved with oval portraits amidst floral bloom, lush vegetal tendrils and rosette sprays on the latter, the centre with a flower-shaped rosette burst, below the rim a scrolling rosette tendril, both bases stamped with maker’s mark, Amal-e Ja’far, the work of Ja’far, 10cm diam.; and a large serving bowl, on a flat circular base, with raised everted rim, the figural decoration similar to the first saucer and in tune with Qajar courtly motifs, 16.3cm diam. £500-£700

259 A RETICULATED SILVER BOTTLE AND SMALL JAR Iran, first half 20th century Comprising a silver bottle, the glass body surrounded by a pierced decorative network of silver vegetal tendrils, floral bands, split palmettes trellis, birds, mammals and mythical animals, the composition echoing the Persian painting illustrations of the wak wak tree, stamped ‘84’ and with maker’s mark to the base, 29.8cm high; and a similar cylindrical lidded jar, stamped with the maker’s mark to the base, 13cm high. £120-£180

260 AN ENGRAVED IRANIAN SILVER TRAY Iran, 20th century Of lobed octagonal shape, the rim embossed, raised and reinforced to the end, the centre engraved with a lobed cartouche filled with figural decoration, a king at the top of the composition in conversation with his vizier, the rest of the crowd enjoying a courtly banquet with wine, dancers and musicians, an oval cartouche just below the king’s seat inscribed with Majles-e Yusuf o Zoleikha (the gathering of Joseph and Zuleikha), on the edge oval calligraphic cartouches in nasta’liq script with sonnet 86 from Sa’di, interspersed with rosette roundels and animals amidst grape tendrils, the back with a serial number ‘2912’, 57cm x 24cm. £120-£180 261 A TERMEH SORMEH DAN (KOHL POUCH) Possibly Yazd, Iran, 19th century The tear drop shaped termeh shawl cloth embroidered with a single-stem flower on each side, worked in metal threads and seed pearls, the edge with metallic thread ribbon, traces of kohl inside, 8cm x 5cm. £200-£300 50

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262 AN ENGRAVED AND PIERCED BRASS CASKET Qajar Iran, late 19th century Of rectangular, casket-like shape, resting on four stepped feet, the body fully engraved with mythical creatures, literary characters, animals and divs, the reticulated and pierced lid with intricate floral tendrils and polylobed cartouches engraved with riders hunting, secured to the body with a lateral chain and a rectangular lock, 13cm x 16cm x 12cm. £200-£300

264 A QAJAR COPPER DISH AND A SMALL TINNED COPPER BOWL Iran, 19th century Comprising a deep copper dish of circular shape, with wide everted rim, the centre engraved with a figural hunting scene amidst lush floral ground, the prince with a long shamshir in the action of hitting a lion running after a gazelle, the outer band decorated with three calligraphic cartouches in nasta’liq interspersed with portrait roundels, the cavetto plain, the rim engraved with similar decoration and a polylobed cartouche with a Hebrew inscription upside down, mentioning Haim Farhi, 30cm diam.; and a small tinned copper bowl, the band below the rim to the exterior engraved with the Twelve Imams’ names, the interior with a frieze of vegetal motifs, 15cm diam. £200-£300

* 263 AN ENGRAVED BRASS TABLE TOP PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Qajar Iran, late 19th century Of circular shape, with reinforced rim, the table top finely engraved with a circle of eight polylobed cartouches portraying the Persian Kings of the Past, each indicated by their name in naskh, amidst a triumph of intricate vegetal tendrils, rosettes, full floral bloom and abstract festoons made of herons and mythical beasts, more decorative cartouches to the centre and border with rural landscape views populated by animals, the base embellished with pierced and engraved vegetal motifs, 51.8cm diam. £500-£700

* 265 THREE LEATHER BOOK COVERS PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Iran and Turkey, 17th century and later Comprising a dark brown calf embossed, tooled, and gilt book cover with birds, clouds, mountain goat, and hare in and around a tree, within inner and outer frames with decorative floral scrolls, the doublure of painted red paper with gold rules, the spine of fine maroon leather, 23.2cm x 27.8cm; one red morocco book cover with flap, gilt and tooled with central medallions and corner cartouches containing elaborate cloudband scrolls, the doublure of white paper printed in green, 29.3cm x 47cm (overall); and another, in black morocco tooled and gilt with birds and decorative motifs in lobed cartouches, the doublure mirroring the outer motifs in blue, green, black and gold against a red ground, the black morocco spine, 16.5cm x 20.5cm (overall). £1,000-£1,500 51

266 A FINELY POUNCED DRAWING OF A DRAGON AND A SIMURGH Iran, late 18th - early 19th century Pen and ink on paper, finely pounced for transferring, the Persian-style spotted dragon opening his fangs at a simurgh hovering over him, the composition typical of the Timurid and Safavid period, another mythical creature pounced in the upper right corner, masterfully accomplished and a rare and significant surviving document of workshop practices, 16cm x 22cm. £300-£500 * 267 A DERVISH HOLDING A WATERSKIN AND CUP PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Iran, 17th century, Reza Abbasi’s school Pen and ink drawing on paper, with highlighted areas in opaque pigment, the bearded walking man in loose turban and flowing robes carrying a waterskin with an elaborate dragon-shaped spout, inscribed in nasta’liq Persian ‘for the dear child Mohammad Shafi’, the work of the unworthy Reza Abbasi’, mounted on purple cardboard within multiple borders, 12.5cm x 6.5cm, 37.5cm x 24cm including the mount. £2,000-£3,000

* 268 A MONGOLIAN WARRIOR PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Iran, 18th - 19th century Pen and ink drawing on paper, with highlights in opaque pigments, the vertical composition depicting a Central Asian warrior, characterised by his fur hat and high boots, the long beard and almond-shaped eyes emphasising his TurkicMongolian origin, the margin of blue paper illuminated in gold with scenes of hunting riders confronting bears, in red and gold rules, on a light brown mount, 20.8cm x 16.2cm, 42.5cm x 31.2cm including mount. £1,000-£1,500 52

269 AN INTERIOR SCENE WITH A CENTRAL ASIAN SEATED COUPLE Western Iran, 15th - 16th century Opaque pigments on paper, the horizontal composition a loose folio from an album (muraqqa) page, depicting a Turkic couple in conversation, the man wearing the typical rounded cap with raised golden sides, the woman with a white veil, the background with dark tiles decorated with white split-palmettes and geometric motifs, mounted on a later cream-coloured gold-painted album border, mounted, glazed and framed, 29.5cm x 39cm. £500-£700

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* 270 AN ELEGANT DANDY AT LEISURE PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Qajar Iran, Isfahan style, 19th century Pen and ink drawing on paper, with gold and opaque pigment highlights, the youth leaning against a figured cushion beneath a plane tree, pouring wine, laid on dark blue gold-sprinkled paper, on a cream-coloured mount, 40cm x 30cm including the mount. £700-£1,000

271 KING SOLOMON IN CONVERSATION WITH A BIRD Iran, late 17th - 18th century Opaque pigments and gold on paper, the vertical composition a loose illustrated folio from a narrative manuscript, depicting King Solomon seated under a domed canopy, caught in conversation with a bird, possibly the hoopoe, the scene witnessed by a variety of participants from the monsters (divs), animals and birds in the foreground, to a winged angel to the right, a humble servant to the left and a multitude of birds in the sky above, framed within vegetal and floral borders, the outer border with four Safavid shamsa-inspired rosettes on each corner and loose flower heads in the rectangular cartouches on each side, mounted, framed and glazed, 47.5cm x 40.5cm including the frame. £1,000-£2,000

272 A PORTRAIT OF MIRZA ALI ASGHAR KHAN Iran, 19th century Opaque pigments on paper, the vertical composition depicting a young Mirza Ali Asghar Khan (1858 - 1907), the last Prime Minister of Iran under Naser al-Din Shah, wearing a tall black Astrakhan kaj-kolah hat and a red Kerman termeh coat with boteh (paisley) motif on the shoulder, a green band around his shoulder and waist with a gem-set brooch in the centre, with a polychromepainted portrait, possibly of Naser al-Din, the portrait unfinished but carried out with the highest precision and draughtsmanship in tune with 19thcentury Sani’ al-Molk’s studio productions, pasted onto a later greenish cardboard mount, 31.5cm x 20.5cm. Provenance: Roseberys London, 23 October 2017, lot 338. £300-£500

273 A PORTRAIT OF THE PROPHET PROPERTY FROM THE PROFESSOR RUDOLF GELPKE (1928 - 1972) Iran, second half 18th century, signed Muhammad Sadiq Pencil, red ink, opaque pigments and gold on paper, the pencil-drawn vertical composition a presumed idealised portrait of the Prophet, masterly use of chiaroscuro giving depth to the drawing, the pictorial style with heavy Western influence, the rendering of the face echoing classical St. Paul’s iconography with thick curly beard, weavy hair to the side, slightly bald, to the upper right corner a naskh signature Ya Sadeq al Wa’d in red ink, the nom de plume of the artist Muhammad Sadiq with an underlying implicit reference to Ja’far al-Sadiq the Sixth Imam, framed within a polychrome-painted floral border, followed by cobalt blue, golden and gold-painted pink borders with traditional Safavidinspired motifs, mounted on a later orange A4 paper with Gelpke’s notes, framed and glazed, 28cm x 17.5cm excluding the frame. Provenance: Roseberys London, 23 October 2017, lot 263. £1,000-£1,500 53

274 A PRINTED SUCCESSION SCROLL OF THE NAQSHBANDI SUFI ORDER Ottoman Turkey or Central Asia, 1286 AH (1869) Arabic print on twelve sections of paper, joined and laid on green silk, the genealogy of the Sufi order in charts and diagrams, individual saints and shaykhs dated, traced back to the holy prophet, 534cm x 66cm. £600-£800

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Arts from India and South East Asia

275 A FISH-SHAPED SILVER GILT PROCESSIONAL STANDARD FINIAL (‘ALAM) Lucknow, North India, 18th century Zoomorphically shaped as a fish, the body gilt and the eye set with green beads, the central ringed silver pole of cylindrical shape, the top of the ‘alam with a crescent ending in two gilt globes, mounted on a green velvet stand, 62cm high including the stand. The design of this ‘alam links it to the 18th-century Lucknow production and to one of its quintessential decorative motifs, the fish. As Markel explains, the fish emblem represents an idiosyncratic Lucknow artistic rendition of the Mughal insignia of exalted rank, known as the mahi-ye maratib (Fish of Dignity). The fish insignia has a long heritage in pre-Islamic and Islamic cultures in the Middle East and South Asia, but it acquired special prominence during the Mughals, as several emperors’ portraits of the 17th and 18th century showcase. The mahi-ye maratib was usually represented in physical form as a golden or gilt fish with two gilt or steel globes. Borne on individual standards, finials such as ours would have been displayed at royal functions and carried in royal processions to showcase the awarding of a noble or high rank military commander (Stephen Markel, India’s Fabled City: The Art of Courtly Lucknow, Los Angeles, 2010, pp. 212 213). For an example of how this ‘alam would have looked in real life, please see the upper right corner procession in the MET painting The Emperor Aurangzeb Carried on a Palanquin, ca. 1705 - 20 (inv. no. 2003.430). £3,000-£5,000

276 A BRASS FINIAL WITH SHRI HANUMAN’S FACE Maharashtra, West India, 19th century On a stepped conical base, Hanuman’s cast brass face rendered with large almond-shaped eyes, a pointy nose, large mouth with fangs, on the forehead the Vaishnavite tilaka (urdhva pundra) to symbolise his adherence to the cult of Vishnu’s avatars, the interior plain, reminiscent in shape and design to certain Karnataka’s bhuta masks, 25cm high. £800-£1,200 277 TWO BIRD-SHAPED BRONZE FINIALS India, 19th century Comprising a pheasant-like bird, standing on a circular base, two small hooks on the back, 9cm high; and a similar one, designed as a parrot, with multiple hooks in the front and back, 7cm high. £150-£200 278 A CEREMONIAL SILVER HORSE India, late 19th - early 20th century Realistically modelled as a horse standing on four hollow hoofs, made of solid silver, the legs and tail soldering still visible, the eyes and front mane polychrome painted, with two hollow poles possibly now missing a parasol and a feathery headpiece, likely to have been used as a decorative element to ceremonial chariots during processions, 37cm x 37cm. £500-£700

