Chiswick-Auctions-Islamic&Indian-Art-April-2021

Islamic & Indian Art London, 16 April 2021

An Update on our Services Our Chiswick Saleroom will reopen to the public on Monday 12 April 2021, following the UK Government’s Covid-19 Response – Spring 2021 Roadmap.

From this date, we will offer in-person Viewings and Valuations by appointment only adhering to strict social distancing. We will continue to offer these services virtually for clients who are unable to attend our Saleroom in person.

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Our Collections Team will provide you with a designated collection slot and the required paperwork.

+44(0)20 8992 4442 info@chiswickauctions.co.uk These details are subject to change but we will continue to keep you updated via our newsletter, website and social media channels.

Meet the Specialists Beatrice Campi

Ghislaine Howard

Head of Sale Islamic & Indian Art beatrice.campi@chiswickauctions.co.uk

Department Coordinator Islamic & Indian Art ghislaine@chiswickauctions.co.uk

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Islamic & Indian Art Friday 16 April 2021, 1pm Viewings at Chiswick

By Appointment Only Mon 12 - Thu 15 April, 10am - 5pm Friday 16 April, 10am - 1pm

Buyer’s Premium

Lots of Iranian Origin

The buyer shall pay Chiswick Auctions Ltd. a premium on the hammer price of 25% +VAT on that commission.

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 recognised artist and/ or that have a function, such as lacquer decorative objects, pottery bowls and tiles, metalware, scientific instruments and textiles) and carpets.

These 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.

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.

Front Cover Lot 289 Back Cover Lot 25 Inner spreads Lots 59, 322, 338

Photography Jordan Salzman

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.

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Property from a Private German Collection The paintings here presented, act as visual illustrations to a Jaipuri Krishna Lila series of the early 19th century. The group stems from the well-curated collection of a dedicated enthusiast of the Indian Subcontinent, its culture and its people. The private owner initially moved to India for work in the 1960s’ and there, he played an important role in the country’s modern development until retirement. The German collector and his wife were ignited by a true passion for India and with time, they accumulated a remarkable array of art and artefacts from the country they loved. Their collection, kept in caring private hands until now, was primarily assembled in New Delhi, Mumbai and Kolkata, but it features objects and paintings from all over the Indian Subcontinent.

Chiswick Auctions is delighted to present this previously unseen, private German collection at auction, starting with the following Krishna Lila series which occupied a special place in the residence (and heart) of this remarkable couple.

See page 7 for more information regarding fees

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1 AN ILLUSTRATION FROM A KRISHNA LILA SERIES: THE FEMALE HEROINE (NAYIKA) MEETING HER BELOVED (NAYAKA) FOR THE FIRST TIME Jaipur, Rajasthan, North-Western India, ca. 1820 - 1840 27.5cm x 39.5cm excluding the frame.

In this illustration, taken from an early 19th-century Rajasthani Krishna Lila series, the nayika is standing outside a marble palatial pavilion on a spacious terrace, the natural surroundings appearing lush and in full blossom. She is meeting for the first time, her nayaka. In several Indian classical texts, such as Rasikapriya and Krishna Lila, the nayaka is often interpreted by the blue-skinned Hindu god Krishna, who is usually characterised by a typical headdress with a peacock’s feather. His companion, the nayika, would then be interpreted by Radha, whose character is often imbued with all the qualities and moods of the Ashta Nayikas from the Natya Shastra. However, in this specific instance, the female heroine is simply referred to as nayika in the text, rather than Radha.

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The aim of the illustration is to offer a visual reference to the love couplets (at the top) and to their explanation (at the bottom). Both the nayika and the nayaka are the main focal point of the painting, their relevance highlighted by the radiating haloes behind their heads. The nayika and the female attendants are all wearing the typical colourful Rajasthani lehenga choli attire (short top and wide long skirt), and they are covering their heads with diaphanous shawls. The attendants behind the heroine are all holding vessels and tools traditionally associated with the Indian welcoming etiquette: lotas, handkerchieves, a fan, and a water jug. These are all objects offered by the host to their guests to refresh themselves upon entering their residence for the first time, a practice still in place today.

£1,500 - 2,000

PROPERTY FROM A PRIVATE GERMAN COLLECTION

2 AN ILLUSTRATION FROM A KRISHNA LILA SERIES: THE NAYIKA BRINGING A TOKEN OF HER AFFECTION TO THE NAYAKA Jaipur, Rajasthan, North-Western India, ca. 1820 - 1840 26.8cm x 39cm excluding the frame.

This illustration follows the previous lot and comes from the same early 19th-century Rajasthani Krishna Lila series.

It depicts the nayika standing outside Krishna’s palace offering him a token of her affection, a lotus flower. This is a very iconic flower in Hinduism, representing spiritual enlightenment, growth, purity, and even birth. Here, the implied message could be that the love for her nayaka is making the heroine grow spiritually and purifying her soul.

the tension between the two protagonists is undeniable and almost palpable. The palatial three-quarter view is typical of 18th and 19th-century Northern Indian paintings, aiming at increasing the architectural volumes in the composition, which used to be often reduced to flat horizontal strips in Rasikapriya series of the 16th and 17th centuries.

£1,500 - 2,000

Once again, the focal points of the composition are the two protagonists of the Lila, easily recognisable thanks to their haloes and to the subtle game of glances and gestures taking place in the scene. Although most of the composition is dedicated to the depiction of the setting,

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3 AN ILLUSTRATION FROM A KRISHNA LILA SERIES: CLAMOR AT THE PALACE Jaipur, Rajasthan, North-Western India, ca. 1820 - 1840 27.5cm x 39cm excluding the frame.

This illustration follows the previous lot and comes from the same early 19th-century Rajasthani Krishna Lila series.

It depicts two Vaishnava Rajput noblemen, both wearing a long North Indian white muslin shalwaar kamiz with gold-embroidered bright orange and green trousers and similar turbans, in red and orange. The man on the left is pointing at the nayika’s sakhi (confidante), standing on the threshold of the palace and pulling her shawl closer to her face, almost in an attempt to hide from sight. The two female attendants in the lower-left corner looking both intrigued and alarmed; their hands giving away their emotions and pointing at the group of men in front of them.

£1,500 - 2,000

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PROPERTY FROM A PRIVATE GERMAN COLLECTION

4 AN ILLUSTRATION FROM A KRISHNA LILA SERIES: THE NAYIKA ATTENDING HER DAILY BEAUTY RITUALS Jaipur, Rajasthan, North-Western India, ca. 1820 - 1840 27.8cm x 39cm excluding the frame.

This illustration follows the previous lot and comes from the same early 19th-century Rajasthani Krishna Lila series. It can be conceived as a sister-scene to illustration no. 7, The Nayika Bringing a Token of Her Affection to the Nayaka and it depicts a very intimate moment. Krishna arrives at the nayika’s palace just in time to catch her during her beauty routine on the palace’s terrace. The heroine is surrounded by her loyal attendants holding a fan, a peacock’s feather fly-whisk, and several lidded and encrusted golden boxes containing cosmetic powders and essences for the nayika to use. She is untangling her long black hair and applying a perfumed balm, her gaze locked into Krishna’s one. The god is holding a lotus flower in his hand, confirming his affection for the nayika.

The composition sets the heroine at a clear advantage over her lover: not only is she on a raised register (palatial terrace), but she is also portrayed enthroned and in her element, boasting her femininity and sensuality. Her confidence transpires in her facial expression and posture.

Both her lover and one of the female attendants by the pool in the foreground raise their fingers and point at the nayika: she is the unquestionable queen of the illustration.

£1,500 - 2,000

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5 AN ILLUSTRATION FROM A KRISHNA LILA SERIES: KRISHNA PINING OVER HIS LOVER AT SUNSET Jaipur, Rajasthan, North-Western India, ca. 1820 - 1840 27cm x 39cm excluding the frame This illustration follows the previous lot and comes from the same early 19th-century Rajasthani Krishna Lila series.

It can be conceived as a sister-scene to illustration no. 22, The Nayika Attending Her Daily Beauty Rituals. In this scene, Krishna is portrayed seated cross-legged on a goldembroidered orange floor spread; wearing an orange turban; smelling a white flower, whilst admiring the sun setting on the distant horizon. The four female attendants on the pavilion’s roof appear to be discussing the scene: some are pointing at Krishna and others are proceeding with their daily tasks, giving directions to the others to do the same.

The scene conveys a very tranquil and almost meditative feeling, changing the tone after the intense charge and sensual tension encountered in the previous lot.

£1,500 - 2,000 14

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PROPERTY FROM A PRIVATE GERMAN COLLECTION

6 AN ILLUSTRATION FROM A KRISHNA LILA SERIES: ENTHRONED KRISHNA REUNITED WITH THE NAYIKA Jaipur, Rajasthan, North-Western India, ca. 1820 - 1840 27cm x 40cm excluding the frame This illustration follows the previous lot and comes from the same early 19th-century Rajasthani Krishna Lila series.

In this scene, Krishna is portrayed seated cross-legged on an encrusted golden throne. He is wearing an elaborate headdress with several pearl strands and a large emeraldencrusted turban ornament (sarpeech). He is calling for the attention of the nayika, still holding the token of his affection (the white lotus flower) in his hand.

sakhis (confidantes) in the foreground, one for each lover, are portrayed in an animated conversation, planning and plotting how to successfully unite the lovers once and for all.

The scene conveys a very lively feeling of trepidation, aiming to lock in the attention of both the readers and the beholders in a crescendo of emotions.

£1,500 - 2,000

The heavily bejewelled heroine is depicted standing just outside the marble pavilion, behind her the usual flock of female attendants. One of them is carrying a lidded food container to offer to the god. The last attendant on the tail of the group appears distracted by something happening behind her; her companion promptly taps her on the arm to bring back her focus to the lovers’ reunion. The two

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7 AN ILLUSTRATION FROM A KRISHNA LILA SERIES: THE NAYIKA AND HER FEMALE ATTENDANTS Jaipur, Rajasthan, North-Western India, ca. 1820 - 1840 27.4cm x 39.5cm excluding the frame This illustration is the immediate sequel to the previous lot, Enthroned Krishna Reunited with the Nayika, and it comes from the same early 19th-century Rajasthani Krishna Lila series. The nayika is shown in a courtyard inside her palace, immediately after the reunion with her beloved. She looks inquisitive, as if she’s seeking advice from her attendants and waiting for their answers.

Excitement is in the air: the nayika is surrounded by different groups of female attendants, all absorbed in their conversations, lively gesticulating and looking in different directions. Most of them are depicted in profile; only one, behind the heroine, is shown in three-quarter view.

Both her eyes and subtle smile convey a sense of delight and confidential comradery, almost suggesting approval and unquestioned support whatever action her lady undertakes.

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The scene delivers a lively feeling of excitement and of meaningful reflection at the same time, as if the readers and beholders needed some time to mull over the latest events.

£1,500 - 2,000

PROPERTY FROM A PRIVATE GERMAN COLLECTION

8 AN ILLUSTRATION FROM A KRISHNA LILA SERIES: THE MEETING OF THE TWO SAKHIS (CONFIDANTES) Jaipur, Rajasthan, North-Western India, ca. 1820 - 1840 27.5cm x 39.8cm excluding the frame This illustration follows the previous lot and comes from the same early 19th-century Rajasthani Krishna Lila series.

In this scene, the nayika’s maidens and sakhi are portrayed in conversation with the nayaka’s female messenger on a palatial terrace in front of a white marble pavilion.

Both sakhis appear to be having a pleasant discussion; their hand gestures suggesting they are listening to each other’s opinion and possibly agreeing on the best course of action. The last maiden in the back of the group to the right is shown tapping the shoulder of the lady in front of her, as if she wants to join (or interrupt) the sakhis’ conversation, a decision which is immediately regretted and abandoned given the stern look she receives from her companion.