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279 A ZOOMORPHIC INDIAN BRONZE PALANQUIN FINIAL (PALKI-BALLI KA AKHIR) India, 18th - 19th century Modelled in the shape of a mythical lion or dragon, with bulging eyes, curly moustaches and open fangs, resting on a cylindrical base, 19cm long. Provenance: originally in the collection of the late Henricus “Henk” Huffener (1923-2006); In private UK collection since the early 1980s. Often designed in the shape of mythical fierce and auspicious creatures, bronze finials such as ours would have decorated Indian palanquins (palki) until the mid-19th century. In India, palanquins, wheel-less litter-type conveyances, were the primary method of transportation for people of wealth and power. Often embellished with sumptuous bedding materials to the interiors and with fierce mythical beasts to the exterior, the decoration of these conveyances delivered a very clear social message of status and physical strength to the beholders. It is also believed that the decorative choice of using mythical beasts to the exterior was a way to ward off the traveller from demons and evil spirits. £800-£1,000

281 A LARGE PARCEL-GILT SILVER CEREMONIAL MACE (SOONTA) Deccan or North India, mid to late 19th century Of tapering cylindrical shape, the top finial naturalistically designed as a large horse head, the eyes and floral-shaped harnesses encrusted with garnets, the thick mane and heavy necklaces suggesting a ceremonial occurrence, the central shaft densely decorated with chased chevron design and parcel-gilt floral medallions with vegetal sprays and rosettes, the bottom finial in the shape of a chevroned knob, 67cm high. £2,000-£2,500

280 A LION-SHAPED PARCEL-GILT SILVER PALANQUIN FINIAL (PALKI-BALLI KA AKHIR) Northern India, 19th century The terminal in the shape of a lion showing its fangs, naturalistically portrayed with large bulging eyes and lush mane, the bottom of cylindrical shape embossed with rosette heads and vegetal festoons, 34cm long. Provenance: from a diplomatic Greek private collection since the early 1970s. Similar to the previous lot, palanquin finials such as this would have embellished the dooli of important members of the royal family clan. Although this method of travelling was inherited in India by the Muslim dynasties, it soon became the preferred method, so much that even the French traveller Tavernier wrote in the 17th century: “He who desires to travel with honour in India, ought to take with him twenty or thirty armed men [...] who carry the palankeen.” (Christiane Terlinden Serra, Mughal Silver Magnificence 16th - 19th century, Brussels, 1987, p. 71). In the same publication, the palanquin finials on figure 57 show a striking similarity to our lot, the main difference being the centre of production (Southern rather than Northern India), thus their more naive and caricatured look. £500-£700 282 AN IMPRESSIVE PARCEL-GILT SILVER CEREMONIAL MACE (SOONTA) Deccan or North India, 19th century Of tapering cylindrical shape, the top finial naturalistically designed as a large elephant head, the trunk curled and holding a vegetal bunch, either a stylised fruit or a flower, the eyes and forehead encrusted with garnets, the central shaft densely decorated with spiralling ribs design alternated with scrolling floral motifs and lush palmette bands, the bottom finial in the shape of a ram head, 61.5cm high. As Terlinden explains soontas or maces of office were yet another item typically used in the universe of Indian ceremonial regalia. Normally carried in pairs by officially appointed bearers (soonta berdar), they always preceded the person whose rank they denoted (Christiane Terlinden Serra, Mughal Silver Magnificence 16th - 19th century, Brussels, 1987, p. 64). An almost identical mace was successfully sold at Christie’s London, 25 May 2017, lot 106. £2,000-£2,500

283 A LARGE PARCEL-GILT SILVER REPOUSSÉ ROSEWATER SPRINKLER (GULABPASH) Lucknow, Punjab, North India, 19th century Of typical flattened drop-shaped design, on a raised foot, rising to a waisted and ringed neck, with an elongated stem worked in the form of a winged apsara clad in a sari, the Indian equivalent of peri and huri, the pierced top finial worked as a floral bouquet rising from a crown of leafy palmettes, the repoussé decoration on the body portraying a mirror image of two lions attacking two elephants with their trunks raised and curled up amidst floral bloom and lush vegetal tendrils, 35.5cm high. An almost identical sprinkler was successfully sold at Christie’s South Kensington, 24 April 2015, lot 61 and a pair of similar sprinklers with elephant decorative motif sold at Bonhams, 30 April 2019, lot 155. £800-£1,200

285 A SILVER ROSEWATER SPRINKLER Kashmir, North India, mid to late 19th century Of typical pyriform shape, with a compressed globular body resting on a splayed tall foot and rising to a tall tapering neck, the head dome-shaped and caparisoned with fish pendants in round, more palmette-shaped pendants on the lower register near the joint of the neck to the body, the whole body engraved with paisley motif over lush foliage and floral scrollworks, 32.8cm high. £500-£700

284 A PARCEL-GILT SILVER FILIGREE ROSEWATER SPRINKLER (GULABPASH) Cuttack, Orissa, Eastern India, 19th century Of typical flattened drop-shaped design, on a raised oval openwork foot, rising to a ringed neck with tapering stem, the finial at the top worked as a floral bouquet with seven rosette heads, the filigree decoration on the body consisting of a central medallion filled with floral sprays, the borders with lush leaves, vegetal motifs and flowerheads, the foot with palmette leaves repeated on the neck and stem, 35cm high. For a very similar Cuttack silver filigree sprinkler, please see cat. 96 in Christiane Terlinden Serra, Mughal Silver Magnificence 16th - 19th centuries, Brussels, 1987, p. 86. Both sprinklers showcase the incredible skilfulness of Orissan silversmiths in the art of tarakasi (silver filigree typical of Eastern Indian territories), producing proper three-dimensional filigree decorations. An almost identical sprinkler successfully sold at Christie’s South Kensington, 24 April 2015, lot 59. £500-£700

286 A MISCELLANEOUS GROUP OF SOUTH ASIAN SILVER Kutch, Gujarat, India and Indonesia, 19th century and later Comprising a crescent-shaped footed bowl, the high chased body decorated with typical floral and vegetal trellis and sprouts, the four feet designed as lion’s paws, the base marked ‘Om Bhuj’, 14cm x 12.5cm; a drinking flask with simpler but similar motifs, 14cm high; and an Indonesian lighter, of cylindrical shape, on a circular base, the high chased decoration consisting of blooming lotus flowers and fleshy leaves against a ground of stylised trellis, 9cm high. £120-£180

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287 A GOLD-DAMASCENED (KOFTGARI) CASKET India, late 19th century Of rectangular casket-like shape, resting on four stepping-out triangular feet, the koftgari decoration present in round and characterised by stylised floral scrolls and sprouts, the bottom borders with abstract symbols, the interior plain, the lid padded in dark purple velvet, the key missing, 20cm x 8.7cm x 15.5cm. £300-£500

288 A CIRCULAR SILVER TRAY Possibly Kutch, India, late 19th - early 20th century Of circular shape, resting on three volute-shaped feet, the rim pierced and decorated with openwork floral tendrils, the centre engraved with a large rosette, the petals filled with vegetal sprays, the back with an undeciphered maker’s mark, 29cm diam. £500-£700

289 AN ENGRAVED SILVER PEN CASE (QALAMDAN) Deccan, Central India, late 19th - early 20th century Of typical oblong shape, with rounded ends and casket-shaped lateral lid and lock, the interior with an inkwell (dawat) and a modern reed pen, the exterior fully engraved and decorated with polylobed cartouches filled with floral bloom and fretwork bands, the lid with a calligraphic band in naskh quoting Sura al Fath (48:1 and 3), 21.5cm long. £150-£180

290 A LARGE BRASS MORTAR Possibly India, 20th century Almond-shaped, on a flat plain base, the sides with cast and engraved calligraphic decorations with a stylised bismillah and a roundel with the name of Allah, the pestle plain and of typical shape, 11.2cm high, 36cm long and 21.5cm wide. £300-£500

291 A MOTHER-OF-PEARL DISH Indo-Portuguese style, Gujarat, Western India, 17th - 18th century Of circular shape, made of pinned sections of mother-of-pearl forming a large central rosette, an outer band of triangular panels, the cavetto with rectangular sections, the back made with irregular panels and hold together by two brass rims, the mother-of-pearl set with small brass pins, 20cm diam. For comparable examples, please see a large mother-of-pearl basin of circular form, also made in Gujarat, now preserved at The British Museum (inv. no. OA.2644) and a circular salver acquired by the Victoria and Albert Museum in 1857 (inv. no. 4282-1857). A number of these dishes appeared in the auction market in the last ten years with very positive results, please see Christie’s London, 7 April 2011, lot 255; 25 April 2013, lot 158 (same diameter to ours); and 2 December 2014, lot 72. £600-£800

293 A LARGE BRASS SHIVA LINGAM COVER Maharashtra, West India, 19th century Cast in the shape of Shiva’s face, his matted dreadlocks pulled to the back of his head, attached to his earlobes five-headed Naga earrings, a bead choker around his neck, surrounded and hovered by a sevenheaded Naga with three hoops to the back and one below each snake’s head, 37.5cm high. £2,400-£2,600

292 AN OCTAGONAL ENAMELLED SILVER BAZUBAND (ARM-BAND) Deccan, Central India, mid to late 19th century The central element of octagonal shape, with a hook lock, flanked by two oblong hexagonal ornamental elements, the engraved decoration on the body mostly characterised by vegetal motifs and flower heads, the central cartouche a triumph of vegetal scrollwork within a lobed floral frame, the central and lateral elements enamelled in light and dark blue, 11cm x 5.5cm. £400-£600

294 AN INDIAN SILVER REPOUSSÉ DISH Possibly Poona, Maharashtra, India, late 19th century Of circular shape, with a wide flared rim, the repoussé body decorated with a central roundel with a king sitting on a throne under a canopy, his consort on his lap and an animal-faced attendant to the left, possibly Hanuman, the outer circle with different figures resembling Skanda, the God of War, a horse-shaped warrior, some Nagas and more characters from Hindu folklore, on the rim various avatars of the God Vishnu, among which Varaha (the Boar) and Matsya (the Fish) clearly identifiable, the overall flare in tune with Burmese silver yet the making and caricaturisation of the characters betraying an Indian origin, 44.5cm diam. £600-£800

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295 λ AN IVORY-INLAID CIGAR BOX Possibly Goa, Central India or Europe, mid to late 19th century Designed in the shape of a secretaire, with frontal volute legs and casket-like lid, the top and back opening to reveal several internal compartments for storing cigars, the exterior clad in ivory inlay and a tortoise-shell resemblant polychrome resin, the inlay influenced by Indo-Portuguese marquetry work with lush vegetal tendrils sprouting from amphorae to the sides, floral bloom and pairs of birds to the centre and back, 28.5cm x 18cm. £300-£500

297 A GOLD, COLOURED-GLASS AND SILVER-GILT THEWA BOX Pratapgarh, Rajasthan, India, 19th century Of rectangular shape, on a plain base, the flat hinged lid and four rectangular panels to the sides decorated with applied openwork gold découpé (thewa) figural compositions amidst vegetal sprays, laid over red and green-stained glass, two lateral panels with an enthroned Ganesha, one with Hanuman and the fourth panel together with the lid depicting a royal procession with a couple to the centre, possibly Rama and Sita or Shiva and Parvati, the outer frame with animals in the wilderness and a hunting scene, the interior parcel-gilt, 3cm x 9.5cm x 7.5cm. For a similar, though larger, thewa box, please see Christie’s South Kensington, 10 June 2013, lot 249. £800-£1,200

296 A GOLD, COLOURED-GLASS AND SILVER-GILT THEWA BOX Pratapgarh, Rajasthan, India, 19th century Of octagonal shape, on a plain base, the flat hinged lid and eight rectangular panels to the sides decorated with applied openwork gold découpé (thewa) vegetal compositions and floral sprays over red, green and blue-stained glass, the interior parcel-gilt, 3cm x 9.5cm x 8.2cm. Provenance: from a diplomatic Greek private collection. For more information on thewa work, also known in Europe as ‘Pertabgarh work’, and its exclusively Indian making technique, please read Nick Barnard, Indian Jewellery, London, 2008, p. 78. £800-£1,000

298 λ AN INDIAN BONE, MOTHER-OF-PEARL AND IVORY-INLAID SITAR Northern or Central India, 19th century Of typical design, with a gourd-shaped resonance chamber and a long hollow neck, only one string remaining of the original seven, the wood plain, the resonance chamber and the neck decorated with micro-mosaic of bone, ivory and mother-ofpearl tesserae shaped as floral tendrils, rosettes, birds and spotted quadrupeds, the decorative style of the marquetry work in tune with the Indo-Portuguese Goa production, 99cm high. £800-£1,000

299 A NEAR-PAIR OF BIDRI SILVER-INLAID LIDDED BOWLS WITH DISHES Bidar, Deccan, Central India, 19th century Each bowl with a hemispherical body resting on a short flared foot, with a domed lid topped by a lotus bud-shaped finial, the body and lid decorated with a variety of floral bloom and vegetal motifs, including rosette and carnation sprays, the interior of one bowl fully inlaid with silver petals directed to a central rosettes, the latter with a simple flower head to the centre, the circular dishes with a similar decoration to the body, the bowls approximately 13.5cm high and 13.2cm diam., the dishes 18cm diam. £1,200-£1,400

300 FOUR BIDRI SILVER AND COPPER-INLAID CHARPAI LEGS Bidar, Deccan, Central India, 18th century Comprising four legs of Indian charpai (a traditional handwoven bed), shaped as flower blossoms on squared base, rising from the central bud a squared structure, pierced on two sides to accommodate the sticks of the bed, the latter two sides full, the top worked as a blossoming floral bud with lush petals all around, the body clad in copper and silver inlay laid out in a diamond-shaped grid of stylised flower heads, drop-like pattern to the base, 25cm high. These charpai legs share a number of similarities with a set of what Zebrowski calls “the slaves of the carpet” (i.e. carpet weights), also known as mir-i farsh (Mark Zebrowski, Gold, Silver and Bronze from Mughal India, London, 1997, p. 131). Indeed, in the Krishna Riboud Collection, there is a set of carpet weights from Bidar, dating to the early 18th century, with exactly the same inlaid diamond-grid floral pattern as ours (ibidem, fig. 160). Moreover, the lower body of our charpai legs, designed as a blossoming flower surrounded by a multitude of petals and standing on a squared base, is virtually the same of the Riboud Collection mir-i farsh, showing the fluidity of motifs and designs on items with different uses. £2,000-£3,000

301 A SILVER-INLAID BIDRI SNUFFBOX Bidar, Deccan, Central India, 19th century Of octagonal shape, on a flat base, the unhinged lid and sides decorated with silver-inlaid fish-scale pattern, the centre of the lid with a cartouche filled with stylised lotus flowers in a circle, 8cm x 6.5cm. £200-£300

302 AN ENAMELLED PARCEL-GILT SILVER LIDDED CUP Lucknow, North India, late 18th century Of egg-shaped design, standing on a ringed cylindrical stem and flared circular foot, the lid with a bud-shaped finial, the polychrome enamelling in green, blue, yellow and manganese purple, the decoration consisting of continuous bands of vegetal scrolling tendrils occasionally enriched with irises, carnations and other stylised flowerheads, 14cm high. £600-£800

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303 λ A WALRUS IVORY-HILTED KARD DAGGER Northern India, 18th - 19th century With a sharp single-edged wootz steel blade, with a sturdy back ridge, the ricasso and steel tang inlaid with rosette bands and vegetal motifs, the same patterns repeated on the carved ivory plaques of the handle, the wooden scabbard clad in red cloth, 36.4cm including the scabbard. £1,000-£1,200 304 A GEM-SET DAGGER (CHILANUM) India, 18th century With curved watered-steel double-edged blade with raised medial ridge and armour piercing point, the T-shaped rectangular hilt designed as two intertwined sections terminating in four lion’s heads, overlaid in gold and inset with a lattice of red and green stones, possibly spinels and emeralds, in a later fitted white velvet-lined wooden sheath, 34.2cm high including the sheath. £2,000-£2,500 305 A GILT COPPER-HILTED KUTCH SWORD (SHAMSHIR) North India, second half 19th century With a curved single-edged water steel blade, with inscribed gold and silver-inlaid lobed cartouches and a stamp near the forte, the hilt of typical ‘T’ shape with curved knob-like pommel, decorated with flower scrolls, the wooden scabbard clad with red velvet and embellished with gilt-copper fittings matching the floral design of the hilt, two hoops affixed to the sheath, 93.5cm long including the scabbard. A Kutch shamshir with an analogous handle and floral decoration on the scabbard was successfully sold at Sotheby’s London, 25 April 2018, lot 160. £4,000-£6,000

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* 306 A ROCK CRYSTAL HORSE-HILTED DAGGER PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION India, late 19th - 20th century With a sharp double-edged wavy steel blade, the tip slightly raised, on both sides of the forte polylobed cartouches filled with gold-inlaid vegetal bloom and the invocation Ya Ali, the style of the blade reminiscent of Ali’s scissor-like Zulfiqar sword, the horse-shaped hilt decorated with bloomed lotus flowers and vegetal motifs, the wooden scabbard clad in embroidered light blue silk, 43cm long including the scabbard. £800-£1,200

307 TWO SILVER THREAD EMBROIDERED PANELS Deccan, Central India, 18th - 19th century Possibly fragments of religious processional hangings, the semi-circular grounds entirely worked in couched silver thread wound around a silk core to create a number of patterns, one with a raised crescent-shaped motif beneath an invocation to Allah in Arabic Ya Alem ul Khofiyyat (O Savant of the Hidden World) embroidered in turquoise blue glass beads; and the other with an invocation in Arabic in dark blue glass beads, above the names of the Five Holy Beings (Allah, Mohammad, Ali, Fatima, Hassan, Hossein) in turquoise blue beads, 20cm and 23cm long. £400-£600

308 A BRASS-MOUNTED MOTHER-OF-PEARL GUNPOWDER FLASK Gujarat, North Western India, 19th century Formed from a turbo shell (gastropod), with brass fittings around the neck and a securing chain ring with madder velvet belt chain to the back, the stopper of dome-like shape, 14cm x 10cm. Analogous Gujarati powder flasks successfully sold in the London art market at Christie’s London, 7 December 2006, lot 24; Christie’s South Kensington, 1 October 2012, lot 45; Bonhams London, 10 April 2008, lot 299; and in these rooms, 26 October 2018, lot 268. £600-£800

309 λ FOUR MISCELLANEOUS DAGGERS (KHANJAR) India and possibly Oman, late 19th - early 20th century Comprising three Indian khanjars with curved double-edged steel blades, two of which engraved in relief, showcasing hunting scenes, with silver-inlaid handles one worked in the shape of a bird and the latter I-shaped and reminiscent of Iranian jambiyas, both with brown leather scabbards, 38.5cm the longest; the third Indian dagger worked with koftegari vegetal and animal decoration, the blade and scabbard inlaid with animal hunting motifs and floral decoration, 34cm long; and an Omani horn-hilted khanjar with a double-edged curved blade with central thick medial ridge, the scabbard in brown leather and with silver fittings, 35cm long. £300-£500

310 A CARVED ROCK-CRYSTAL BOTTLE Mughal Northern India, 18th - 19th century Of compressed oval shape, resting on a short circular foot, with a reinforced mouth, the body finely carved with a greenery tuft and floral bloom on both sides, 6.5cm high. £300-£500

*See inside front cover for information regarding fees

311 AN INSCRIBED JADE PENDANT (HALDILI) Possibly Iran or Deccan, Central India, 18th century Shaped as a lobed cartouche, with a central calligraphic band inscribed with a saying of Imam ‘Ali in tawqi’ script, the border with two rosette medallions and scrolling floral spray, 4cm x 9.5cm. Inscription: Oppression of [God’s] subjects is the worst companion for the hereafter. Jade pendants such as this one were worn as talismans (haldili) and are generally attributed to India or Iran in the 17th and 18th centuries. The Shi’a nature of the inscription on our haldili suggests an either Iranian or Deccani production. For two similar jade plaques in the form of a lobed cartouche decorated with Shi’a inscriptions, please see Bonhams London, 8 October 2009, lot 164 and 18 October 2016, lot 245. £1,000-£2,000

* 312 A BEJEWELLED JADE PENDANT PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Possibly Central Asia or Nepal, 18th - 19th century Shaped as a lobed cartouche, the central jade panel embellished with an applied gold openwork découpé, designed as a floral and vegetal spray, encrusted with red and green beads, the composition framed by a row of bezel-set cabochon-cut turquoise beads, the lower half of the pendant caparisoned with small untested seed pearls, the back plain with a hook and a later added brooch pin, 4.8cm x 6.6cm. The central applied gold composition echoes some of the kundan-set floral designs typical of Mughal India. However, the craftsmanship is less refined to be mistaken for an Indian production. The use of turquoise beads on gold jewellery seems to have been a Leitmotiv of both Central Asian and Himalayan, Tibetan and Nepalese jewellery. One of the earliest examples of Central Asian jewellery known are the 15th - 16th-century necklace elements at The Metropolitan Museum of Art (inv. no. 1989.87a-1). The central pendant is encrusted with turquoise beads, similar to ours, and a large grey chalcedony plaque, of an analogous shade to our jade plaque. It is plausible to suggest that such models remained rooted in the Central Asian goldsmith’s tradition and could have led to pendants like ours two - three centuries later. £1,500-£2,000

313 A ROCK CRYSTAL DEVOTIONAL STUPA Thailand or Laos, South East Asia, 18th century The rock crystal carved in the shape of a stupa, on a flat circular base, embellished with four metal strips to the sides, encrusted with a variety of beads, 6.5cm high. £800-£1,200

The Pierre Jourdan-Barry (1926 - 2016) Collection - Part II Pierre Jourdan-Barry was a truly kaleidoscopic collector of great taste, in the spirit of the great American collectors of the late 19th and early 20th century. Coming from a renowned Marseille family of shipbrokers and enlightened art collectors, he soon started adding his personal touch to the family collection, of which a great donation has now gone to the Chateau Borely in Marseille. Jourdan-Barry’s natural curiosity and aesthetic sensibility took him further afield. He formed important collections in areas as diverse as Himalayan bronzes, Iznik ceramics, Persian and Indian paintings and Indian decorative arts. He surely was ahead of his time in forming some of these collections and was astute in engaging the advice of the Parisian dealer, Enrico Isacco. Jourdan-Barry entered the market of Indian decorative arts in the 1980s, when a small group of collectors, dealers and academics began to take the subject seriously. These objects were first given prominence in 1982 by Robert Skelton and his team at the Victoria & Albert Museum in the seminal exhibition The Indian Heritage - Court Life Arts under Mughal Rule. The market and interest for these artworks rose further thanks to the instrumental help of dealers and collectors like Stuart Cary Welch, Simon Digby, Krishna Riboud, Spink & Son, John Robert Alderman and Mark Zebrowski. Jourdan-Barry was well acquainted to them and as a result, many pieces of his collection are illustrated in one of the most important and comprehensive publication to date on Indian decorative arts, Gold, Silver & Bronze from Mughal India (1997) by Mark Zebrowski.