£1,500 - 2,000

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9 AN ILLUSTRATION FROM A KRISHNA LILA SERIES: KRISHNA IN CONVERSATION WITH A MAIDEN Jaipur, Rajasthan, North-Western India, ca. 1820 - 1840 27.5cm x 40cm excluding the frame This illustration follows the previous lot and comes from the same early 19th-century Rajasthani Krishna Lila series.

In this scene, Krishna is depicted in conversation with a maiden, or possibly a sakhi, in the courtyard of a large palatial compound. The pair is being observed by another maiden, standing on the balcony above them.

Besides the richness of traditional costumes and jewellery showcased here, this illustration provides a wonderful and rather accurate depiction of the sumptuous architecture of Indian palaces. The use of white is indicative of the presence of carved marble panels and architectural components in these buildings. The interiors, instead, are livened and brightened with flamboyant orange, red, green and pink hues, achieving a pleasant chromatic oxymoron with the whiteness of the marble. It is worth noticing as

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well the gilt marble panels decorating the lower section of the left building’s wall. Indeed, they are enhanced with figural designs in the fashion of Safavid and Mughal portraits of eminent characters. Some of the figures are wearing foreign long robes and tall cylindrical headdresses, perhaps inspired here by the miniatures of foreigners, part of the lingering cultural and artistic legacy of the Mughal Era.

£1,500 - 2,000

PROPERTY FROM A PRIVATE GERMAN COLLECTION

10 AN ILLUSTRATION FROM A KRISHNA LILA SERIES: THE NAYIKA AND HER LOVER FINALLY UNITED Jaipur, Rajasthan, North-Western India, ca. 1820 - 1840 27.5cm x 39cm excluding the frame This illustration is the last one from the group of ten presented in this catalogue, each one belonging to the same early 19th-century Rajasthani Krishna Lila series. The reason why the yellow cartouches at the bottom of the composition have been left empty, when normally they would have been used for numbering and explaining the scene, escapes us. It seems plausible to suggest that this illustration must have been included towards the end of the series.

In this scene, the nayaka, Krishna, is portrayed on a terrace, flanked by his trustworthy sakhi. She is pointing at the white-clad and haloed nayika standing in the courtyard, looking adoringly at her lord. Krishna looks delighted, almost in disbelief. His attire is here more sumptuous and elegant than in any of the previous illustrations.

The atmosphere is solemn and the feeling conveyed by this illustration is of joy and peaceful delight, reaching a mature conclusion to the lovers’ journey together.

The choice of the white lehenga choli for the nayika is far from accidental. White is the colour of purity and of spiritual enlightenment; of peace and of spiritual rebirth.

The reference here is subtle but clear. The unwavering love for the nayaka; the ordeals and the winding path the nayika went through in order to finally unite with her beloved; the moments of tension, pause, excitement and fear; and the deep trust placed in her sakhi: all of these were necessary steps in the path of purification and enlightenment of the nayika. As the story unfolds, the female heroine changes and transforms herself into a different woman, her love being both the fire that ignites her and the catalyst that triggers the process of evolution.

£1,500 - 2,000

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Weaving Art Textiles from the Islamic and Indian Lands

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11 A WOVEN SILK PANEL Possibly Gujarat, North-Western India, Indian Sultanate period, 15th century 15cm x 74cm, 26cm x 84cm including mount

£400 - £600 12 A MOSAIC PANEL OF FLORAL METAL-WRAPPED THREAD TEXTILE India, late 18th century 29cm x 17.5cm

£80 - £100

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13 A GROUP OF FOUR SILK BROCADE COVERS Iran, 18th century and later 38cm x 31cm; 74cm x 82cm; 50cm x 57cm; 40cm x 39cm

£400 - £600 14 A JAMAVAR SHAWL AND A PALLU FRAGMENT

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Kashmir, North India, 19th century 51cm x 109cm including frame; 52cm x 85cm including frame

£400 - £600 15 A JOINED TIE-DYED SILK HANGING Uzbekistan, late 19th century 192cm x 200cm Provenance: Christie’s South Kensington, 8 October 2010, part of lot 275.

£300 - £500

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16 THREE TEXTILE PRINTING COPPER AND BRASS BLOCKS PROPERTY FROM A PRIVATE GERMAN COLLECTION India, early 20th century 45.8cm x 86cm including the frame

£300 - £500 17 TWO TEXTILE PRINTING COPPER AND BRASS BLOCKS PROPERTY FROM A PRIVATE GERMAN COLLECTION India, first half 20th century 16cm x 16cm, the highest 9cm high

£100 - £200 18 A PAIR OF DEVOTIOAL HANGINGS WITH THE MUGHAL UMBRELLA INSIGNIA Possibly Lucknow, North India, late 19th – early 20th century

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48cm x 44cm; 50cm x 44cm

£400 - £600 19 AN INDO-PORTUGUESE TEXTILE PANEL

Detail of lot 20

India, 18th century and later 32cm x 23.3cm

£240 - £280 20 A COVER OF IVORY SILK India, 19th century 97cm x 52cm

£400 - £600

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23 A KASHMIRI JAMAVAR RUMAL (SQUARE SHAWL)

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Northern India, mid-19th century 212cm x 216cm

21 TWO BEDSPREADS OF EMBROIDERED COTTON 22

£400 - £600

Gujarat, India, 20th century

24 TWO WOMEN’S TUNICS

246cm x 204cm; 290cm x 240cm

Sindh, Pakistan, mid-20th century

£300 - £400 22 A SAAMI QUILT Dadu or Sehwan, Sindh, Pakistan, early 20th century

89cm long Dreweatts Auctions, Sheila Paine Collection of Costumes and Textiles, 11 November 2008, lot 33.

£200 - £300

220cm x 168cm

£200 - £300

25 TWO WOMEN’S OPEN COATS Sindh, Pakistan, mid-20th century 86cm long; 92cm long

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Dreweatts Auctions, Sheila Paine collection of costume and textiles,11 November 2008, Lots 35 and 74

£500 - £700

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26 A COLLECTION OF BALOCH BHUJKI (DOWRY BAGS) AND OTHER TEXTILES Pakistan, and Rajasthan, India, first half of the 20th century please see our website for dimensions (Rajasthani group of Baloch bhujkis): Bonhams London, 5 July 2006, lot 339A.

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Encapsulating a near-glossary of techniques and materials, this group of textiles and accessories exemplifies the range and diversity of crafts in some of the most distinguished textile hubs of the region.

£1,000 - £1,500 See page 7 for more information regarding fees

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27 AN IKAT COAT PROPERTY FROM A PRIVATE UK ESTATE Uzbekistan, early 20th century 122cm long from the nape

£200 - £300 28 A SILK IKAT HANGING Possibly Bukhara, Uzbekistan, 19th century ikat loom width 26.5cm excluding of selvedge, cotton backing width 56cm, 432cm x 130cm

£200 - £300 27

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29 A PIRI PIRI ROBE Albania or Greece, Ottoman Provinces, 19th century 122cm length from nape of the neck

£1,000 - £1,500

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The Art of the Written Word

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30 AN ILLUMINATED MAMLUK QURANIC JUZ’ WITH ORIGINAL SIGNED BINDING

‘hairs’, surrounding the marginal illuminations, an element which is equally encountered in our lot and it also occurs in Syrian manuscript of the 1320s.

Mamluk Egypt, 14th century Quranic sections (ayat): Sura al-Mulk (LXVII), v.28 to Sura al-Qalam (LXVIII), v.52; Sura al-Haqqah (LXIX), vv.20-35; Sura al-Ma’raji (LXX), vv.13-29; Sura Nuh (LXXI), vv.1-28; Sura al-Jin (LXXII), vv.1-8, vv.23-28; Sura al-Muzzammil (LXXIII), vv.1-20; Sura al-Muddaththir (LXXIV), vv.1-28); Sura al-Qiyamah (LXXV), vv.12-31; Sura al-Insan (LXXVI), vv.2-24; Sura al-Mursalat (LXXVII), vv.17-33, 47-50. the text panel 10.5cm, the folio 18.2cm Provenance: Boisgirard, Drouot Richelieu Paris, 18 June 2009, lot 157.

The relevance of this Quranic section is highlighted by several elements, including its original signed binding. Firstly, the manuscript presents the typical crisp script and illuminations of works on buff paper usually ascribed to the Mamluk Cairo production of the first half of the 14th century. The golden thuluth sura headings are rather distinctive and appear to share a degree of similarity with a Cairo Qur’an dating 1304 - 6 (D. James, Qur’ans of the Mamluks, 1988, cat.

1). Secondly, another characterising feature of this Qur’an is the choice of resting the sura headings against a ground of vegetal scrollwork with blue and red split palmettes. A forerunner variant in manuscript form to the renowned Golden Horde motif on later ceramics, this charming design was not the most common feature of Qur’ans of the time, except for a similar manuscript copied by Ibrahim ibn Ali ibn Sana al-Mulk dating 1323 (Ibidem, cat.10, p. 224).

A single-volume Mamluk Qur’an dated Sha’ban 729 AH (June 1329 AD) in the Khalili Collections showcases an analogous scrollwork feature, extending it in this case to the full length of the quarter pages (rub’). The spiralling split palmette scrolls are here broken to reveal the words in clouds and make the text stand out in a clearer way (J.M. Rogers, The Arts of Islam. Masterpieces from the Khalili Collection, 2010, cat.178, p.153). Nevertheless, the design of the motif is pretty much in line with the pattern of our juz’. Another peculiar element featuring in this Cairene Qur’an, copied and possibly illuminated by Muhammad ibn Ibrahim ibn ‘Abd al-Rahman al-Maydumi, is the use of fine radiating strikes, or

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Last and most importantly, this Quranic section retains its original Mamluk leather binding, which is signed in the small stamped roundels in the cornerpieces of both covers with a word that may be read as the binder’s nisba. Signed medieval bindings are rare (only six in total in the former Moritz Collection). For an in-depth discussion and reference to Islamic signed bindings, please see Bosch, Carswell and Petherbridge, Islamic Bindings and Bookmaking. A Catalogue of an Exhibition, the Oriental Institute, the University of Chicago, May 18–August 18 1981, 1981, especially pp. 12, 87, 98-9, 126, 128, 133 and 142.

Another juz’ from the same Mamluk Qur’an with an identical signed binding was successfully sold for £40,000 GBP at Sotheby’s London, 14 October 1999, lot 11.

£6,000 - 8,000

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31 A QUR’AN LOOSE FOLIO IN BIHARI SCRIPT (63:10 - 64:4)

32 TWO LOOSE QUR’AN FOLIOS (15:90 TO END AND 9:44 - 52)

33 A LOOSE QUR’AN FOLIO

Sultanate India, ca. 1400-1500

Ilkhanid or Mamluk period, Iran or Egypt, 14th - 15th century

36 cm x 24cm, 48cm x 38cm including frame

52cm x 40.5cm including frame and 50cm x 40.5cm including frame

£200 - £300

text panel 41cm x 21cm, the folio 50cm x 27cm, 63cm x 39cm including the frame

£300 - £500

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£500 - £700

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Egypt or Syria, 14th - 15th century

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34 A QUR’AN SECTION (FROM SURA 2 TO 86)

36 A LARGE QAJAR QUR’AN

Ottoman Turkey, late 18th- early 19th century

Qajar Iran, dated 1233 AH (1817 - 1818)

the text panel 10.4cm x 6cm, the folio 15.6cm x 10cm

the text panel 24cm x 14.6cm and the folio 32cm x 20.5cm

£800 - £1,200

£800 - £1,200

35 A QAJAR MINIATURE QUR’AN

37 A QUR’AN JUZ’ 28

Iran, with ownership stamps dating 1229 AH (1813)

China, 19th century

the text panel 8.3cm x 4.2cm, the folio 11.5cm x 7.4cm

23.5cm x 17.5cm

£400 - £600

£800 - £1,200

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41 38 AN OTTOMAN MINIATURE QUR’AN Ottoman Turkey, made for the Persian market, 19th century 2.7cm x 1.9cm, the locket 3.2cm x 2.5cm x 1.8cm.