314 AN ENAMELLED PARCEL-GILT SILVER LIDDED HUQQA PIECE Lucknow, North India, late 18th - early 19th century Of compressed globular shape, on a circular base, rising to a short flared neck, the circular mouth covered by a gently flared lid with faceted finial, the body finely decorated with three palmette-shaped openwork medallions with birds amidst floral bloom and vegetal sprays, the green and blue enamelling characterised by continuous rosette bands and floral meander, the lid similar, 8cm base diam. and 9.6cm high. Provenance: Christie’s London, 7 April 2011, lot 247. Huqqas were a favourite item for the enameller’s art. For an analogous Lucknow enamelled silver piece used as part of a huqqa, please see the exhibition catalogue India’s Fabled City: The Art of Courtly Lucknow, Los Angeles, 2010, p.208, cat.90. Another similarly shaped huqqa piece, though cruder in design, was sold at Christie’s South Kensington, 11 October 2013, lot 527. £2,000-£3,000 66

315 AN ENAMELLED PARCEL-GILT SILVER SPICE BOX (PANDAN) Lucknow, North India, late 18th century The lid of dome-shaped design, resting on a circular tray with straight walls, rising to a tapering stem topped by an elegant finial designed as a baluster knob, the polychrome enamelling in hues of green, blue and purple consisting of roundels filled with wild animals such as lions, elephants, peacocks, gazelles and buffaloes amidst densely floral and vegetal sprays to the lid, more peacocks and lush palmettes to the stem, pairs of confronted buffaloes, elephants, rams and deer against a fully bloomed ground around a central floral quatrefoil, 13.8cm high and 11.5cm diam. This rich organic pattern of flora and fauna spreading over the entire surface of the object can be seen in another Lucknow spice box, part of the LACMA collection, Los Angeles (inv. no. AC1993.137.1.1-2). The quality of the decoration on both artefacts is far less stereotyped than most of Lucknow’s objects, leading to infer a late 18th-century dating (ca. 1780). Although echoes of Mughal models can still be witnessed, the luxuriant floral motifs appear less staid and exuberant, showcasing a creative process of hybridity and synthesis which is going to permeate the overall artistic production of Lucknow (Stephen Markel, India’s Fabled City: The Art of Courtly Lucknow, Los Angeles, 2010, pp.199 - 204, cat.86). £3,000-£5,000 *See inside front cover for information regarding fees

316 A RARE FLUTED BIDRI SILVERINLAID PORTABLE HUQQA BASE Bidar, Deccan, Central India, 18th century Of slender drop-like shape, rising to a flared neck, with an everted circular petalled rim and smaller cylindrical opening, the body and neck gently ribbed creating vertical panels accommodating the silverinlaid leafy vines, on a fitted pedestal, 20.5cm high. £3,000-£5,000

317 A FINE SILVER RITUAL TRAY (KATORA) WITH THE FIGURE OF NANDI Rajasthan, North Western India, early 18th century Made of five distinct parts, resting on a stepped rectangular base, above it Shiva’s bull Nandi greeting the beholder with its front right paw raised, a parcel-gilt vegetal stem germinating from its back and blooming into an offering dish in the shape of an open flower, with an everted rim designed as a corolla, the centre raised to hold candles, Nandi’s tray sliding backward to reveal space for written prayers, maker’s marks in front of Nandi and on the dish itself, approximately 31cm high. This exquisite and highly accomplished example of traditional Indian silversmiths’ production shares several features with another katora illustrated and described by Terlinden in her publication Mughal Silver Magnificence 16th - 19th century, Brussels, 1987, p. 171, cat. 263. The stepped base, the sliding tray and the vegetal-themed stem appear to be recurrent characteristics of these Rajasthani silver offering trays, differentiated mostly by the vahana (vehicle) of the worshipped Hindu deity to whom the offerings are directed. £3,000-£5,000

318 AN OCTAGONAL GILT-BRASS LIDDED SPICE BOX (PANDAN) North Western India, 19th century Of octagonal shape, on flat base, the lid unhinged, the openwork decoration consisting of rosettes within a tight lattice grid, tall cypress trees on each corner, two decorative bands around the rim and lid with curled palmettes, the central medallion on the lid with a flower head in the middle surrounded by stylised lotuses, 14.3cm across. £200-£300

319 A BIDRI SILVER-INLAID HUQQA BASE Bidar, Deccan, Central India or Bengal, 18th century Of typical globular shape, on flattened base, with a ringed flared neck and everted rim, the body and neck decorated with vertical panels of stylised carnation tendrils, vine leaves scrolls to the top and bottom of central body decoration, 18cm high. £2,000-£3,000 67

320 A YAK HORN-SHAPED COPPER AND BRASS HUQQA BASE Skardo, Gilgit-Baltistan, Upper Indus Valley, Northern Pakistan, late 18th century With a cylindrical curved and faceted copper body, crafted imitating the shape of a yak horn, embellished with overlaid openwork brass plaques decorated with meandering stylised tulip tendrils and floral and vegetal scrolls, and with a row of copper palmettes at the bottom and top, the centre of the body with a subtle inscription in simplified nasta’liq script, possibly an abjad pun, referring to either the owner or maker of the huqqa, 20cm high. Inscription: The Creator of Nature spoke its date // The Huqqa of Ghulam Hossein is without parallels. For further information on this lot, please check our catalogue online. £5,000-£7,000 321 A SET OF SIX FINE MOULD-BLOWN AND GOLD-PAINTED SQUARE GLASS BOTTLES Possibly Gujarat, Western India, 18th century Each of vertical square shape, with recessing shoulders and cylindrical tall neck, each with their original cork stoppers and umbrella-shaped silver-gilt finials, the body painted in gold with paired motifs on the sides including lush floral bouquets emerging from large Western-inspired vases and village scenes with peacocks, lush vegetation, boats and pagoda-like edifices, hatched motif on the neck, each 15.5cm high. Provenance: Christie’s London, 7 October 2008, lot 230. For further information on this lot, please check our catalogue online. £6,000-£8,000

322 A SAFAVID BRASS TORCH STAND (MASH’AL) Western Iran, late 16th - early 17th century Of cylindrical shape, resting on a circular splayed base and rising to a reinforced wide circular mouth, the faceted shaft with alternating solid and incised chevron bands filled with scrolling split palmettes and stylised floral tendrils, the neck with a calligraphic cartouche of nasta’liq script mentioning the owner Mohammad Baqer in between two bands of vegetal scrollwork, 25.5cm high. £3,000-£5,000

323 λ THREE CARVED IVORY PLAQUES WITH EROTIC SCENES Tamil Nadu, South India, 18th century Of rectangular shape, each one pierced and carved with erotic scenes, set on a baldaquin with vegetal sprays to the back, with a once polychrome-painted frame and ogival arch within it, at the top of the arch a kirtimukkha (lion-faced mythical creature), mounted on black wooden boards, each approximately 14.5cm x 8cm excluding the mounting. £1,000-£2,000

*See inside front cover for information regarding fees

Bejewelled India

324 A WHITE SAPPHIRE, EMERALD AND ENAMEL TURBAN ORNAMENT (SARPECH) Jodhpur, Rajasthan, North Western India, mid-19th century Of typical shape, the central element designed as a large rosette surmounted by a curving bejewelled peacock’s feather, flanked by two floral panels imitating the central rosette, pear and oval-shaped table-cut white sapphires in kundan setting arranged as floral petals, with three hanging emerald beads per each section, the reverse enamelled in white, green, red, dark and light blue, each section with a central roundel filled with a peacock, floral sprays and vegetal tendrils all around, 11.5cm x 12.5cm. Provenance: from a diplomatic Greek private collection since the early 1970s, a royal gift from the Maharani of Jodhpur directly to the consort of the Greek ambassador. An analogous sarpech was successfully sold at Christie’s South Kensington in the Saeed Motamed Collection Part I auction, 22 April 2013, lot 319. A very similar one, encrusted with diamonds rather than colourless sapphires, sold recently in the Maharajas & Mughal Magnificence auction in Christie’s New York, 19 June 2019, lot 218. £2,000-£3,000

325 A PARURE OF INDIAN COSTUME JEWELLERY India, 21st century Comprising a matching necklace and bracelet, each made of two parallel strings of untested cultured pearls, embellished with lobed charms kundan-set with faceted white stones to the top, enamelled in hues of white, green, red and light blue in the design of floral medallions to the back, the bracelet 17.2cm long and the necklace 37cm long when open. Provenance: UK private collection since 1940s - 1950s. £200-£300

326 A PARURE OF INDIAN COSTUME JEWELLERY India, 21st century Comprising a matching necklace and bracelet, each made with elongated lobed sections with a central escutcheon-shaped medallion decorated with green, red and blue enamels, the front set with glass beads in the typical flower heads fashion, caparisoned with green and red beads and drop-shaped pendants, the back decorated with enamelled floral bouquets, the necklace stringed to a traditional pale pink silk thread, the necklace 52cm long, the earrings 5.5cm high. Provenance: UK private collection since 1940s - 1950s. £200-£300 69

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*See inside front cover for information regarding fees

327 A SPINEL AND NAVRATNA GEM-SET NECKLACE North India, 20th century The pendant in the shape of a rosette surrounded by gem-set petals with Navratna stones, the central red stone and triangular sections inbetween the petals possibly coloured glass set on foil, the back enamelled in hues of green, red, light and white, arranged as stylised chinar-like leaves and flowers, the 21st-century necklace with untested pearl and oval spinel beads, the hook clasp a later addition, the pendant 5.2cm high, the necklace 44.2cm long when open. £1,800-£2,000 328 A SPINEL AND POLKI DIAMOND NECKLACE North India, 20th century The pendant in the shape of a rosette surrounded by floral buds, the central red stone possibly coloured glass set on foil, the white stones untested polki diamonds set in the kundan technique, the back enamelled in hues of green, red, light and dark blue, arranged as stylised petals and flowers, the 21st-century necklace with untested oval spinel beads and a later-added hook clasp, the pendant 6cm high, the necklace 51cm long when open. £1,800-£2,000 329 AN EMERALD NECKLACE North India, 20th century The pendant in the shape of a rosette, embellished with green-coloured glass set on foil, the back enamelled in hues of green, red and dark blue and decorated with three flowers in full bloom, the 21st-century necklace with untested oval emerald beads attached to a traditional green silk cord, the pendant 5.8cm high, the necklace 45cm long when open. £1,800-£2,000 330 AN EMERALD, PEARLS AND RUBIES NECKLACE North India, 20th century The pendant in the shape of a rosette surrounded by floral buds and leaves, the pendant possibly set with coloured glass set on foil and paste, the back enamelled in hues of green, red and white, arranged as stylised petals and flowers, the 21st-century necklace with untested pearls, oval emerald and rubies beads, the clasp encrusted with a ruby and two pairs of untested white diamonds, the pendant 5cm high, the necklace 51.5cm long when open. £2,500-£3,000 331 A SPINEL AND POLKI DIAMOND RING North India, 20th century Set with an untested cabochon-cut spinel to the centre, surrounded by untested polki diamonds laid out as petals, the back enamelled in hues of green, red, light and dark blue and decorated as a bird on a rosette against a vegetal ground, 1.8cm high. £800-£1,000 332 AN EMERALD AND POLKI DIAMOND RING North India, 20th century Set with an emerald to the centre, carved and shaped as a leaf, and two pairs of polki diamonds to the side, the back enamelled in hues of white, red, green and blue and decorated with typical floral patterns, 1.2cm high. £500-£700 333 AN ENAMELLED GEM-SET RING Rajasthan, North Western India, 20th century Kundan-set with untested polki diamonds in the shape of a rosette, the exterior fully enamelled in hues of dark blue, white, green and red, decorated with typical floral motifs, 1.4cm high. £600-£800 334 A GOLDEN GEM-SET MAANG TIKKA (FOREHEAD ORNAMENT) Southern India, 19th century Shaped as a golden rosette concentrically encrusted with untested rubies and emeralds in kundan setting, caparisoned with small untested seed pearls, with a crescent-shaped pendant filled with a flower, the white stones possibly faceted white sapphires, the back plain, a typical ornament for Indian brides, 8cm long. Provenance: UK private collection since 1940s - 1950s. £300-£500

The Pictorial Arts from India

335 FOUR ILLUSTRATED AND ONE PLAIN LOOSE FOLIOS FROM A KALAKACARYAKATHA MANUSCRIPT: THE SIEGE OF UJJAIN AND KALAKA RECEIVING HOMAGE FROM INDRA Gujarat, North Western India, ca. 1400 - 1450 Opaque pigments, black ink and gold on paper, 7ll. to the page of black ink Jain Prakrit nagari script, the text interrupted in the centre by the typical red pothi hole, the first group with one plain and three illustrated folios depicting the siege of Ujjain by Kalaka and an army of Saka (Scythian) warriors in an attempt to free his sister kidnapped by King Gardhabilla, the latter a single illustrated folio from a very early series showing Indra in two different forms, as an ascetic and in his God’s form, paying homage to the monk Kalaka, both groups showcasing an absence of blue pigment and unadorned red pothi-holes dots pointing to a date in the first half of the 15th century, 26cm x 11.5cm each folio. £2,000-£3,000

336 AN ILLUSTRATED LOOSE FOLIO FROM A BOOK OF HYMNS IN PRAISE OF THE GREAT TEACHERS: THE GREAT TEACHER BAHUSVAMI Possibly Gujarat, North Western India, late 17th century Opaque pigments, black ink and pencil on paper, 10 - 13ll. of black ink Jain Prakrit nagari script to the page, punctuation in red ink, the circular space in the centre of the text imitating traditional pothi holes, the verso and recto painted in yellow, red, brown, green and white wash and illustrated with the teacher Bahusvami on the verso and Yugamandharasvami on the recto, the traditional gold of earlier folios replaced here by vivid yellows, the illustrations showing elements of influence from Rajasthani secular painting, 25cm x 10.6cm. £300-£500

337 THE BIRTH OF A JINA Gujarat, North Western India, first half 19th century Opaque pigments on paper, the vertical composition a page from a Jain manuscript portraying the birth of a baby Jina in consequential stages, the scene at the bottom the actual birth, on the top right the baby being showered by Indra and Indrani with flowers whilst being hold by midwives, to the left a palatial interior scene with a ruler, possibly the father, looking at the showering scene, the colours bold, the composition fairly static in tune with Jain painting’s tradition, mounted on later cream-coloured paper, 28.6cm x 18.7cm. For a similar example from this present series, please see P. Pal, The Peaceful Liberators: Jain Art from India, Los Angeles, 1995, p. 50, no. 108. £600-£800

338 A JAIN PAINTING WITH THE TWENTY-FOUR TIRTHANKARAS Possibly Gujarat, North Western India, 19th century Opaque pigments on paper, the horizontal composition depicting the TwentyFour Tirthankaras (Jain spiritual teachers) seated in lotus position on a plain throne, each one accompanied by a symbol or animal and a calligraphic cartouche identifying them, within blue and white rules and bold red borders, 12cm x 27cm. Provenance: from an American private collection. £300-£500

*See inside front cover for information regarding fees

339 RAMA AND LAKSHMANA FIGHTING THE ELEPHANT-DEMON Malwa School, West Central India, 18th century Opaque pigments on paper, the horizontal composition depicting a blueskinned and heavily bejewelled Rama, attacking the elephant-demon and forcibly removing his blood-drenched tusk, accompanied by his brother Lakshmana, wearing a red lungi, the trampled man laying in the foreground the anthropomorphic form of the demon, the traditional architecture boasting arches, chhajjas and pillars, the background decorated with lush large green trees, set within a burgundy-coloured border, mounted on a cream-coloured cardboard frame, 25.8cm x 32cm. The horizontal composition, the use of bold primary colours, the 2-dimensional effect of the painted figures and lastly, the black pompoms hanging from Rama and Lakshmana’s forearms are all quintessential elements of the Malwa school of painting and still echoes the 17th-century Rasikapriya illustrations. £2,000-£3,000

341 A TANJORE PAINTING OF SHIVA AND PARVATI ON NANDI Tanjore (Thanjavur), Tamil Nadu, South India, 19th century Opaque pigments and gold on canvas, the vertical composition depicting a fully adorned and heavily bejewelled Shiva with his consort Parvati on the back of his bull, Nandi, sitting on a richly decorated palanquin with a polychrome parasol on top, to the sides of the bull two white-clad attendants agitating their flywhisks, at the top two winged angels with double trumpets enunciating the couple’s arrival, against a cobalt blue ground, mounted, framed and glazed, 66cm x 50.5cm. For a similar painting, please see Christie’s South Kensington, 12 June 2014, lot 148. £800-£1,000

340 THE THIRD AVATAR OF VISHNU: VARAHA (THE BOAR) Mankot or Basohli, India, first half 18th century Opaque pigments heightened with silver on paper, the vertical composition portraying Varaha, the third avatar of Lord Vishnu, squashing down into the primordial waters Hiranyaksha, a demonic Asura threatening the Heavens and Earth, the avatar depicted with a strong and sturdy human body and a boar face, in a heroic pose, three arms matching Varaha’s traditional Hindu iconography with the Sudarsana chakram, the sword and the conch shell (shankha), the fourth arm holding an unrecognised item, possibly a bowl or manuscript, the rescued Earth represented as a flat stretch of mountainous land with a white elephant in the middle, within black rules and red borders, 14cm x 8cm. £400-£600

342 LORD GANESHA WITH TWO ATTENDANTS North India, late 19th century Opaque pigments and gold on paper, the typical horizontal composition depicting Lord Ganesha seated on a lotus flower, resting on a summer carpet on an outdoor palatial terrace, behind him an attendant with a fly-whisk, possibly an allusion to his consort Siddhi (spiritual power), in front of him a haloed and crowned figure playing a golden encrusted sitar, also sitting on a lotus, suggesting his divine nature as a peer comparable to Ganesha, the composition framed by polychrome rosette tendrils against golden ground, mounted, glazed and framed, 45cm x 32cm including the frame. £500-£700

343 A PORTRAIT OF DURGA MAHISHASURAMARDINI Possibly Calcutta (Kolkata), Bengal school, Eastern India, late 19th century Opaque pigments heightened with gold on paper, the vertical composition depicting a multi-armed Durga Mahishasuramardini (slayer of the Buffalo Demon) wearing a caparisoned red and gold outfit, heavily bejewelled and with an encrusted crown with a halo symbolising her divine nature, her hands holding a bow and arrow, trisula, club, dagger, sword and the green buffalo demon by the hair, the headless buffalo corpse laying to the feet of the goddess and attacked by a crowned white lion, possibly the painter’s personal reinterpretation of the tiger normally portrayed in this scene, the goddess flanked by a blue-skinned Krishna on the left standing on a lotus holding a sitar and Radha on the right, the scene set within rust coloured borders and mounted on a grey cardboard mount, 38cm x 29cm, 48cm x 39.5cm including the mount. £1,800-£2,200

344 A GAMING BOARD WITH AN IMAGE OF DURGA India, late 19th century Opaque pigments on paper, the vertical composition depicting the Indian Goddess Durga with twenty arms standing on her vehicle, usually a tiger, here a stylised dog, holding her attributes, from the gada to the chakram, from the conch shell to the bow and arrow, from the sword to the lotus and so forth, in the middle of the composition a chequered gaming board in red with crosses, mounted, framed and glazed, 52cm x 41.5cm including the frame. £600-£800

345 THREE MICA PAINTINGS WITH HINDU GODS Trichinopoly, Southern India, late 19th century Opaque pigments on Mica (transparent mineral composed of complex mixtures of potassium silicates), each with a vertical composition presenting a Hindu God; Vishnu with a highly elaborate crown on a rectangular pedestal; a dancing Krishna, characterised by the blue skin and the peacock’s feathers; and Shiva, depicted here as an ascetic praying to a lingam, wearing rudraksha beads around his neck, the lower body designed as a tiger with tail, mounted, framed and glazed, 26.2cm x 21.4cm including the frame. For a selection of very similar Mica paintings, please see Christie’s South Kensington, 10 June 2013, lot 165. £300-£500

346 A PORTRAIT OF A HALF-MAN HALF-HORSE MYTHICAL CREATURE WITH A BOW Kangra school, Pahari Hills, North India, 18th century Opaque pigments heightened with gold on paper, the vertical composition depicting a sturdy mythical being holding a bow and arrow in his hands, the elongated neck and ears designed as a horse, the face and body instead human, possibly an interpretation of Hayagriva, the Horse avatar of the God Vishnu, wearing a golden archer’s ring, a ruby and emerald-encrusted bazuband and several other encrusted ornaments, cropped and pasted onto a later dark blue frame, mounted, glazed and framed, 35.2cm x 24.5cm including the frame. £1,500-£1,800

*See inside front cover for information regarding fees

347 A GATHERING AT RANJIT SINGH’S COURT Sindh, Punjab, Northern India, mid 19th century Opaque pigments heightened with gold on paper, the vertical composition depicting a gathering of several Sikh noblemen at Maharaja Ranjit Singh’s court, all wearing a turban, some bejewelled, some plain, the depiction of the building in the traditional Indian style with balconies, chhajjas and pierced screens (jali) but with an unusual chromatic choice of blue and white, harking to the Far Eastern Chinese tradition and aesthetic, the scene within blue rules and pinkcoloured borders, 45.8cm x 32.5cm. £2,500-£3,000

348 A HUNTING SCENE Punjab, Northern India, late 19th century Opaque pigments heightened with gold on paper, the large vertical composition depicting a hunting scene with a young Hari Singh and Maharaja Ranjit Singh at the centre, clad in orange and pink and wearing high turbans with black heron aigrettes, fully bejewelled with several strands of pearls, shown on their respective dappled and white horses, followed by two attendants as well on horses and one on the ground bearing a standard, two running dogs in the foreground, 43cm x 33cm. Two similar examples were offered at Christie’s King Street, 6 October 2011, lot 421, and Christie’s South Kensington, 23 April 2012, lot 322. £1,200-£1,400

349 A LARGE EQUESTRIAN PORTRAIT OF RANJIT SINGH Punjab, Northern India, second half 19th century Opaque pigments and gold on thin cardboard, the large horizontal composition depicting the Sikh Maharaja Ranjit Singh on a dappled horse with encrusted golden harness, accompanied by two attendants, the one in the front with a Western flintlock blunderbuss, the one behind him holding a goldembroidered parasol, the scene framed within light blue borders, 38cm x 53.5cm. £1,000-£1,500

350 A PUNJABI PROVINCIAL ALBUM WITH FORTY ILLUSTRATIONS Punjab, Northern India, 20th century Comprising a variety of both lithographed and hand-painted illustrations with village scenes, Pachesi players, the arts and crafts of India with respective craftsmen, portraits of Hindu gods, Sikh rulers and renowned characters, all pasted onto a cream-coloured cardboard album, once containing more illustrations, captions under each illustration in pencil and in English language, 29.8cm x 24.2cm each page. £300-£500

351 A LARGE PORTRAIT OF A RAJA Durgapur, West Bengal, India, late 19th - 20th century Opaque pigments, gold and ink on silk and paper, the vertical composition portraying a well-dressed Raja with a halo, fully bejewelled and holding a golden encrusted tulwar on one hand and a black dhal (shield) on the other, standing against a red background, the composition framed within white and green coarse cotton, black silk and white and red cotton borders, the back with three lines of black ink nagari script, pasted onto a printed cotton fabric with white pomegranate against a red background, 80.5cm x 57cm. £3,000-£5,000