£300 - £400 39 AN IMPERIAL PAHLAVI QUR’AN AND A QUR’AN STAND

39 40 ‘SOUVENIRS FROM HAJJ’: THREE PAINTED SATIN SILK PANELS WITH THE NAMES OF GOD AND THE PROPHET Medina, Hijaz, Saudi Arabia, 20th century the largest panel 57cm x 102cm including the frame, 41cm x 41.5cm excluding the frame

Iran, dated 1344 AH (1965)

Provenance: Gros & Delletrez, Hotel Drouot-Richelieu, Livres & Manuscrits Orientalistes, 9 October 2015, lot 27 and Orientalisme: Livres & Iconographie, 3 February 2017, lots 145 and 146.

the text panel 27.5cm x 15cm, the page 40.2cm x 25.5cm

£300 - £500

This Imperial Qur’an comes with a commemorative note (first fly-leaf) recording that the book was given as a gift of appreciation to Mercantile Law Professor, Dr. Hassan Sotudeh Tehrani, from the Tehran University’s Head of School of Law, Political and Economic Sciences, Dr. Mohammad Ali Hedayati, in the date 28 Aban 1346 (November 1967).

A similar Qur’an was successfully sold in these Rooms, 25 October 2019, lot 251.

41 FOUR CHROMOLITHOGRAPHED HAJJ CERTIFICATES

£400 - £600 34

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Ottoman Provinces and Mecca, Hijaz, 20th century the largest approximately 47cm x 67cm

£300 - £500

42 A LARGE OTTOMAN FIRMAN Ottoman Turkey, early 20th century 82cm x 57cm excluding the frame

£500 - £700

43 A LARGE OTTOMAN FIRMAN Turkey, ca. 1890s 80cm x 54cm excluding the frame

£500 - £700 42 44 A CALLIGRAPHIC COMPOSITION IN GOLD ON A NATURAL DRIED OAK LEAF Ottoman Turkey, dated 1317 AH (1899-1900) the leaf 16.2cm long, 21cm x 15.5cm including the frame.

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Two other golden leaves signed

by Sami were offered at Bonhams London, 6 October 2008, lot 57 and 7 October 2010, lot 54. A number of these Turkish 20th-century leaves have been successfully selling in the London market. For further reference, please see Bonhams London, 19 April 2007, lot 39; 2 October 2012, lot 37; and more recently, 13 August 2020, lot 28; and our Rooms, 29 October 2020, lot 162.

£500 - £700

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45 TWO LOOSE FOLIOS FROM A LIFE OF PROPHETS Iran, 17th century the text panel 19.5cm x 12.5cm, the folio 33cm x 22cm, framed and glazed

£200 - £300 46 AN ILLUSTRATED LOOSE FOLIO FROM A SHAHNAMA: MEHRAB AND HIS WIFE SINDOKHT ON A THRONE PROPERTY FROM A PRIVATE AMERICAN COLLECTION the text panel 24cm x 13cm, the folio 37cm x 24.5cm The figural mannerism of this illustration, with its distorted, slender and languidly contorted characters, is reminiscent of the late 16th-century Safavid Qazvin style. Indeed, one of the hallmarks of this pictorial production is the presence of figures with slender, long-waisted bodies with wide heads, very large almond-shaped eyes and thick eyebrows, and a silhouette with sharply bent knees and elbows (Eleanor Sims, Peerless Images: Persian Painting and Its Sources, 2002, p. 68). The exaggeration in the figural style is usually complemented with extravagant settings, with golden skies, eerie landscapes with gibbous purple rock formations, and crowded palace-pavillion scenes with dense patterns and convoluted decorations. These elements of “refined chaos”, as once described by Stchoukine, seem to be ruling the illustrations on this folio, supporting a second half 16th-century dating.

The one-sided illuminated border showcases decorative motifs typical of album borders dating to the late 16th 17th centuries. The inspiration for the specific patterns on this border stems from the Persian dictionary known as Farhang-i Jahangiri, commissioned to Jamal al-Din Husayn Inju Shirazi by the Mughal Emperor Akbar. The lexicon was completed only after his death and presented to his successor, the Mughal Emperor Jahangir in 1608, who lent his name. The golden interlocking vegetal sprays and animal decorations, finely outlined in black ink, can be compared to a group of borders with an analogous attribution at The Cleveland Museum of Art (inv. no. 2013.318), albeit these are two-sided rather than one-sided. Several folios with

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Farhang-i Jahangiri borders have been successfully sold at auction in recent years, including Sotheby’s London, 24 October 2018, lot 90; and Christie’s London, 25 June 2020, lot 81.

We would like to thank Eleanor Sims for her assistance and advice with this lot.

£1,000 - £1,500 47 A SAFAVID CALLIGRAPHIC ALBUM PAGE Iran, late 17th century the text panel 13cm x 7.5cm, the folio 18cm x 11cm including frame £1,000 - £1,200 48 A QAJAR MARRIAGE CONTRACT BETWEEN HAJI SHEYKH MOHAMMAD ‘ALI AND KHANOM BALA KHANOM Iran, dated 16 Ramazan 1318 AH (7 January 1901) the text panel 16.5cm x 11cm, the folio 24.5cm x 17cm.

£300 - £500 49 TWO CALLIGRAPHIC PANELS Iran, dated 1332 and 1333 Hijri Shamsi (1954 and 1955) 14.5cm x 19cm, and 17cm x 21.5cm, 32.2 x 36.2cm and 34.8cm x 39.7cm including frame

£300 - £400

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50 A COLLECTOR’S LIBRARY OF PERSIAN PRINTED BOOKS AND A MATHNAVI MA’NAVI BY RUMI Mostly Iran and India, 17th, 19th and 20th century

The Kulliyat of Sa’di

An illustrated Shahnama by Ferdowsi

The Kulliyat of Sa’di

Illustrated Travels of Nasser ul Din Shah

Rumi’s Mathnavi Ma’navi

Volume I of The Arabian Nights

Book 5 of 6 of Rumi’s Mathnavi Ma’nav, signed Zelli Al Hosseini, dated Friday 19 Rajab 1067AH (3-4 May 1657)

The Kulliyat of Sa’di A paperback edition of Fawayed al Insan, Alaj ul Abdan The Adventures of Haji Baba of Isphahan, 1824, by James Morier (17821849), translated by Mirza Habib Isphahani

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Please see website for dimensions and additional information

£500 - 700

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The Art of Ceramics Lotuses, Lustre and Kaleidoscopic Colour 39

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51 AN UMAYYAD MONOCHROME INKWELL

53 A TURQUOISE-GLAZED KASHAN POTTERY TULIP VASE

8.2cm diam x 7.2cm height

Kashan, Iran, 12th - 13th century

54 TWO KASHAN TURQUOISE-GLAZED POTTERY ANIMAL FIGURES

£600 - 800

45cm circumference and 20cm high

Kashan, Iran, 12th - 13th century

Provenance: These rooms, 27 April 2018, lot 18. Previously, in a UK private collection since 1970s.

9.3cm x 5.6cm and 7.4cm x 5cm

52 A KASHAN COBALT BLUE UNDERGLAZE-PAINTED POTTERY BOWL

£500 - £700

Kashan, Iran, 12th century 19.5cm diam.

£400 - £600

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£600 - £800

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55 A KASHAN MOULDED LUSTRE CALLIGRAPHIC POTTERY TILE

56 λ TWO MAMLUK BLUE AND WHITE HEXAGONAL POTTERY TILES

57 TWO DAMASCUS POTTERY TILES

Kashan, Iran, late 13th century

Damascus, Ottoman Syria, ca. 1420-50

25cm x 24.5cm

28cm x 18.5cm excluding the frame

14.7cm x 15.2cm; and 22.8cm x 22.8cm x 5cm

£800 - £1,000

£600 - £800

58 A SQUARE DAMASCUS POTTERY TILE WITH ARABESQUE

£500 - £700

Ottoman Syria, 17th century

Ottoman Syria, 17th century 22cm x 23.8cm

£500 - 700 See page 7 for more information regarding fees

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59 AN IZNIK POTTERY TILE

60 AN IZNIK POTTERY DISH WITH FLORAL DECORATION

62 A LARGE IZNIK POTTERY DISH WITH FLORAL DECORATION

Ottoman Turkey, ca. 1570 - 1580 31cm x 27cm including the frame According to Watson, the precise dating of Iznik wares becomes problematic in the second half of the 16th century, as designs had a long life, especially the ones featuring floral and arabesque decorations (O. Watson, Ceramics from Islamic Lands, 2004, p.

438). The predilection for symmetrical arrangements and neat designs appears to be a common characteristic of the Iznik pottery production fostered under Murad III’s reign (r.

1574 - 1595). Two comparable tiles presenting a similar arrangement, design and palette were sold at Sotheby’s London, 24 April 2012, lot 145; and Bonhams London, 18 June 2019, lot 19.

Ottoman Turkey, second half 16th century 25.5cm diam.

Ottoman Turkey, second half 16th century

£1,500 - £2,000

29.5cm diam.

£1,800 - £2,000 61 AN IZNIK POTTERY DISH WITH ARABESQUE AND FLORAL DECORATION Ottoman Turkey, ca. 1570 - 1590 28.8cm diam.

£1,800 - £2,000

£3,000 - £4,000

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65 63 A DAMASCUS POTTERY TILE WITH CENTRAL VEGETAL MEDALLION

65 A DECORATIVE PANEL OF EIGHT CUERDA SECA POTTERY TILES

Ottoman Syria, 17th - 18th century

Iran, 17th - 18th century

26.5cm x 25.9cm

45.8cm x 86cm including the frame

£500 - 700

£1,500 - £2,000

64 A BLUE AND TURQUOISE ‘DOME OF THE ROCK’ POTTERY TILE Ottoman Syria or Palestine, 16th century 19cm x 19cm

£600 - £800 See page 7 for more information regarding fees

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66 A LARGE SAFAVID POTTERY TILE MOSAIC PANEL Iran, 17th century 58.2cm x 50cm Provenance: Christie’s London, 27 April 2004, lot 278 Mosaic pottery panels such as this were created by laying cut pieces of monochrome-painted tiles on top of a drawn pattern and then pouring plaster in between the pieces to fix them together, also known as Haft Rang (seven colours) technique. To create the cut pieces, potters would first have to make and individually fire tiles for each colour they wished to use in the final mosaic. This time-consuming and delicate process was eventually succeeded by a more inexpensive technique, which allowed potters to paint several different colours at once onto square tiles keeping them separated with manganese-drenched cords (cuerda seca technique). Safavid potters would then fix these together to create large pictorial compositions, in a more extensive and simpler form than mosaic work.

68 A GROUP OF FOUR CUERDA SECA ARCHITECTURAL POTTERY TILES Safavid Iran, late 17th - 18th century the largest 25cm x 25cm Individually designed cuerda seca pottery tiles such as these were combined together to usually form a large pictorial scene that was positioned above a door or archway. For complete examples, please see the British Museum, London, acc. no.1937,1217.1. and Sotheby’s London, 23 October 2019, lot 233.

£1,200 - £1,800

Comparable tile mosaic panels can be seen in the collection of the Louvre, Paris (inv.no.MAO 1189; please see Istanbul, Isfahan, Delhi: Three Capitals of Islamic Art, exhibition catalogue, Istanbul 2008, no.118, p. 247), and on the walls of the Shah Mosque in Isfahan, dating to 1627. They usually present the traditional iconography of the peacock, another beloved bird in the arts of Islam since a very early time, together with the rooster present in our lot. For similar mosaic panels sold in the UK auction market, please see Christie’s London, 5 October 2010, lot 212 and Bonhams London, 23 October 2018, lot 44.