352 TWO PORTRAITS OF INDIAN NOBLEMEN India, 20th century Opaque pigments heightened with gold on paper, each portrait with a vertical composition, the first nobleman a Rajput prince, wearing a tall golden pagri, elegant jewels, a long white shalwar kameez with floral motifs, a sword (shamshir) with bejewelled hilt, riding a horse with heavily encrusted and ornate harness, an attendant following along on foot holding a portable huqqa, all situated in a lush green field 38cm x 26.5cm; the second nobleman reminiscent of high rank Mughal officers, holding a tall stick, wearing a cream coloured muslin tunic and purple trousers, an encrusted push dagger secured to his belt, standing in a field, 33.5cm x 21.75cm. £400-£600

353 A DOUBLE KNEELING PORTRAIT IN A CHARBAGH GARDEN Provincial Mughal School, India, late 18th century Opaque pigments heightened with gold on paper, the vertical composition depicting a young nobleman holding a rose, seated against a large oval cushion, across him a courtier holding a flower, both sitting under a white stepped pavilion leading to a charbagh (four-parted garden) with a fountain, with a goldpainted light blue frame with vegetal tendrils, mounted on teal-coloured cardboard, 32.8cm x 20.8cm. A painting with a similar composition and draughtsmanship successfully sold at Christie’s London, 12 June 2018, lot 32. £2,000-£2,500

354 A DOUBLE KNEELING PORTRAIT ON A PALATIAL TERRACE Provincial Mughal School or Deccan, India, late 18th - early 19th century Opaque pigments heightened with gold on paper, the vertical composition depicting a young nobleman dressed in a pink vest decorated with green leaves, his face painted in minute details and showing pock marks, raising his hand to request more betel leaves handed to him by an elegantly dressed lady of the court, wearing a diaphanous top, a high horizon with streaks of red to the background, mounted, framed and glazed, 45cm x 33.8cm including the frame. A painting with a similar composition and draughtsmanship successfully sold at Christie’s London, 12 June 2018, lot 32. £800-£1,000

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355 A HUNTING SCENE Kota, Rajasthan, North Western India, late 19th century Opaque pigments heightened with gold on paper, the horizontal composition depicting a heavily armoured king riding a horse with lavish encrusted harnesses, the rider attacking and stabbing a bleeding bull and accompanied by multiple attendants holding several accessories such as a flywhisk, a broad sword, and a ceremonial processional banner, the scene set en plein air in a field, framed by a thin red border, 29.5cm x 39.5cm. For two comparative examples, please refer to Bonhams New York, 17 September 2014, lot 134, and Bonhams London, 7 October 2014, lot 335. £1,000-£1,500

356 A RULER IN CONVERSATION WITH A COURTLY OFFICER Provincial Mughal school, India, 18th - 19th century Opaque pigments and gold on paper, the vertical composition portraying a ruler on an encrusted golden throne, his facial features and accessories linking him to Emperor Humayun’s portraits, normally depicted with the black heron feather on a Safavid-inspired golden encrusted headdress, the ruler in conversation with an officer resting against a long tulwar sword, two musicians to the right foreground and further participants and attendants all around the scene, within several golden borders and a cream-coloured gold-painted outer border with rosette scrolls, mounted, glazed and framed, 37cm x 33cm including the frame. £1,000-£2,000

357 A ROTUND MAN IN A DHOTI Bundi or Kota, Northern India, late 17th - early 18th century Opaque pigments and gold on paper, the vertical composition portraying a pot-bellied man wearing a simple white dhoti with red border and wooden clogs with an encrusted peg clasped between his toes, possibly preparing himself for his daily puja, on his forehead and body orange horizontal streaks of sandal-paste, holding a budding rose in one hand and a rudraksha prayer beads necklace in the other, given the tripundra and the rosary a likely devotee to the cult of Shiva, the rich jewels and turban indicating a high rank, the verso with a stamp of the royal Bikaner collection, within white and black rules and orange borders, mounted on a white cardboard frame, 30cm x 19cm excluding the mounting. £1,500-£2,000 77

358 A REVERSE GLASS PAINTING Possibly Calcutta, India, 19th - 20th century Of rectangular format, acrylic colours and crushed gold foil on glass, the departing Rajput warrior bidding farewell to his companion, both figures sumptuously dressed and bejewelled, the dress and the slippers of the female companion influenced by Chinese robes and fashion, framed, 49cm x 35cm, 57cm x 42.5cm including the frame. £200-£300

359 AN EQUESTRIAN PORTRAIT OF MARU RAGAPUTRA OF MALKOS RAGA Bilaspur or Chamba, India, early 18th century Opaque pigments and gold on paper, the vertical composition depicting Maru Ragaputra, son of Malkos, wearing a red jama with mailed gloves and helmet on a dappled horse, holding a long spear ready to strike, on his forehead the typical Vaishnavite tilaka with three vertical lines (urdhva pundra), his horse bleeding near the arrow wounds, a Rajput soldier mortally wounded lying on the foreground, to the left another Rajput footsoldier with Shiva’s devotees tilaka three horizontal lines (tripundra) on his forehead, holding his dhal up ready to receive Maru’s blow, within white rules and bright red borders, the verso inscribed in black ink takri and nagari script and the numbers 89 and 2515 in Indian numerals in pencil, the last one the Mandi royal inventory number, mounted on a white cardboard frame, 21.4cm x 15.2cm excluding the mounting. Provenance: Formerly in the Royal Mandi Collection; then into the private hands of a German collector. Inscription: (takri) raga maru / 1 /ma and raga maru malakose da putra (nagari) raga maru malakause da putra Maru raga [first] son of Malakausa This painting is f.89 from a dispersed album that was once in the Mandi royal collection. Pages from the album are now scattered in various public and private collections. Cathy Glynn has traced the album’s presence from its inscriptions in the Kangra royal library of the Maharani Odaroli, but some time afterwards it was moved to Mandi where it was rebound in 1841 (Glynn, Skelton and Dallapiccola, Ragamala: Paintings from India, London, 2011, pp. 34-36). Most of the paintings are of typical Hindu-Rajput subjects such as Ragas, Raginis and Ragaputras belonging to the Pahari system of musical modes, as well as avatars of Vishnu and other deities. Glynn believes the album was actually prepared in Chamba 1690-1700 on account of a similarity in the hanging fold of the turban over the neck found occasionally in Chamba as in a wood carving of c. 1650 (ibidem, pp. 3435). However, there are close resemblances in the iconography of this series with later ragamala paintings from Bilaspur, where earlier publications placed the album. Bilaspur was one of the few Pahari states to produce vertical Ragamalas at this date, so the precise provenance remains for the moment open. £5,000-£7,000 360 A STANDING PORTRAIT OF NAWAB BAHLUL KHAN Northern India, late 19th century Opaque pigments heightened with gold on paper, the vertical composition depicting a standing nobleman with a white turban wearing a fine white muslin dress over bright red pantaloons and embroidered red slippers, holding a flower in one hand and a long tulwar sword in the other, his black shield (dhal) showing from the side, a line of black ink naskh at the top mentioning the name, the back with an old inventory sticker from The Old Print Shop in New York, mounted, glazed and framed, 26cm x 16cm. £200-£300 361 A RAJPUT NOBLEMAN WITH FEMALE COMPANION Possibly Jodhpur, Rajasthan, North Western India, 19th century Opaque pigments heightened with gold on paper, the vertical composition portraying an elegantly dressed nobleman, adorned with a red turban with an elaborate golden ornament (sarpech) and a white heron’s feather, on his forehead the typical Shaivite tripundra, the three horizontal lines widely used in the cult of Shiva, behind him a female companion with the same mark on the forehead, assisting him to lift his robe, the scene framed within bright yellow and red borders, mounted and framed, 28cm x 23.5cm excluding the frame. Provenance: from the Mime Marcel Marceau (1923 - 2007) collection, purchased in Paris in 2014 and in private hands since. £500-£700

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362 A LOOSE FOLIO FROM A SKETCHES ALBUM BASED ON THE FRASER ARTIST’S WORK A PORTRAIT OF OZMAN GHUNEE KHAN India, 1835 - 40 Opaque pigments on European watermarked paper, the vertical composition portraying Ozman Ghunee, a Mearee Patan, nephew of Timoor Khan, wearing a white salwar kameez and loose pantaloons, a burgundy embroidered shawl wrapped around his shoulders, the face showing Central Asian features with elongated eyebrows and almond-shaped dark eyes, a golden earring hanging on the lobe, with golden pointy slippers, the verso with a pencil drawing of a merchant, the paper watermarked W. VENABLES & CO. below part of HEIC shield, numbered 3 in pencil at the bottom, 24.5cm x 16.5cm. Provenance: from an album brought from Malerkotla with watermarked date of 1833 and the shield of the East India Company. This portrait is a study after the Fraser Album painting of ‘Eight horse merchants’ in the collection of the late Prince Sadruddin Aga Khan (Archer & Falk, India Revealed – The Art and Adventures of James & William Fraser 1801-35, London, 1989, p. 111, no. 99). Other paintings from this album have a watermark 1833. Another portrait from this album is published in Losty and Mittal, Indian Paintings of the British Period in the Jagdish and Kamla Mittal Museum of Indian Art, 2016, pp. 18-21, cat. 3. £800-£1,000

364 λ TWO INDIAN IVORY MINIATURES Company School, Delhi, North India, late 19th century Comprising a small oval portrait of a Rajput prince, clad in green and heavily bejewelled with several strings of pearls and a diamond-encrusted sarpech (turban ornament), with an urdhva pundra tilaka (Vaishnavite symbol on the forehead), mounted, framed and glazed, 9cm x 7.8cm including the frame; and an architectural oval miniature depicting one of the sides of the Fatehpur Sikhri fort in Agra, mounted, framed and glazed, 11cm x 9.2cm including the frame. £200-£300

363 A PORTRAIT OF A SUFI SAINT Possibly Lucknow or Deccan, India, 19th century Opaque pigments and gold on paper, the vertical composition depicting a cross-legged seated holy man, possibly a Sufi saint, wearing a talismanic shirt, a polychrome patchwork cloak and an embroidered pink cap with golden borders, the scene set on an outdoor palatial terrace, Western-inspired trees realistically depicted in the background, within golden rules and red and green borders with scrolling vegetal and floral designs, mounted on a cream-coloured frame, 34.7cm x 28.5cm excluding the mounting. £800-£1,000 365 A GIRL IN A MEADOW Bikaner, Rajasthan, North Western India, 18th century, signed by Ghulam Muhammad Opaque pigments heightened with gold on paper, the vertical composition portraying a courtly lady standing in a meadow, her light green orhni and pastel green and white ankle-length jama male costume reflecting the hues of the surroundings, wearing a golden turban embellished with a black heron feather, holding a budding rose and a jasmine garland on one hand and a fly whisk on the other, mounted on later salmon-pink paper borders, the verso inscribed in Rajasthani along with an effaced Bikaner palace collection stamp, mounted on a white cardboard frame, the folio 24cm x 17.5cm. Inscription: nijar Dasara hai ri sam 1778 Ustai Kasa ri beto Ghulamahamada ro (this is an offering [nazar] for Dasera in Samvat 1778 [1721] from Ghulam Muhammad son of Ustad Qasam) The artists of the Bikaner atelier regularly presented paintings as nazars (ceremonial gifts) to their Maharajas on the occasion of important festivals, such as the great autumn festival of Dasera. Often, on such occasions, they would inscribe the versos with crucial dates and key documentation regarding themselves and their lineage, as the artist Ghulam Muhammad did on this painting. He was the son of Qasam, who was the son of Qayam, the direct progeny of Ruknuddin, one of the greatest late 17th-century Bikaner painters (Andrew Topsfield, Court Painting in Rajasthan, Mumbai, 2000, p. 62). £800-£1,000 79