£4,000 - £6,000 67 TWO SAFAVID CUERDA SECA ARCHITECTUAL POTTERY TILES Safavid Iran, 17th - 18th century 23cm x 23.1cm; 23cm x 23cm

£1,000 - £1,500

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69 A BLUE AND WHITE POTTERY MOON FLASK Safavid Iran, 17th century 17.5cm high Chinese porcelain moon flasks, also known as bianhu or baoyueping (embracing the moon), were possibly one of the most popular and iconic forms of art pottery ever produced. Their charming rounded shapes with flattened sides and often function-less, decorative handles witnessed a true Golden Age in China during the Ming (1368 - 1644) and Qing (1644 - 1912) dynasties. It is believed that the flattened gourd design was originally inspired by pilgrim flasks, often bearing two handles. Throughout the Middle Ages, these flasks were used for transporting holy water and essences from pilgrimage sanctuaries. The form of Western prototypes available in the Holy Land inspired Islamic craftsmen to introducethis design to the repertoire of Middle Eastern metalwares and it eventually reached China thanks to the intense commercial exchanges taking place along the Silk Road.

Given the Safavid potters’ fascination with Chinese blue and white porcelains in the 16th and 17th centuries, it should not surprise that the model of the moon flask was reintroduced in Iran in the 17th century, this time in its pottery rather than metal form. The design, shape and decorative inspiration of this flask are quintessentially rooted in the tradition of Chinese porcelains and may at first hint at a Far Eastern origin. However, the choice of material (fritware), the stylisation of the decorative motifs and, last but not least, the drips of glossy thick glaze by the foot all unequivocably indicate and support an Iranian attribution (O. Watson, Ceramics from Islamic Lands, 2004, pp. 449 - 470).

71 A SAFAVID TURQUOISE MONOCHROME POTTERY EWER AND BASIN Iran, 17th century the ewer 35cm high; the matching basin 11cm high and 24cm diam.

£1,200 - 1,500 72 AN IMPRESSIVE LARGE TURQUOISE MONOCHROME POTTERY DISH Safavid Iran, 17th century 9.5cm high and 46cm diam.

Watson suggests that these large monochrome dishes were intended to imitate Chinese celadon. Chinese Longquan celadon ceased to be exported in any significant quantity after the 15th century, and yet the Middle Eastern desire for celadon wares remained unaltered, fostering local productions in the absence of original antique Chinese exemplars (O. Watson, Ceramics from Islamic Lands, 2004, p. 465). An almost identical example to our dish is part of the Al-Sabah Collection in Kuwait, presenting the same ribbed petal-like motif around the cavetto (Ibidem, cat. U.18, p. 465).

£2,000 - £3,000t

£600 - 800 70 A SAFAVID RED AND BLUE KIRMAN POTTERY QALYAN BASE (WATER PIPE) Safavid Iran, 17th century 20.8cm high

£800 - 1,200

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73 A COMPLETE PANEL OF FIGURAL SAFAVID-REVIVAL CUERDA SECA POTTERY TILES Qajar Iran, mid to late 19th century 71cm x 91cm including the frame

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Provenance: Christie’s London, 26 October 2007, lot 252.

£800 - £1,000 74 A POLYCHROME-PAINTED POTTERY CHARGER FEATURING A FEMALE MUSICIAN AND DANCER Qajar Iran, mid to late 19th century 32.5cm diam.

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£400 - £600 75 A LATE QAJAR POLYCHROMEPAINTED POTTERY TILE Iran, late 19th - early 20th century 18.8cm x 19.cm

£180 - £220 76 A PANEL OF FOUR CUERDA SECA POTTERY TILES Qajar Iran, late 19th century 38cm x 37.5cm excluding the frame

£400 - £600 77 TWO QAJAR POLCHROMEPAINTED POTTERY TILES Qajar Iran, 19th century approximately 19cm x 19cm each

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£120 - £180

78 A POLYCHROME-PAINTED POTTERY EWER Qajar Iran, late 19th century 28cm high

£300 - £400 79 THREE IRANIAN BLUE AND WHITE POTTERY DISHES

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Iran, 18th - 19th century the largest 27.3cm diam

£300 - £500 80 A LARGE LATE QAJAR BLUE AND WHITE POTTERY CHARGER Iran, early 20th century 34.5cm diam.

£100 - £120 79

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81 A MULTAN BLUE AND TURQUOISE POTTERY MOON FLASK

82 FOUR SMALL MULTAN BLUE AND TURQUOISE POTTERY VASES

Sindh, Pakistan, late 19th century

Sindh, Pakistan, early 20th century

30cm high

the tallest 16.5cm high, the shortest 11cm high

Provenance: purchased from Marryat Antique Dealers over ten years ago and in a private London collection since.

Provenance: purchased from Marryat Antique Dealers over ten years ago and in a private London collection since.

£500 - £700

£200 - £300

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84 A BLUE AND WHITE MULTAN POTTERY VASE AND DISH

83 A LARGE MULTAN BLUE AND TURQUOISE POTTERY VASE

Multan, Pakistan, 18th and 19th century

Sindh, Pakistan, second half 19th century

the vase 25.5cm high; the dish 24cm diam.

45.5cm high, 10cm diam

£240 - £280 Provenance: purchased from Marryat Antique Dealers over ten years ago and in a private London collection since.

Exhibited: Tale of the Tile: The Ceramic Traditions of Pakistan, edited by Abdul Hamid Akhund and Nasreen Askari, 2011, cat. no. 115.

£600 - £800

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85 AN HISPANO-MORESQUE COPPER LUSTRE-PAINED POTTERY TAZZA Post-Nasrid Spain, 17th century 6.5cm high and 25.5cm diam

£250 - £300 86 A SMALL HISPANO-MORESQUE COPPER LUSTRE-PAINTED POTTERY DISH Post-Nastrid Spain, late 18th - 19th century 26cm diam

£200 - £300 87 TWO LARGE HISPANO-MORESQUE COPPER LUSTRE-PAINTED POTTERY CHARGERS Post-Nastrid Spain, 19th century

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40cm diam and 42cm diam

£200 - £300 88 AN HISPANO-MORESQUE COPPER LUSTRE-PAINTED POTTERY CHARGER Post-Nasrid Spain, 19th century 32.8cm diam

£200 - £250 89 A GROUP OF HISPANO-MORESQUE COPPER LUSTRE-PAINTED POTTERY VESSELS Post-Nasrid Spain, 17th - 19th century 40cm diam., 21cm diam. and 13.5cm diam.

£200 - £300

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93 92 A KUTAHYA POTTERY HANGING ORNAMENT

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West Anatolia, 19th century 13.4cm high

90 A GROUP OF ISLAMIC-REVIVAL POTTERY TILES AND DISH Possibly England and North Africa, 20th century the Safavid revival tiles each approx 15.2cm x 15.2cm; the William de Morgan style tile 15.3cm x 15.3cm; the dish 31cm diam.

£200 - £300

Similar suspension ornaments, often simply referred to as ‘eggs’, are frequently found in Orthodox churches as well as mosques. Some of these eggs were donated to Christian churches by pilgrims, as votive offerings. Given their peculiar shapes, these hanging ornaments could have been linked to the cult of fertility. For more details, please see J. Carswell and C.J.F. Dowsett, Kutahya Tiles and Pottery from the Armenian Cathedral of St. James, Jerusalem, 1972, Vol. II, p.63. A number of these ornaments have successfully sold in the London auction market, please see Christie’s London, 4 October 2012, lot 255; and 11 April 2014, lot 368; and Sotheby’s London, 24 April 2013, lot 255.

£400 - £600 91 TWO LARGE MOROCCAN POTTERY CHARGERS AND A TURQUOISE-GLAZED MONOCHROME POTTERY DISH Morocco, North Africa and Iran, first half 20th century the largest charge 45cm diam., the dish 32cm diam.

£80 - £100

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93 A KUTAHYA POTTERY COFFEE POT Ottoman Turkey, 19th century 14cm high

£200 - £300

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94 A BROWN AND YELLOW-SPLASHED AMBER-GLAZED ÇANAKKALE POTTERY EWER

96 A POLYCHROME-PAINTED IZNIK-STYLE SAMSON POTTERY VASE AND DISH

Ottoman Turkey, 19th century

France, late 19th - early 20th century

38cm high

the vase 32cm high, the dish 28.5cm diam.

£100 - £150

£200 - £300

95 A GROUP OF FIVE ÇANAKKALE POTTERY VESSELS

97 AN IZNIK-STYLE PALESTINIAN POTTERY VASE

Çanakkale, Ottoman Turkey, 19th century

Palestine, Holy Land, late 19th - 20th century

the tallest ewer 39.5cm high, the jug 15.5cm high, and the bowl 9.5cm high and 19cm diam.

27cm high

£200 - £300

£1,000 - 1,500

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98 A CHINESE ‘FAMILLE ROSE’ PORCELAIN LIDDED BOX AND SMALL CUP MADE FOR THE IRANIAN EXPORT MARKET Guangdong (Canton), China, late 19th century the box 7cm high and 10cm diam, the cup 4cm high x 7cm diam.

£300 - £400 99 A CHINESE ‘FAMILLE ROSE’ PORCELAIN BOWL WITH MATCHING SAUCER MADE FOR THE IRANIAN EXPORT MARKET Guangdong (Canton), China, late 19th - early 20th century 27.5cm diam.

Similar Guangdong ‘famille rose’ bowls have been successfully selling at auction in our Rooms. For further reference, please see, 22 April 2020, lots 195, 196 and 206.

£300 - £400 100 A GROUP OF TWENTY-ONE BLACK-PAINTED AND TURQUOISE-GLAZED KUBACHI-STYLE POTTERY VESSELS Iran, late 19th - early 20th the tallest vase 29.5cm high; the widest bowl 18cm diam.; and the widest dish 22cm diam.

£500 - £700

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Icons of Power Portraits and Paintings of the Islamic and Indian Ruling Classes

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101 A SEATED PORTRAIT OF FATH ‘ALI SHAH QAJAR (R. 1797 - 1834) PROPERTY FROM A PRIVATE UK COLLECTION Possibly Tehran, late Qajar Iran, ca. 1910 - 1920 116cm x 77cm excluding the frame Provenance: purchased at the Mathaf Gallery in Belgravia, London, in the early 1990s and in a private UK collection since.

More images of Fath ‘Ali Shah Qajar have survived than of any other Persian rulers and their iconography was dictated by very clear and precise indications (L.S. Diba and M. Ekhtiar, Royal Persian Paintings: the Qajar Epoch, 1785-1925, Brooklyn, 1998, p. 180). When portrayed alone, the ruler was most frequently depicted seated on a bejewelled floor spread; when accompanied by his sons and courtiers, he was instead depicted enthroned, standing with his staff of state, or clad in ceremonial armour. Nothing was left to chance: every portrait encapsulated the essence of the Shah’s ambition of constructing a long-lasting dynastic image of himself and his progeny. Indeed, as Layla S. Diba explains, Fath ‘Ali Shah’s reign was characterised by the consolidation of the machinery of power and the formulation of a specific and precise poetic and visual repertoire to celebrate his achievements; link him to his royal predecessors; and proclaim himself as the rightful and most enlightened ruler of the Qajar dynasty (Ibidem, p. 35).

His artistic Bazgasht (return - Renaissance) and the establishment of impactful life-size royal paintings played a critical role in the consolidation of early Qajar power. The emphasis on the formulation of a dynastic image increased drastically with the ruler’s accession in 1798, when he started fostering a very precise iconographic and decorative program entailing multi-image cycles and monumental compositions (Ibidem, p. 37). From that moment onward, images of the Shah and his entourage would dress walls, niches, arches and halls of Qajar palaces, enacting a true form of visual propaganda. During the turmoils of the last twenty years of his reign, when life-size paintings ceased to suffice, Fath ‘Ali Shah proudly commissioned monumental figural rock reliefs, placing himself side-by-side with the great Achaemenid and Sasanian kings of the Persian past.

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The Shah’s artistic patronage and relentless focus on the establishment of an iconic pictorial language for royal portraits had a long-lasting impact on the art of 19th century Iranian painting. Indeed, in the second half of the 19th century, when Qajar society was marked by drastic changes, the Shah’s grandson, Nasir al-Din Shah (1831 1896) followed his footsteps in attempting to initiate change through extensive patronage of artists and schools of arts, like the Dar al-Funun Academy (Ibidem, p. 239). However, differently from Fath ‘Ali Shah, Nasir al-Din fostered an image of monarchy that combined traditional Persian kingship’s ideals and conservatism with modernity, deriving from the influence and constant relations with European powers and practices. Life-size paintings were soon overthrown by black and white photographs, lithographs and European easel paintings.

The final years of the Qajar dynasty were marked by political unrest and drastic social changes, leading to the end of the courtly arts’ patronage, including painting. Nevertheless, the educated elite continued to portray the evolution and developments unfolding within the Iranian society as faithfully as a camera, at times accentuating the drastic contrasts between local traditions and forced Westernisation with caricatures; other times indulging into an ode to the past, a ‘divorce from reality’, as Amanat would call it (A. Amanat, “Russian Intrusion into the Guarded Domain” in Journal of the American Oriental Society 113, 1993, p. 36). It is exactly around this time that many life-size paintings and frescoes of the Negarestan Palace started being emulated and copied in the format of portable oils on canvas, pencil sketches or gouaches on paper by skilled painters, such as Samsam Ibn Zulfaqar Musavvir al-Mamalik. These official copies, of which a dozen are known and whose originals are now mostly destroyed, served the scope of preserving the dynastic image of Qajar rulers, glorifying their power even at the sunset of their era (G. Fellinger in L’Empire des Roses: Chefs-d’oeuvre de l’art persan du XIXe siecle, Louvre-Lens, 2018, pp. 294 - 297).

Our painting embodies all the quintessential features of the last Qajar school of royal portraiture. The portrait is imbued with a nostalgic flare and pays tribute to a pictorial tradition that turned upside down the concept of Persian painting; a tradition that departed from the small-scale intimate miniatures of pre-Qajar times, and reached monumental

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sizes. The ruler’s iconography is perfectly in line with the canons established under Fath ‘Ali Shah’s rule and yet, it was produced approximately 100 years later. Even the Shah’s expression seems calmer and more tamed compared to earlier portraits produced at the peak of his reign, which we can see in the Hermitage Museum’s collection. The brush stippling technique employed to create a charming relief on the gems and pearls is indebted to the paintings produced at the end of the 18th - early 19th century, and so is the cusped cartouche bearing the Shah’s name, as if it was necessary to clarify whose portrait it was. The bucolic and tranquil background resonates with contemporary European paintings, a considerable change from the fast and opulence of the Qajar palaces’ interiors, the usual backdrop of earlier creations. And yet, despite these modern influences, the portrait respectfully honours the great tradition established by Fath ‘Ali Shah, acting as a true swan song, as one last hurrah for the Qajar dynasty and the traditions rooted in Pre-modern Iran.

£8,000 - £10, 000

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102 AN OVAL PORTRAIT OF MIRZA ‘ALI ASGHAR KHAN AMIN AL-SOLTAN (1858 - 1907) PROPERTY FROM A PRIVATE UK COLLECTION signed in white at the bottom by the late Qajar painter Samsam Ibn Zulfaqar, set within a later oval briar wood frame 49cm x 39cm excluding the frame

that has achieved so much and received many military decorations, the presence of a plain red sash could suggest either a post-mortem private commission, inspired by the memory of the patron rather than a precise picture or photograph, or the painter’s subjective and distinctive choice of portraying a nostalgic and melancholic ‘Ali Asghar reminiscing about his younger days in the military.

£2,000 - £3,000

Mirza ‘Ali Asghar had an impressive political career, which culminated with his appointment as Prime Minister under Nasir al-Din Shah Qajar in 1887 (A. Amanat, AMĪN-ALSOLṬĀN, ĀQĀ EBRĀHĪM in Encyclopedia Iranica, 1989, pp. 949–951). After the Shah’s assassination in 1896, ‘Ali Asghar worked really hard to maintain the stability of the country and to secure a smooth transition to the next ruler, Muzaffar al-Din Shah Qajar, the Shah’s son. After being dismissed from office shortly after the new Shah’s settlement, ‘Ali Asghar was then called back in the middle of the Iranian Constitutional Revolution. His latest office lasted only a couple of months as he was assassinated in front of the Parliament on 31st August 1907.

The choice of subject for this portrait is quite distinctive.

Samsam Ibn Zulfaqar is renowned as one of the main masters of the last Qajar school of royal portraiture, but at the time he was active the reputation of ‘Ali Asghar was undergoing important peaks and troughs (G. Fellinger in L’Empire des Roses: Chefs-d’oeuvre de l’art persan du XIXe siecle, Louvre-Lens, 2018, pp. 294 - 297). Following Nasir’s assassination in 1896, the wheel of fortune turned for the Prime Minister, and ‘Ali Asghar was kept in and out of office, according to the last Qajar rulers’ whims. In this portrait, he is depicted as a military man, wearing the typical black Astrakhan fur kaj kolah, proudly showing off his military decorations. His expression appears to be quite nostalgic, a common trait of many late Qajar oils.

Perhaps one of the most curious elements in the portrait is the red sash crossing the Prime Minister’s chest. Indeed, according to Qajar military ceremonial standards, the commander-in-chief of the armed forces (sardar sepah) was to wear a blue sash bordered with green stripes; three-star generals wore instead a red sash with green border stripes; and two-star generals a red sash with white border stripes.

Only simple brigadier-generals wore plain red. For a man

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103 THE MAIN COURTYARD OF THE MASOUDIEH PALACE (EMARAT-E MASOUDIEH) IN TEHRAN PROPERTY FROM A PRIVATE UK COLLECTION

signed in red on the lower right corner by Asadallah al-Hosseini, mounted and framed 39.5cm x 70cm excluding the gilt wooden frame £1,000 - £1,500

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104 λ AN IVORY MINIATURE OF THE QAJAR CROWN PRINCE ‘ABBAS MIRZA (1789-1833) Possibly Iran or India, first half 19th century 8cm x 5.4cm excluding the frame £600 - £800 105 A DEVOTIONAL MINIATURE OF ‘ALI, HUSSEYN AND HASAN Qajar Iran, late 19th century 5.2cm x 4.5cm excluding the frame £400 - £600

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106 A STANDING PORTRAIT OF THE IRANIAN PRIME MINISTER MIRZA AGHASI (IN OFFICE 1835-1848) Late Qajar Iran, dated 1325 AH (1907), signed by Abu’l Hasan Shirazi 30cm x 19.5cm, 55cm x 43cm including frame £800 - £1,200

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107 A PORTRAIT OF THE OTTOMAN SULTAN MEHMED I (R. 1413 - 1421)

108 THREE HARDSTONE INTAGLIOS WITH OTTOMAN SULTANS’ TUGHRAS

Possibly Italy or France, 16th - 17th century

Ottoman Turkey, mid to late 19th century

16.5cm x 10cm

the largest 2.5cm x 2.3cm

Another depiction of this Sultan showing a similar pose and attire, with his lavish brocaded coat open and only worn on one side, can be seen in a Turkish 16th-century manuscript miniature illustrating the Ottoman rulers’ dynasty, currently preserved in the Istanbul University Library (MS Yildiz 2653, fol. 261).

£200 - £300

66

110 TWO TINTED PLATES DEPICTING COSTUMES OF THE OTTOMAN EMPIRE Possibly France or Western Ottoman Provinces, late 19th century

£200 - £300

each plate 17cm x 9.5cm, the frame 35cm x 30cm

109 AN ORIENTALIST AGATE CAMEO BROOCH WITH SULTANA

£400 - £600

Paris, France, second half 19th century 45cm circumference and 20cm high 7cm x 5.2cm

£1,000 - £1,500

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112

111

111 A LACQUERED PAPIER-MÂCHÉ QALAMDAN WITH BAHRAM AND THE SEVEN PRINCESSES Qajar Iran, 19th century

113

112 A LACQUERED PAPIER-MÂCHÉ LIDDED BOX WITH HUNTING SCENES

113 TWO QAJAR LACQUERED PAPIER-MÂCHÉ QALAMDANS (PEN BOXES) Iran, late 19th - early 20th century

22.5cm x 4cm x 3.6cm

Qajar Iran, late 19th - early 20th century

£800 - £1,000

10.5cm x 11cm x 17cm

£300 - £400

One 22cm x 3.5cm x 3.5cm, the other 20cm x 3.2cm x 3cm The tools in the first qalamdan open a rare window into the working life of a calligrapher. To the cognoscenti of the art of calligraphy, the small indentations caused by cutting the nib on the strip of bone alone, are meditation aids: mortal the artist may be, but the instruments and the work shall remain. The filigree inkwell is not a contradiction: good ink is held by silk threads and does not spill.

£300 - £500 Top, detail of lot 111; bottom, detail of lot 112; right, detail of lot 113 See page 7 for more information regarding fees

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114

115

116

117

114 A PORTRAIT OF MAHARAJA AJIT SINGH RATHORE OF MARWAR (1679 - 1724)

Inscription: Everyone shows up with a letter on the Day of Judgment / I will instead appear with the image of the Beloved in my arms. The year 1261 AH (1845).

Marwar (Jodhpur), Rajasthan, North-Western India, 18th century

34.5cm x 23cm excluding the frame

£1,500 - £2,000

30.8cm x 20.3cm excluding the frame

£500 - £700 115 MANOHAR RIDING TO MEET THE PRINCESS MADHUMALATI Mewar School, Rajasthan, North-Western India, third-quarter 18th century

117 A POLKI DIAMOND-ENCRUSTED AND POLYCHROME-ENAMELLED GOLD ARCHER RING Jaipur, North-Western India, late 18th - first half 19th century 3.2cm long and 2.5cm diam.

£2,000 - £3,000

36cm x 30.5cm including the frame

£300 - £500 116 A BALCONY SCENE: A RULER SMOKING A HUQQA WITH HIS COMPANION PROPERTY FROM A PRIVATE GERMAN COLLECTION Possibly Jaipur or Bikaner, Rajasthan, North-Western India, 18th - early 19th century

68

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118

A RAJPUT RULER’S BUST PORTRAIT Possibly Jaipur or Kishangarh, Rajasthan, North-Western India, late 18th century approximately 10cm x 7cm excluding the frame

£600 - £800

118

119

119 A PORTRAIT OF THE NAWAB OF AWADH, SAFDAR JANG (1708 - 1754), AND HIS SPOUSE, AMAT JAHAN BEGUM Awadh (Oudh), Northern India, 19th century

120

121

120 AN ILLUSTRATION FROM A RAGAMALA SERIES: THE VIBHASA RAGINI PROPERTY FROM A PRIVATE GERMAN COLLECTION

35.5cm x 24.5cm including the frame.

Bundi School, Rajasthan, North-Western India, late 17th century

Provenance: in a private UK collection since at least 1975, purchased in an antique shop by the present owner’s father.

33cm x 23cm including the frame

In the British Museum and V&A Museum’s collections, there are two 18th-century Mughal album pages with portraits of Safdar Jung (respectively inv. nos. 1920,0917,0.14 and CIRC.228-1922). The Nawab is presented with a full-on pointy beard with thick moustache; in both cases, he is wearing a floral Mughal overcoat and an elaborate turban. In the British Museum example, the closest to ours from a stylistic point of view, the Nawab is wearing yellow boots and is holding a tulwar sword with spiky finial, in an analogous fashion to this lot. An able administrator, Safdar Jang soon became a central figure at the Delhi court, acting as a loyal supporter and last stronghold of the increasingly weakened late Mughal dynasty.

£500 - £700

For a very similar composition dating ca. 1680 and also ascribed to the Bundi school, please see the Arthur M. Sackler Gallery’s Collection (inv. no. S2018.1.31).