Drawings & Sketches

366 A FINE TINTED DRAWING OF A MAHOUT TRAINING AN ELEPHANT Mughal India, late 17th - 18th century Pen, black ink, opaque pigments and gold on paper, the horizontal composition depicting a mahout holding a steel ankus on the right hand, riding a fully adorned elephant with gold-embroidered saddlerug and silver bridles, the tip of the tusks covered in gold, to the right two trainers on foot holding a flag and standard, the scene mounted within gold and light pink borders, the outer frame creamcoloured and gold-speckled, 30.2cm x 20.4cm the folio. Provenance: Christie’s London, India on Paper, Online Only sale 10236, 29 May - 12 June 2014, lot 506. £3,000-£5,000

367 A PROFILE PORTRAIT OF A YOUNG LADY Possibly Faizabad, Mughal India, late 18th century Pen, ink, opaque pigments and gold on paper, the vertical composition showcasing the three-quarter profile of a Rajput lady in diaphanous drapery and emeralds beads holding a dish in her henna-painted hand, against a verdant tree, inscribed lower left in Persian ‘the year 1112’, within gold and black rules, in cream mount, 22cm x 14.5cm. £600-£800

368 TWO STUDIES FROM A SKETCHBOOK Possibly Chamba, Pahari Hills, North India, 19th century Pen and ink drawing on paper, comprising a seated gentleman, turban and lips in red lines, in summer angharkha and pointed chappals, 15cm x 10cm; and tethered bulls, a study on movement and dynamism in fine pen and ink, 14cm x 18cm. Provenance: from the Stuart Cary Welch Collection, Sotheby’s London, 31 May 2011, lot 47. £300-£500

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369 HARI SINGH RATHOR OF THE JOGIDASA CLAN SMOKING A HUQQA Kishangarh, North Western India, first half 18th century Opaque pigments, brush and ink on paper, the vertical composition portraying a stout Rajput with luxuriantly curling moustaches and sideburns, the face painted in minute detail including pock marks, holding the mouthpiece of a huqqa, the body drawn more simply with a broad brush outline, mounted in an album page with a blue-green inner frame on salmon pink outer border, both gold-sprinkled, the verso inscribed in Rajasthani black ink nagari script ‘Rathore Hari Singh Jogidosta’ followed by an English note Jogidosta is a community of Rajputs, the folio 27cm x 19.6cm. Kishangarh artists were heavily influenced by Mughal art in the 1720s, when the Mughal artist Bhavanidas settled on site. Often inscribed at the back in apparent verse form, 18th-century Kishangarh paintings and drawings inherited this tradition from their Mughal counterparts. In the case of this tinted drawing, the mention of the verso goes to Hari Singh Rathor of the Jogidas clan, possibly a descendent from Kunwar Jogidasji, the younger son of Thakur Vithal Dasji of Ransigaon (1627-58) in Marwar, who is claimed to be the ancestor of the Jogidasot Champawats. £300-£500 370 A LOVESICK LADY Bundi, Northern India, ca. 1775 Pen, ink and white wash on paper, the vertical composition with the traditional Indian theme of the lovesick lady waiting for her beloved to come back, in the centre a reclining young lady soothed by punka wala, sitar player, masseuse, pets, and sage, lying on a canopied bed burning with desire, on a cream-coloured mount, 22.2cm x 16.1cm. Provenance: from the Stuart Cary Welch Collection, Sotheby’s London, 31 May 2011, lot 31. £400-£600 371 FOUR STUDIES FROM A KOTA ARTIST’S SKETCHBOOK Kota, Rajasthan, North Western India, late 18th - 19th century Pen and ink on paper, comprising two figural studies of ladies, one with a standing girl in profile in a gharara, the latter with two girls fighting, realistically portraying their animated facial and arm movements with some red outlines; and two studies of floral and avian motifs, the largest 20.5cm x 11.5cm. £400-£600 81

372 A SIKH NOBLEMAN WITH ATTENDANT Punjab school, Northern India, 19th century Opaque pigments, white wash, black ink and pencil on paper, the vertical composition portraying a seated Sikh nobleman with a long white beard holding a bow and arrow in his hands, behind him his attendant with a flywhisk, both men wearing high turbans, mounted on a white cardboard frame, 15cm x 13cm and 31.5cm x 23cm including the frame. £500-£700

373 A PORTRAIT OF A LADY Provincial Mughal School, Northern India, 19th century Opaque pigments on paper, an elegant lady in profile kneeling against a cushion by a book-rest and a dish of fruit, the unusual headdress with an aigrette, dark clouds above, laid on blue and gold-speckled paper, within gold, blue and red rules on pale pink paper, inscribed Massih (Messiah) in Persian, with a Russian stamp, 19cm x 13cm excluding the frame; the verso with a quatrain in sabk-e hindi, in black ink Persian nasta’liq on paper, the text within gold clouds and interlinear polychrome illumination, laid on pink paper within a border of gilt blue paper, 21cm x 13cm excluding the frame. £400-£600

374 A PORTRAIT OF A STANDING RAJA Jodhpur, Rajasthan, North Western India, mid-18th century Pen, ink and colour wash on paper, the vertical composition depicting a Raja wearing a high turban fashionable in Marwar in the first half of the eighteenth century and a yellow ankle-length jama with a floral embroidered sash, on his forehead the Vaishnavite urdhva pundra (three vertical lines), holding a bow in one hand and a rose in the other, within burgundy, green and brown lines, mounted on a gold-sprinkled blue album page, set on a white cardboard frame, 25cm x 16cm excluding the frame. Provenance: Mildred and W.G. Archer Private Collection Exhibited: Bristol Art Museum, 1994, loan no. 76. The drawing although relatively unrefined is still sensitive to details such as creases in the garments covering the forearms and ankles suggesting a Mughal training. £500-£700

375 AN EQUESTRIAN PORTRAIT OF A NOBLEMAN WITH ATTENDANT AND DOG Jodhpur, Rajasthan, North Western India, late 18th century Pen, white wash, brush and ink drawing on paper, the horizontal composition depicting a rider with a high turban on a large horse, a whip in his hand, galloping serenely followed by an attendant and dog, the reverse with a pen and ink study in the Persian manner of a mounted archer and a kneeling archer, 15.5cm x 20.8cm. Provenance: from the Stuart Cary Welch Collection, Sotheby’s London, 31 May 2011, lot 36. £300-£500

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376 KRISHNA SPYING ON RADHA’S TOILETTE PROPERTY FROM THE LATE EUSTACE HOPE CORNELIUS (1925 - 2005) Provincial Pahari school, Northern India, late 19th century Opaque pigments heightened with gold on paper, the vertical composition depicting in the background near the entrance of a palatial courtyard Lord Krishna shyly spying on Radha applying her make up, specifically her bindu, surrounded by her maidens and attendants, the ladies colourfully dressed, typical architectural white chhajjas in the high background and hilly landscape on the horizon, the scene set inside floral borders with stylised white rosettes and gold leaves, the back with a preparatory pencil drawing of Shiva and Parvati, mounted on a golden cardboard frame, 31.4cm x 26.8cm including the frame. Provenance: from the late Eustace Hope Cornelius’ private collection (1925 2005), former librarian of the Royal College of Surgeons of England, in the UK since the early 1930s. £300-£500

For further information on this collection, please check our catalogue online.

377 RADHA AND KRISHNA REUNITING Kangra, Pahari Hills, North India, 19th century Opaque pigments heightened with gold on paper, the vertical composition an illustration from the Bhagavata Purana series depicting Radha and the blueskinned Krishna tenderly embracing at the gate of a palatial pavilion embellished with lotus pillars, a red awning and several rows of polylobed arches, the reunion cherished by several women, possibly gopis (cowherd girls), standing in the garden, each dressed in a different colour, presenting a caged parrot and gajrah (a floral garland) to the couple, in the background beyond a brick wall several elements of Indian palatial architecture, the scene set within a dark blue frame with white flowers and gold leaves followed by a thick redspeckled pink border, 31cm x 24.5cm. For a similar example, please see Sotheby’s New York, 20 September 2005, lot 116. £1,000-£1,400

378 KRISHNA SERENADING RADHA Kangra, Pahari Hills, North India, 19th century Opaque pigments heightened with gold on paper, the vertical composition depicting a blue-skinned Krishna holding a flute in one hand and the other draped around Radha, gazing at her adoringly, Radha staring at her lover whilst holding a golden plate, the two standing in front of a white pavilion with lotusshaped pillars, surrounded by trees, birds and a peacock, the reverse side with unrelated text in Hindi, the composition framed by a floral blue and gold border, mounted on white cardboard, 36cm x 28.5cm. £2,000-£3,000

379 FROM A NALA-DAMAYANTI SERIES: ELEPHANTS DESTROYING THE CAMP OF THE MERCHANTS Kangra, Pahari Hills, North India, 1800-30 Opaque pigments on paper, the horizontal composition depicting a scene from the Nala-Damayanti series, Damayanti portrayed three times, firstly in the far distance resting at the camp of the merchants travelling with her, then to the bottom right corner witnessing a herd of maddened elephants destroying the camp and killing the merchants, then portrayed whilst approaching the cows and cowherds saving her to the left of the composition, one of the cowherd boys with a spear trying to scare off the elephants, a long river dividing the two strips of green land, the scene framed by light blue and red borders, the verso numbered 22, mounted on a white cardboard frame, the folio 28.7cm x 40cm. Provenance: Eva and Konrad Seitz Collection. Published: J. P. Losty, A Mystical Realm of Love: Pahari Paintings from the Eva & Konrad Seitz Collection, London, 2017, p. 302, cat. 84. Literature: Dallapiccola, A., Princesses et courtisanes, a travers les miniatures indiennes, Galerie Marco Polo, 1978 Goswamy, B.N., Pahari Paintings of the Nala-Damayanti Theme, National Museum of India. New Delhi, 1975 Goswamy, B.N., and Fischer, E., ‘The First Generation after Manaku and Nainsukh of Guler’ in Beach, M.C., Fischer, E., and Goswamy, B.N., Masters of Indian Painting, Artibus Asiae, Zurich, 2011, pp. 687–718 Losty, J.P., Sita Ram: Picturesque Views of India – Lord Hastings’s Journey from Calcutta to the Punjab, 1814–15, Roli Books, New Delhi, 2015 Poster, Amy G., et al., Realms of Heroism: Indian Paintings at the Brooklyn Museum, New York, 1994 The superb draughtsmanship quality, the realism and the incorporation of chronologically-distant and consequential scenes into one, all features evident in this painting, lead to suggest an attribution to the Pahari school of Kangra. The scene opens to the right, in the merchant’s camp surrounded by a thick mist at night. The wild elephants rampaging and trampling the dormant merchants are portrayed with great attention to details and dynamism. The depiction of Damayanti with her wide staring eyes and ragged cloth seems to depart from the rigid conventions of Indian portraiture, moving instead progressively towards a more realistic, human-focused approach, where feelings, such as terror and sadness in this case, play a more prominent part. The collection of Eva and Konrad Seitz, to which this painting once belonged, contains several important examples from the different established schools of Pahari painting. Konrad first went to India as a young German diplomat in the late 1960s. Since then, his passion for Indian paintings only grew stronger. He and his wife started enthusiastically collecting Pahari paintings, making them one of a small group of pioneer collectors in this field who recognised the importance of these schools. The German couple is known for having assembled one of the largest collections of ‘first generation after Nainsukh’, Guler-style painting, part of which is now exhibited in the Rietberg Museum in Zurich. £5,000-£7,000