£500 - £700 121 AN ILLUSTRATION FROM A RAGAMALA SERIES: THE PANCHAMA RAGINI PROPERTY FROM A PRIVATE GERMAN COLLECTION Bundi School, Rajasthan, North-Western India, late 17th century 31.5cm x 27cm including the frame

£500 - £700

See page 7 for more information regarding fees

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122

123

122 λ A CASED OVAL IVORY MINIATURE OF THE MAHARAJA OF BENARES PROPERTY FROM A PRIVATE UK ESTATE

India, late 19th - early 20th century 3cm x 2cm excluding the box. £120 - £150 123 A PORTRAIT OF A PASHTUN RECRUIT IN THE STYLE OF THE FRASER ALBUM Haryana or Delhi, Northern India, 20th century 43cm x 32.5cm including the frame

£200 - £300 124 A STANDING PORTRAIT OF THE MAHARAJA DULEEP SINGH (1838 - 1893) AFTER FRANZ XAVIER WINTERHALTER (1805 1873) Possibly England, 20th century, signed I. Aubrey 91cm x 61cm

70

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124 The relationship between Duleep Singh and England was surely a complex one. After handing over the Koh-i Noor diamond to Queen Victoria as part of the treaty following the end of the Second Anglo-Sikh War and having been forced to resign his sovereignty as Maharaja of Lahore in 1849, Duleep was brought to England in 1854. It didn’t take him long to become a close friend of the royal family, visiting them twice (in 1854 and 1856) at Osborne on the Isle of Wight and inviting the Prince of Wales to shooting parties on his estate at Elveden Hall in Suffolk. This close relationship with the Queen is substantiated in the painting by the presence of her miniature, which the Maharaja is wearing as a piece of jewellery around his neck and close to his heart.

For further reference on the original painting by Winterhalter, please see https://www.rct.uk/collection/403843/the-maharaja-duleep-singh-1838-93.

A very precise lithograph of the original 1854 painting is part of the National Portrait Gallery’s collection and it was executed by Richard James Lane (NPG D22439). A similar painting after the F. X. Winterhalter’s original was successfully sold at Christie’s London, 26 October 2007, lot 120. This painting was unsigned, differently from ours.

£2,000 - £3,000

The Art of War Arms and Military Accessories From the Islamic and Indian Lands

71

125

125 A STEEL CHAIN MAIL WITH BROCADED GREEN VELVET COLLAR AND RED COTTON LINING Possibly Punjab Hills, Northern India, 19th century 78.5cm x 107cm (full width of the arms)

126

127

128

127 A GOLD-DAMASCENED (KOFTGARI) STEEL TULWAR (SWORD)

128 A GOLD-DAMASCENED (KOFTGARI) STEEL TULWAR (SWORD)

Northern India, 18th - early 19th century

Possibly Rajasthan or Punjab Hills, Northern India, early 19th century

88cm long

a Devanagari inscription now mostly faded, partially reading Shri.... Singh Jamna Mana

£1,000 - £1,500

£150 - £200

97.5cm long excluding the scabbard.

126 A SILVER-DAMASCENED STEEL TULWAR (SWORD)

For a comparable example, please see these Rooms, 29 October 2020, lot 396.

Northern India, 18th - early 19th century 81.5cm long

£600 - £800

72

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£800 - £1,200

131

129

130

129 AN AFGHAN PULWAR SWORD Afghanistan, 19th century 103.2cm long including the scabbard

£400 - £600 130 A SILVER-INLAID PUSH DAGGER (KATAR) India, late 19th century

132

131 A GROUP OF THREE INDIAN DAGGERS AND A GOLD-DAMASCENED (KOFTGARI) HILT

132 λ TWO SINHALESE PIHA KAETTAS DAGGERS

Northern India, 19th century

the longest 26.5cm

the pesh dagger 38cm long including the sheath; the kukri daggers 38cm and 48cm long including the scabbards; the hilt 16.5cm high

£150 - £180

Ceylon, Sri Lanka, 19th century

£300 - £400

38.5cm long excluding the stand

£300 - £500

See page 7 for more information regarding fees

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135 134

133

136

137 λ AN IVORY-HILTED SINHALESE DAGGER (PIHA KAETTA)

Northern India, 19th century

135 λ A GOLD-INLAID SAFAVID KARD DAGGER WITH MARINE IVORY HILT

30.5cm long including the scabbard

Iran, late 17th century

27.5cm long

£300 - £500

27.5cm long

£600 - £800

133 A SILVER-INLAID LION-HEADED STEEL DAGGER (KHANJAR)

Sri Lanka, 18th century

£800 - £1,200 134 A GOLD-DAMASCENED (KOFTGARI) RAM-HEADED STEEL DAGGER (KHANJAR) Northern India, 19th century

29cm long £300 - £500

136 A PAIR OF TRIBAL INDIAN CEREMONIAL SHIELDS WITH BRASS BOSSES Possibly Gujarat or Rajasthan, North-Western India, late 19th - early 20th century each 29.5cm diam

£300 - £500

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138 λ A LARGE IVORY-HILTED SINHALESE DAGGER (PIHA KAETTA) Sri Lanka, 18th century 33.5cm long

£800 - £1,200

137 142

138

139

143

140 139 TWO DAGGERS FROM THE ARABIAN PENINSULA

140 AN OTTOMAN CORAL-SET DAGGER

142 AN ENGRAVED BRASS FISH POWDER FLASK

Oman and Saudi Arabia, 19th - 20th century

Ottoman Turkey, 19th century

Possibly Lucknow, Awadh, Northern India, late 18th - 19th century

30.5cm long and 54.5cm long both including their sheaths

£300 - £400

37cm long including the sheath.

23.5cm long For comparable examples, please see Christie’s London, 5 October 2010, lot 350; 8 April 2011, lot 461; and more recently, 28 October 2020, lot 135.

£1,500 - £2,000 141 λ A WOODEN, BONE AND IVORY GOURD-SHAPED OTTOMAN POWDER FLASK

£300 - £500 143 A TINNED BRASS MANGO GUNPOWDER FLASK Northern India, late 18th - early 19th century 11cm high excluding the mount

£400 - £600

Ottoman Provinces, 19th century 12.4cm long

141

£150 - £200 See page 7 for more information regarding fees

75

Daily Rituals Beauty in the Mundane

76

144

145

144 A PAINTED AND LACQUERED WALL MIRROR

145 A SELJUQ CAST BRONZE MIRROR

Iran, 20th century

Iran or Anatolia, 12th - 13th century

69cm x 33.5cm

During the rise of the Seljuq and Turkish dynasties in the 12th - 13th centuries, a large production of circular cast-bronze mirrors can be witnessed. These mirrors not only had a practical function, but also worked as talismans, often bearing benedictory inscriptions and apotropaic symbols and motifs. Given the wide popularity of these mirrors, many examples can be found in several museum collections (see The Metropolitan Museum of Art, 15.43.285; and the LACMA, AC1995.252.28). Some examples similar to ours were successfully sold at Christie’s South Kensington, 27 April 2012, lot 709; and in these Rooms, 3 May 2019, lot 29.

£300 - £500

147

146 ‘CUSTOMS AND FASHION IN THE LEVANT’: PORTRAIT OF A BALKAN YOUNG LADY Possibly French Orientalist School, France, 18th century 22.5cm x 16.5cm excluding the frame

£150 - £200 147 ‘CUSTOMS AND FASHION IN THE LEVANT’: PORTRAIT OF AN ARMENIAN LADY Possibly France or Istanbul, Ottoman Turkey, 18th - 19th century 22cm x 15cm excluding the frame Provenance: Bonhams, London, 8 April 2014, part of lot 133.

£200 - £300

£400 - £600 146 See page 7 for more information regarding fees

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149

150

148

148 AN OTTOMAN REPOUSSÉ SILVER MIRROR Ottoman Provinces, 19th century 30.5cm x 22cm, the chain approximately 24cm in length

£300 - £500 149 A BLACK ENAMELLED SILVER NECKLACE Possibly Lucknow, Awadh, Northern India, late 19th - early 20th century the plaques band 19.5cm long, the neck’s width 18cm

£300 - £400 150 SIX EARLY ISLAMIC GLASS BANGLES Abbasid Caliphate, possibly Syria or Iran, 7th - 9th century the largest 9cm diam.

Provenance: The Saeed Motamed Collection, Bellmans Auctioneers, 24 June 2015, lot 2515

151 AN UNUSUAL MINIATURE WOVEN BRASS WIRE JEWELLERY BASKET (VEL PETTIYA) Kandy, Sri Lanka, 18th - 19th century weight 190gr, 6.5cm x 9.5cm, 7.5cm diam.

Vel pettiya baskets are a typical indigenous production of the Kingdom of Kandy in central Sri Lanka. These baskets were usually created for members of the Kandyan aristocracy and were made of woven canes with silver or brass mounts.

They served as jewellery and keepsakes containers. This example is rather unusual, both for its miniature size and for the material of which is made (woven brass wire rather than vegetal fibre). Similar baskets but with less elaborate mounts were also produced in Indonesia, possibly introduced by colonial Portuguese and Dutch administrators from the Kandyan Kingdom in the 18th century.

For a comparable example, please see A.K. Coomaraswamy, Mediaeval Sinhalese Art, 1956, plate XLIIIA.

£300 - £400

£1,000 - £1,200

78

152

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151

152 FOUR CARVED ROCK CRYSTAL MINIATURE SCENT BOTTLES Northern India, 19th century ranging from 2.2cm to 5cm high

£600 - £800 153 λ AN ENGRAVED IVORY AND BUFFALO HORN-OVERLAID CARVED SANDALWOOD NÉCESSAIRE CASKET Possibly Vizagapatam, Andhra Pradesh, Eastern India, second half 19th century

the sides always had a characteristic flattened profile, which increased their ergonomics and made them safer to handle. Intended as elements of toilet sets, the very narrow neck served the purpose of trickling only a few drops of the precious liquid contained inside the main body. The earliest enamelled exemplars tend to date mostly to the reign of the Mamluk sultan Baybars I (r. 1260 - 77), confirming the great popularity of these bottles in the 13th century and their constant enhancement through time (S. Carboni and D. Whitehouse, Glass of the Sultans, 2001, p. 246).

155

18cm x 36cm x 25cm

£800 - £1,200 154 AN INTACT FINE BLUE GLASS SPRINKLER (QUM QUM) Ayyubid or Mamluk Egypt or Syria, 12th - 13th century Andrew Rudebeck is an enthusiastic British collector of glass, vaunting one of the most impressive collections of late-medieval stained-glass roundels. His knowledge on this subject converged into a book he published in 2014, The Andrew Rudebeck Collection: English Stained Glass. It shouldn’t surprise that an eager glass collector like him would appreciate the fine and delicate design of this blue glass qum qum, typical of the late Ayyubid and Mamluk period.

The Corning Museum of Glass was gifted a very similar sprinkler (inv. no. 54.1.73), made of clear glass with a greenish tint (Ibidem, fig. 3, p.

73). Analogous examples have also successfully sold at auction in the UK market, please see Christie’s London, 8 April 2011, lot 126; Sotheby’s London, 28 April 2004, lot 99 and 22 April 2015, lot 23.

£2,000 - £3,000 155 λ AN ENGRAVED IVORY AND TORTOISESHELL-OVERLAID CARVED SANDALWOOD NÉCESSAIRE TRAVEL BOX

156

PROPERTY FROM A PRIVATE GERMAN COLLECTION Possibly Vizagapatam, Andhra Pradesh, Eastern India, late 19th century 11.5cm x 18cm x 23cm

Archaeological and visual evidence confirms that perfume bottles (sg. qum qum, pl. qamaqim) of this kind were produced in great numbers by Ayyubid and Mamluk glassmakers.

Their bodies were never fully globular,

£500 - £700

157 See page 7 for more information regarding fees

79

163

156

158

157

159

160

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156 A MINIATURE MEDICAL BRONZE MORTAR Iran, late 18th - 19th century 5cm high and 6cm diam.

£400 - £600 157 A CARVED GREY SCHIST OFFERING TRAY Ancient region of Gandhara, 2nd - 3rd century

161

11cm diam.

£200 - £300 158 A SILVER KUMKUM POWDER CONTAINER Hyderabad, Deccan, Central India, early 19th century 11cm x 18cm at its widest point

161 λ AN INDIAN FAN WITH IVORY HANDLE India, late 19th - early 20th century the handle 39cm high

£200 - £300

£1,200 - £1,400 159 TWO SMALL SILVER BOXES AND A SILVER REPOUSSÉ TRAY Possibly Ceylon, Sri Lanka, 19th century the largest box 7cm x 6cm , the tray 11.2cm x 19.6cm

162 A MYSORE CARVED SANDALWOOD FAN Mysore, Karnataka, Southern India, 19th century

38.5cm long £200 - £300

£300 - £500 162

160 A KUTCH REPOUSSÉ AND CHASED SILVER HAND-HELD MIRROR India, 19th century 23.5cm x 9.3cm

163 λ A RARE AND UNUSUAL TORTOISESHELL HANDBAG Sri Lanka, early 19th century 17cm x 18cm

£500 - £700

£150 - £200

See page 7 for more information regarding fees

81

164 A BRASS DUCK-SHAPED CONTAINER

168 A SMALL BIDRI SILVER-INLAID CONTAINER

Possibly Deccan, Central India, 19th century

PROPERTY FROM A PRIVATE GERMAN COLLECTION

24cm high

Bidar, Deccan, Central India, 19th century

£200 - £300

9.5cm high

165 FIVE BRASS PANDAN BOXES

£150 - £200

Indonesian Archipelago, South East Asia, 19th century

169 THREE INDIAN METAL BETEL NUT CUTTERS

the largest 14.6cm x 7.9cm, the smallest 10.5cm x 5.3cm

£200 - £300 166 FOUR BRASS AND WHITE METAL PANDAN BOXES Indonesian Archipelago, South East Asia, 19th century the largest rectangular box 13.7cm, the octangular box 14cm x 4.8cm

£200 - £300 167 A MISCELLANEOUS GROUP OF BRASS MINIATURE VESSELS AND COSMETIC TOOLS PROPERTY FROM A PRIVATE GERMAN COLLECTION India, late 19th - 20th century the largest mortar 7cm high and 7.5cm diam; the largest vel pattiya 8cm long; the saunf / sonph lidded box, 5.5cm high and 7cm diam; the largest lime-paste (chunam) container 5cm diam; the kohl container 10cm high; the largest water vessel 7cm high; the printing block 4cm x 3cm

£400 - £600

PROPERTY FROM A PRIVATE GERMAN COLLECTION

India, 19th century and later the longest 16.5cm.

For an almost identical example to our silver-inlaid steel cutter, please see Christie’s New York, The Collection of Paul F. Walter, 28 September 2017, lot 581. £150 - £250 170 A FINE ZAND-STYLE OPENWORK BRASS CENSER Sub-Title: Qajar Iran, early 19th century 47.5cm high.

£600 - £800 171 AN ENGRAVED BRONZE PANDAN BOX PROPERTY FROM A PRIVATE GERMAN COLLECTION Northern India, late 18th - 19th century 12.8cm x 14.5cm

£200 - £300

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172 A BRASS MONEY BOX PROPERTY FROM A PRIVATE GERMAN COLLECTION Possibly Rajasthan, North-Western India, 19th century Zebrowski mentions that this kind of metal containers, characterised by sharply gabled lids; little legs; hanging hooks; and large locks, were used in Rajasthan as money boxes or coffers.

In some remote areas of this Indian region, simpler versions of these caskets are still used to hold coins. The earliest metal examples seem to have started circulating around the 17th and 18th centuries. For a comparable example, please see M. Zebrowski, Gold, Silver and Bronze from Mughal India, 1997, p. 284, fig. 481.

19.5cm x 12cm x 7.5cm

£300 - £400 173 A SMALL MING-STYLE BRONZE CENSER WITH SINI CALLIGRAPHY China for the Islamic Export market, late 19th - early 20th century 5cm x 9cm x 7.2cm

£200 - £300

167

164

165

169

166

171

170

172

168

173

See page 7 for more information regarding fees

83

174

84

176

175

177

178

180

179

181

182

174 A FREE-BLOWN COBALT BLUE GLASS ROSEWATER SPRINKLER

177 TWO EUROPEAN CLEAR GLASS HUQQA BASES

Late Safavid - early Qajar Iran, 18th century

Possibly England and France, late 19th - early 20th century

31.5cm high

both 28cm high

PROPERTY FROM A PRIVATE GERMAN COLLECTION

£150 - £180

South India, early 20th century

This type of glass sprinklers have long been described as tear catchers, a name attributed to them by the peculiar shape of their rim. Indeed, in the Iranian folklore tradition, it seems that they were specifically gifted to young brides to gather their tears when pining their distant lovers, as a way to measure their love for them. The invention and use of tear catchers, also known as lachrymose, go back to Ancient Egypt, Persia and Rome, when these bottles would have allegedly been used in funerary ceremonies and ritual processions. The Iranian examples, though, only retain the shape and dismiss the function of their ancestors.

It seems more likely to believe that they were used as rosewater sprinklers.

£120 - £180

each 11.5cm high and 28cm diam

178 TWO ENGRAVED BRASS HUQQA BASES India, early 20th century 21cm high and 24.5cm high £300 - £500 179 A PAIR OF QAJAR GOLDDAMASCENED STEEL BOTTLES Iran, second half 19th century 39.5cm high A similar pair presenting comparable decorations and signed by the great master of Persian metalwork Hajji ‘Abbas sold in these Rooms; please see the auction catalogue, 22 April 2020, lot 137.

£1,500 - £2,000 175 A SILVER-INLAID BRASS ROUNDED HUQQA BASE India, 45.6cm circumference x 17.5cm high

£240 - £260 176 FOUR ITEMS OF BIDRI WARE Bidar, North-Eastern India each candlestick 14.5cm diam. x 16cm high; the bulbous ewer 20.3cm high x 36.5cm circumference; the other ewer 22.7cm high x 32.5cm £400 - £600

181 A PAIR OF BRASS URLI (FOOD CAULDRONS) WITH APPLIED GECKO DECORATION

180 A HIGH TIN WINE MUG (MASHRABEH) Khorasan, North Eastern Iran, 11th century 11cm diam. x 21cm high £50 - £80

Urlis are typical vessels of the Southern regions of India, especially Tamil Nadu and Kerala. The name urli derives from the Tamil word “urulai” which means a round bowl. These vessels served multiple functions: originally used as cooking cauldrons, they entered the world of Ayurveda as pharmaceutical cauldrons to prepare healing concoctions and natural medicines. With time, urlis started being used as ceremonial cauldrons as well, filled with water and floating flowers, petals and candles, often encountered at the entrance of Hindu houses during special ceremonies and festivals.

£600 - £800 182 A POLYCHROME-ENAMELLED KASHMIRI COPPER DRAGON EWER Kashmir, Northern India, 19th century 45.5cm high

£400 - £600 183 A SAFAVID-REVIVAL DRAWING Late Qajar Iran, late 19th - early 20th century 27cm x 19cm including the frame

£180 - £220

183 See page 7 for more information regarding fees

85

184

185

187

186

188

184 A COMPOSITE TINNED COPPER TEAPOT WITH DRAGON HANDLE AND SPOUT

186 A COPPER AND SILVER-INLAID ‘DAMASCUS WARE’ BRASS EWER AND BASIN

PROPERTY FROM A PRIVATE GERMAN COLLECTION

Ottoman Syria, late 19th - early 20th century

Central Asia or Kashmir, Northern India, early 20th century

the ewer 49cm high; the basin 10cm high and 34cm diam.

35.8cm high and 18.7cm diam

£300 - £500

188 A MISCELLANEOUS GROUP OF SIX INDIAN BRASS AND COPPER VESSELS India, 18th and 19th century ranging from 8.5cm x 17cm x 10.8cm (spice and powder container) to 45.5cm high (the ewer) £200 - £300

£150 - £220 185 A GILT COPPER CHAMPLEVÉ ENAMELLED KASHMIRI SURAHI (JUG) AND TEAPOT Kashmir, Northern India, 19th century the surahi 41.2cm high; the teapot 16.5cm high

187 A GILT CLEAR BACCARAT GLASS LIDDED TEACUP AND SAUCER WITH ROYAL EGYPTIAN CROWN INSIGNIA Egypt, 1923 - 1953 £50 - £100

£200 - £300

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189 A PORTABLE LEATHER WATER FLASK Egypt, dated 29 February 1884 28.5cm high

£80 - £100

189

191

190

193

190 λ A HARDWOOD IVORY-INLAID ANGLO-INDIAN TIERED TEA TRAY

192 A LARGE TINNED COPPER CIRCULAR TRAY

Possibly Vizagapatam, Andhra Pradesh, India, late 19th century

59.5cm diam.

78cm x 26.4cm

£150 - £200 191 A COLLECTION OF IRANIAN SILVER VESSELS Iran, 20th century

192

Iran, late 19th - early 20th century

£200 - £300 193 λ A BRITISH COLONIAL HOSHIARPUR IVORY-INLAID HARDWOOD TRAY Punjab, Northern India, late 19th century

Kashmir, Northern India, 19th century

60cm x 35cm

84, 6.5cm high, 12.5cm diameter of the rim, the set of cordials 452 grams, the the small saucers 161 grams, the samovar cups 323 grams, the small jardiniere 365 grams.

£500 - £700

£300 - £400 See page 7 for more information regarding fees

87

194 A LARGE ENGRAVED BRONZE LOTA (WATER CONTAINER)

198 A SOLID BRASS PORTABLE LOTA (WATER CONTAINER)

PROPERTY FROM A PRIVATE GERMAN COLLECTION

PROPERTY FROM A PRIVATE GERMAN COLLECTION

India, late 19th - 20th century

India, mid-20th century

31cm high and 23.5cm diam

the lid stamped and marked in Devanagari script reading ‘Lota’

£300 - £500

17cm high

195 THREE WOODEN BEARD COMBS

£150 - £200

the largest 16.8cm x 8cm

199 A FINELY CARVED HARDWOOD COCONUT GRATER

£200 - £300

India, late 19th - 20th century

Iran, 19th - 20th century

55.5cm long

196 A COLLECTION OF SIX MINIATURE LOTAS (WATER VESSELS)

£200 - £300

PROPERTY FROM A GERMAN PRIVATE COLLECTION India, 19th century the smallest 13cm circumference x 4cm high, the largest 59.8cm circumference x 13.5cm high

£300 - £500 197 AN ENGRAVED BRONZE LOTA (WATER CONTAINER) WITH THE BISMILLAH PROPERTY FROM A PRIVATE GERMAN COLLECTION Northern India, first half 20th century 28.5cm high and 13cm diam

£100 - £200

196

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194

199

195

197

198 89

200 A TINNED COPPER EWER Deccan, Central India, 17th century 34.5cm high Provenance: Bonhams Knightsbridge, 19 January 2011, lot 117.

186 and 188) seem to share several common features with our example, including the rope-twisted design of the handle, the twisted fluting and slimness characterising the body, and the dragon or makara-headed spout, indicating a probable Deccani origin for our lot.

£2,000 - £3,000

Tinned copper vessels and ewers of this shape and style have long puzzled Islamic scholars, who have at times attributed them to Iran; other times to Northern India and Deccan; and occasionally even to the Ottoman lands. The truth, perhaps, lies in the middle: the quintessential motifs of these ewers were en vogue in different areas of the Islamic world and we would be mistaken in considering art as a static entity. It seems more likely to believe that some peculiar features of the decorative repertoire of 16th and 17th-century metal vessels would fluidly move from one production to the other, according to the taste of the time, of their makers and patrons.