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380 A RIVERSIDE PROCESSION Murshidabad, West Bengal, Eastern India, late 18th century Opaque pigments on paper, the horizontal composition finely depicting a riverside procession left to right with a mahout on an elephant, preceded by a nobleman on an ox-driven chariot and a holy man on a dappled horse, from the opposite side a heavy loaded donkey with attendants and a lady on a camel, behind them the facade of a white pleasure palace, lush vegetation and the top of a few buildings showing behind the facade, the middle ground characterised by several rowing boats with colourful flags and canopies, some with very elaborate zoomorphic figureheads indicating their ownersâ&#x20AC;&#x2122; importance, possibly a rowing race among different noble families, further boats in the distance resembling ferries and commercial boats, in the background an extensive city view with very picturesque buildings skyline, within black rules and blue border, mounted on a white cardboard, 26cm x 34.5cm excluding the mounting. Provenance: from a Scottish private collection. Murshidabad artists were renowned for their interest in extensive layered views of everyday life in a city, possibly an idealised version of Murshidabad in this painting. If that was the case, the river in the middle would be the Bhagirati and the bank on the foreground Mahinagar (now Azamganj) with its Nawabi pleasure palaces. In the 1750s, under the patronage of Nawab Alivardi Khan (r. 1740-65) Murshidabad artists developed a local style of painting echoing the late Mughal style and subject matter of 1740s Delhi but adding their own characteristic flavour. The human bodies appear squat, with a slight back tension to their head, the animals are rendered in a very naturalistic manner, the chromatic palette tends to be more sombre and favour the scale of greys, and stratified city / villages scenes appear to be a prominent subject; all features showcased in our painting. For other such scenes contemporary to ours, see Bonhams London, 7 October 2014, lots 348 and 349. ÂŁ2,000-ÂŁ3,000

381 PRINCE KAMRUP ATTACKING A DEMON WITH HIS TROOPS Bengal, Eastern India, c.1780 Opaque pigments and gold on paper, the horizontal composition depicting Prince Kamrup on a dappled horse attacking a terrifying demon with his cavalry troops, the prince identifiable by his golden vest and quiver, in primary position waiting for his moment to strike, a few mutilated brave soldiers bleeding and already lying on the ground tramped by the Asura, one currently being hurled into the air, more troops behind and in front of the prince conveying a centripetal tension to the scene, against a dark brown muddy ground, the verso inscribed in Arabic characters in nasta’liq script tasvi-r Kamrup (a picture of Kamrup), below it in sepia ink in Roman characters Camroop, mounted on a white cardboard frame, 17.5cm x 25cm excluding the mount. Provenance: from a Scottish private collection. The Indian love story of Prince Kamrup and Princess Kamalata was a dear one to the 18th and 19th-century Persian and Urdu Muslim poets. A Persian version of this romance, called Dastur-i Himmat (The Model of Resolution) by Muhammad Murad and written in 1685, was popular in Bengal, where a copiously illustrated version with 209 lavish and beautiful miniatures, now in the Chester Beatty Library, was prepared about 1760 (Linda York Leach, Mughal and Other Indian Paintings from the Chester Beatty Library, 1995, pp. 623–54). The rigid formality of the court version seems here to filter down and to lend the space to a very dynamic and energetic composition with a clear centripetal focus. That said, the solid unvarying ground, the squat figures and the rigid profiles of some members of the cavalry, all quintessential elements of late 18th-century Bengali paintings borrowed from the court style, are still very prominent in this composition (see J. P. Losty, A Prince’s Eye: Imperial Mughal Paintings from a Princely Collection Art from the Indian Courts, London, 2013, figs. 7 and 10). £2,000-£3,000

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382 A PAINTING FROM A BHAGAVATA PURANA SERIES: THE BIRTH OF BALARAMA Possibly Guler, Punjab Hills, North India, late 18th - early 19th century Opaque pigments heightened with gold on paper, the horizontal composition depicting consequential moments telling the story of Balarama’s birth, the scene divided by a raging river; King Kamsa, wearing a gold crown, firstly depicted outside the palace, standing by the bank of the river in conversation with an attendant, portrayed a second time on the right-hand side, seated cross-legged in one of the palace rooms, awaiting; next to him, to the right-hand side of the painting Deviki, Balarama’s biological mother, in despair, comforted by attendants; to the left-hand side a crosssection of the previous scene, showing Balarama’s surrogate mother, Rohini, holding the pale-skinned newborn, surrounded by weeping women and an attendant preparing henna; a farming scene in the background highlighting Balarama as the God of Farming and Agriculture; the scene overseen by Vishnu and Lakshmi seated on lotus flowers, framed by a thin gold border, mounted on a cream-coloured cardboard frame, 23.3cm x 28.4cm excluding the mount. £3,000-£5,000

The Sam Kenrick (1953-2016) Collection of Indian Paintings

383 PRINCE MIRZA PUTTOO WITH A FEMALE COMPANION Rajasthan, North Western India, 19th century Opaque pigments and gold on paper, the couple on a terrace in an argument, the lady holding the gentleman’s turban in one hand and her slipper in another, the gentleman pointing a finger of wonder to his lips, the verso inscribed in English ‘Mirza Puttoo and the woman who was going to beat him with the slipper’, the Persian description in shekasteh nasta’liq employing a subtle and playful pun, in cream mount, framed and glazed, 16cm x 12cm, 39cm x 34cm including the frame. Provenance: Bonhams London, 5 November 2014, lot 295; Brightwells Auction, 22 - 23 March 2017, lot 851. £300-£500

384 A MEDITATING SHIVA Bundi school, North Western India, 19th century Opaque pigments heightened with gold on paper, the meditating, ash-smeared deity flanked by female attendants in a sparse landscape below distant hills, within bold red borders, on a cream mount, framed and glazed, 37.5cm x 25.5cm, 57cm x 41.5cm including the frame. Provenance: Brightwells Auction, 22 - 23 March 2017, lot 812. £300-£500

385 A GATHERING IN THE ZENANA (RECTO) / A MERCHANT WITH A CAMEL (VERSO) Mughal school, Northern India or Deccan, Central India, 18th century Opaque pigments and gold on paper, the vertical composition portraying an intimate moment of gathering of the ladies of the court, fully bejewelled and wearing diaphanous vests and floral-embroidered pantaloons, sitting on a typical Mughal summer carpet on a spacious outdoor terrace, accompanied by a lady musician playing the sitar and an attendant serving drinks, the composition framed by a gold-painted cobalt blue border with interlocking vegetal tendrils, the outer border cream-coloured and painted in gold with Mughal-inspired floral designs, possibly a later addition, 38.5cm x 26cm the folio; the verso with a vertical composition depicting a well-dressed merchant holding the rein of a two-humps Bactrian camel, the tongue sticking out to visually represent its thirst, within a cobalt blue border with gold-painted vegetal scrollwork, the outer frame cream-coloured and gold-sprinkled, 38.5cm x 26cm, both mounted, framed and glazed, 52cmx 38.5cm including the frame. Provenance: Brightwells Auction, 22 - 23 March 2017, lot 854. £3,000-£5,000

*See inside front cover for information regarding fees

386 A HUNTING SCENE Kota school, North Western India, mid to late 19th century Opaque pigments on paper, two hunters pursuing a wounded tiger in a rocky landscape, one elegant nobleman with a nimbus around his head, 21.5cm x 30cm, 40.5cm x 48cm including the frame. Provenance: Christie’s South Kensington, 28 April 2003, lot 232; Brightwells Auction, 22 - 23 March 2017, lot 843. £400-£600 387 AN ILLUSTRATION TO THE MUSICAL MODE RAMAKALI RAGINI Rajasthan, North Western India, 19th century Opaque pigments heightened with gold on paper, the young lady in the foreground play-rebuffing her prostrating lover, the blue-skinned Krishna, the older ladies interceding on his behalf, the evening stage set with the rolled-up chitts revealing an inviting bed, in ecru mount, framed and glazed, 22cm x 17cm, 43cm x 33cm including the frame. Provenance: Brightwells Auction, 22 - 23 March 2017, lot 858. For similar examples, please see Mildred Archer and Toby Falk, Indian Miniatures in the India Office Library, London, 1981, no.505iv, p.255 (ill.p.528); and Victoria and Albert Museum IS.175-1949. £500-£700 388 A PRINCE AND COMPANION AT A MUSICAL EVENING Possibly Hyderabad, Deccan, Central India, late 18th - early 19th century Opaque pigments heightened with gold on paper, the moonlit bannistered terrace on a river bend with a fashionable young prince leaning against a bejewelled elegant lady on a Mughal summer carpet embroidered with vines, a lantern to the right, a group of five musicians and attendants to the left, a white bed between the two groups, the singer and the wine-drinking sitar player having placed turbans on the floor, a number of elegant vessels on display, the verso inscribed in Persian nasta’liq and English ‘The Prince Bedar Bukht with Musicians’, 1788 in pencil in a later hand, mounted, framed and glazed, 17.5cm x 27.5cm, 36cm x 44cm including the frame. Provenance: Bonhams London, 5 November 2014, lot 296; Brightwells Auction, 22 - 23 March 2017, lot 841. £600-£800

VARIOUS PROPERTIES

389 λ EIGHTEEN INDIAN IVORY ARCHITECTURAL MINIATURES Company School, Delhi, North India, late 19th - early 20th century Opaque pigments on oval ivory medallions, depicting different architectural views of renowned Indian monuments such as the Lal Qila (Red Fort) in Agra, the Taj Mahal, Fatehpur Sikri, the Sikh temple of Amritsar, Humayun’s tomb, the Jami Masjid in Delhi, the Qutb Minar and the Moti Masjid, mounted on burgundy red velvet panels and framed, the largest miniature 5cm high, 28cm x 22.5cm including the frame. £500-£700

390 KRISHNA AND RADHA IN A GARDEN Kishangarh school, North Western India, late 18th - 19th century Opaque pigments heightened with gold on paper, the vertical composition depicting a blue-skinned Krishna, marked by a halo and ornate pagri, holding a box in on hand and a small flower on the other, sitting across Radha, also depicted with a halo and ornate jewellery, both portrayed with the characteristic elongated Kishangarh ‘fish eyes’ with a shade of pink to the outer corner, seated on a green carpet, a large hedge rising in the background, mounted on a cream coloured cardboard frame, 27cm x 21.5cm. £1,400-£1,800

391 A PALACE SCENE Bilaspur, Chhattisgarh, Eastern India, late 17th century Opaque pigments on paper, the horizontal composition depicting a courtly gathering in a mountainous terrain outside a white palace, to the left three men in conversation under colourful awnings, in the middle of the scene a bearded man riding an elephant, to the right the palace with effaced women at the windows, the pink-coloured mountains in the background reminiscent of Persian Timurid paintings, the verso with an incomplete black ink nagari inscription, mounted on a white cardboard frame, 22.4cm x 29cm excluding the frame. Provenance: Sotheby’s London, 23 April 1974; Peter Cochrane (1913 - 2004) collection. £300-£500 90

*See inside front cover for information regarding fees

392 KRISHNA AND THE GOPIS IN THE POND Kangra, Pahari Hills, North India, late 19th century Opaque pigments and gold on paper, the large horizontal composition depicting a moment of great intimacy of Krishna and the Gopis bathing, swimming and frolicking together in the same pond, a lingam-like structure in the middle of the scene, possibly used here as an evocative image suggesting erotic tension, the saris and shawls of the Gopis left on the bank of the pond, the overcrowded scene enhanced with personality and rhythm by using different hues for the skin tones, agglomerating consequential scenes into one, and differentiating each character with a peculiar feature or attribute, within black and red-speckled pink borders, 45cm x 67.5cm. For a comparative example, please see Sotheby’s New York, 20 September 2005, lot 110. £2,000-£3,000

A Middle Eastern Journey Wednesday 30th October

ROBERT TALBOT KELLY (BRITISH 1861-1934) Coffee shop, Cairo Signed, dated and inscribed R. Talbot Kelly 1889/Cairo lower right watercolour 33 x 48cm (13 x 19in) Â£800-1,200

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Islamic & Indian Art Department

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Islamic & Indian Art 25 October 2019

Islamic & Indian Art London 25th October 2019