This is definitely the case with the so-called ‘rosette bands’ and ‘dragon heads’, recurrent elements in both Safavid and Indian metalwares.

According to Zebrowski, stylised dragon heads without fangs and crests, unlike the Timurid beasts, should be interpreted as makaras, Indian mythical aquatic creatures similar to a crocodile, and could thus be ascribed to India. In particular, if presenting a downward-turning knob at the end of the nose, the attribution should point at a southern origin, rather than northern (M. Zebrowski, Gold, Silver and Bronze from Mughal India, 1997, p.142). In the same publication, two ewers attributed to 16th-century Deccan (figs.

90

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201 A FINE BIDRI SILVER-INLAID LONG-NECKED FLASK (SURAHI) PROPERTY FROM A PRIVATE GERMAN COLLECTION Bidar, Deccan, Central India, first half 18th century 33cm high The shape of this vessel, called surahi, is a very common one in the Islamic culture, especially in Iran and India.

As Zebrowski explains, these flasks enjoyed the status of a proper motif in the visual arts and a real topos in both sacred and profane literature, appearing in paintings, illustrations and architectural reliefs of the time (M. Zebrowski, Gold, Silver and Bronze from Mughal India, 1997, p.185). For a similar bidri surahi dated to the 18th century, please see Ibidem, p. 191, fig.

285. A huqqa base showcasing the same silver star pattern, dated to the early 18th century, is also presented in the same publication, p. 235, fig. 394.

£1,500 - £2,000

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91

202 FOUR ENGRAVED TINNED COPPER DRINKING BOWLS Iran, late 18th - 19th century with nasta’liq inscriptions to the interior, 15cm diam

£400 - £600 203 FOUR SMALL KASHMIRI CHAMPLEVÉ ENAMELLED SILVER BOWLS

204

Kashmir for the Asian market, Northern India, late 19th early 20th century each 4.5cm x 12cm

202

£600 - £800 204 A SILVER-OVERLAID COPPER ALLOY CEREMONIAL EWER WITH PARADE AND HUNTING SCENES Northern India, second half 19th century

203

35.3cm high

£300 - £400 205 A SET OF SIX ENGRAVED SILVER SIDE PLATES Iran, 20th century

205

16.3cm diameter each

£300 - £400 206 A MAMLUK-REVIVAL POLYCHROME-ENAMELLED CLEAR GLASS BEAKER Possibly France or Egypt, late 19th - 20th century 17cm high and 11.8cm diam The beaker shows the distinctive structure unique to models produced in the Middle East in the 13th - 14th centuries.

For comparable examples of the Ayyubid - Mamluk period, please see Sotheby’s London, 25 October 2017, lot 143 and a beaker in the British Museum’s collection in London (1879,0522.68).

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The British Museum example bears a beautiful and vibrant decoration with golden fishes outlined in red, swimming freely on the surface of the beaker. This peculiar motif, with swimming fishes painted in gold and always outlined in red, was a popular one on these glass drinking vessels, and as such, it became part of the repertoire of later, Mamluk-revival glass beakers too, like ours. When filled with liquids, the fish decoration would almost create the illusion that the fishes were actually swimming in and out of the precious beverage.

£100 - £150

207 A LATE TIMURID TINNED-COPPER SPOUTED BASIN Central Asia, late 15th - early 16th century 27cm diam Provenance: Christie’s South Kensington, 11 April 2014, lot 141 The knot-work decoration is reminiscent of earlier Veneto-Saracenic and Mamluk vessels, but the cross-hatched ground and angular stylisation of the split palmette sprays tend to be usually attributed to later exemplars produced in the Iranian lands.

206

£1,500 - £2,000 208 A CAUCASIAN (GEORGIAN) REPOUSSÉ AND ENGRAVED SILVER JUG Caucasus or Russia, 19th century stamped ‘88’ on the rim, foot and handle 23cm high

207

This jug seems to successfully blend in a balanced way a real esperanto of motifs, styles and traditions. At a first sight, the jug reminds us of Pre-Islamic Sassanian repoussé silver vessels, often presenting bulbous shapes and animal decorations.

The griffin handle is also connected to Pre-Islamic Central Asian civilisations, whilst the dragon terminal is certainly influenced by Mongol canons and the Post-Mongol invasion metal production. The Georgian musicians, wearing their traditional costumes, add a local flare to the whole composition, acting as a witness of the balanced blend of traditions and cultures taking place in the Central Asian regions of the Islamic world.

For a similar Caucasian jug with figural decoration, please see Christie’s London, 24 November 2015, lot 445.

£200 - £300

208

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209

210

209 AN OTTOMAN GILT-COPPER (TOMBAK) EWER Ottoman Turkey, late 18th - 19th century

210 A SULEYMANIYE POLYCHROME-ENAMELLED AND GILT DISH COVER

211 SIX PARCEL-GILT ZARFS

Ottoman Turkey, 19th century

£300 - £500

29.3cm high

14.5cm high and 21cm diam

Similar tombak ewers have been successfully selling in the London auction market in recent years. For further reference, please see Christie’s London, 11 April 2014, lot 379; and 23 April 2015, lot 190. For an almost identical example, please see Christie’s London, 27 April 2012, lot 773.

This cover would have once been part of a sahan (covered dish) and it is now missing its base. For a similar, though more ornate and complete example, please refer to Sotheby’s London, 1 April 2009, lot 174.

£300 - £500

£1,000 - £1,500

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Ottoman Provinces, 19th century 5cm high x 6cm diam.

215

214

213

212 λ THREE CARVED IVORIES Indo-Portuguese Goa, South-Western India and possibly Ceylon, Sri Lanka, 17th - 18th century 6.5cm high and 3.5cm high The specific Christian iconography of Christ as the Good Shepherd was very dear and common in the production of Indo-Portuguese ivories, especially in Goa. These carvings often merged Christian subjects with iconographic elements familiar to the local Indian believers. Indeed, it has been suggested that this style of depicting Christ as a child is influenced by the iconography of the infant Krishna, whilst his dreamy, serene expression evokes images of the Buddha.

213 λ A CARVED MOTHER-OF-PEARL SHELL PLAQUE Jerusalem, Holy Land, late 19th century

215 λ A CARVED AND PAINTED IVORY STATUETTE OF ST. JOSEPH AND BABY JESUS

16cm x 15.5cm

Indo-Portuguese Goa, South-Western India, 17th - 18th century

£200 - £300

13.5cm excluding the pedestal

£600 - £800 214 λ A CARVED MOTHER-OF-PEARL SHELL PLAQUE Jerusalem, Holy Land, late 19th century 18.2cm x 18cm

£600 - £800

£1,000 - £1,500 See page 7 for more information regarding fees

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216 THREE ETHIOPIAN OPENWORK BRASS COPTIC CROSSES PROPERTY FROM A PRIVATE GERMAN COLLECTION

218 THREE BRONZE CEREMONIAL TEMPLE BELLS PROPERTY FROM A PRIVATE GERMAN COLLECTION South India and Tibet, 19th century

Ethiopia, 20th century

ranging from 19cm high to 25cm high

23.2cm long, 27cm and 34cm long

£250 - £300

£200 - £300 217 A MISCELLANEOUS GROUP OF INDIAN BRASS VESSELS

219 SIX INDIAN BRASS SINGING BOWLS PROPERTY FROM A PRIVATE GERMAN COLLECTION

PROPERTY FROM A PRIVATE GERMAN COLLECTION

India, 20th century

India, mid to late 20th century

£400 - £600

ranging from 4.5cm high to 11cm high

£100 - £200 96

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the largest 17.2cm diam., the smallest 7cm diam

220 A BRONZE DIPA LAKSHMI OIL LAMP

221 A DEVOTIONAL VAISHNAVA MURTI TRIAD

India, 17th - 18th century

PROPERTY FROM A PRIVATE GERMAN COLLECTION

height 31.5cm

India, 19th century the tallest 30.5cm high

Lakshmi, the Hindu goddess of Wealth and Prosperity, is often worshipped during Diwali, the Festival of Light; candles are lit on the second day of the festival, to guide Lakshmi into the home. To be used as an oil lamp, gee is placed in the offering bowl around a cotton wick, which can then be lit.

£500 - £700

£400 - £600 222 A BRONZE HAMSA DUCK OIL LAMP FINIAL Possibly Karnataka or Tamil Nadu, South India, 17th - 18th century 26.8cm high

£600 - £800

See page 7 for more information regarding fees

97

223 THREE MOTTLED RED SANDSTONE CARVINGS OF YAKSHINI AND YAKSHA HEADS

225 A BRONZE TANTRIC GANESH

PROPERTY FROM A PRIVATE LONDON COLLECTION

height 7.2cm

Mathura, Uttar Pradesh, India, 2nd - 4th century and later the tallest 17.5cm, the smallest 10.5cm

Thailand, South East Asia, 18th - 19th century

£250 - £300

£500 - £800

226 A GROUP OF FOURTEEN BRONZE DEVOTIONAL MINIATURE ICONS (MURTI) AND A TEMPLE BELL

224 A DEVOTIONAL SILVER REPOUSSÉ PLAQUE OF VIRABHADRA

PROPERTY FROM A PRIVATE GERMAN COLLECTION

Possibly Maharashtra or Karnataka, Central-Western India, 19th century

the tallest item 36cm high

16cm x 12.5cm

£300 - £500

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Central and Southern India, 18th - 19th century

£600 - £800

227 A CRAWLING BALA KRISHNA BRONZE STATUETTE PROPERTY FROM A PRIVATE GERMAN COLLECTION Southern India, 18th century 6.5cm x 7.2cm

£200 - £300 228 TWO INDIAN BRASS TEMPLE TOYS

229 A SET OF TWO INDIAN POLYCHROME-ENAMELLED SILVER HOWDAH FIGURINES PROPERTY FROM A PRIVATE GERMAN COLLECTION Possibly Benares, India, first half 20th century each 16.2cm x 12.5cm.

Rajasthan, North-Western India, late 19th - 20th century

The enamel palette with pink hues is usually ascribed to the enamelling centre of Benares. Similar polychrome-enamelled elephant models were offered at Christie’s South Kensington, 9 October 2015, lot 79; and in these Rooms, 27 April 2018, lot 262.

21cm x 15cm and 15.5cm x 13cm

£300 - £500

PROPERTY FROM A PRIVATE GERMAN COLLECTION

£300 - £400

230 A THAI GILT NIELLOWARE LOBED DISH Thailand, South East Asia, late 18th 19th century 2cm high and 21.5cm diam These dishes were usually serving the purpose of ceremonial offering trays.

Bromberg discusses in depth the history and evolution of nielloware in Thailand, hypothesising that the technique was probably imported by the Portuguese during the mid-Ayutthaya period. One of the greatest and most ancient centres of production for this art was located in Nakhon Sri Thammarat. Thus why, niello is often known in Thai as thom Nakhon or Nakhon niello (P. Bromberg, Thai Silver and Nielloware, 2019, pp. 44 - 46 and p. 102). A smaller gilt nielloware lobed footed tray was successfully sold in these Rooms, 22 July 2020, lot 193.

£600 - £800

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99

231 A PAIR OF THAI ENGRAVED BRASS VASES

233 A BRONZE OPENWORK ‘ALAM (PROCESSIONAL STANDARD)

235 AN ENGRAVED VENETO-SARACENIC BRASS BOWL

Thailand, South East Asia, 19th century each 41cm high

Possibly Hyderabad, Deccan, Central India, late 17th century

Possibly Egypt or Syria, 15th - 16th century

£500 - £700

40.2cm high.

.5cm high and 19.5cm diam

232 AN OTTOMAN REPOUSSE SILVER TAZA (BOWL)

Provenance: Christie’s South Kensington, 11 April 2008, lot 403.

Ottoman Provinces, 16th - 17th century

The shape, style and overall composition of this ‘alam suggest an Indian attribution, most precisely to the area of the Deccan. A slightly later and more elaborate example of Deccani processional standard can be seen in the collection of the Metropolitan Museum of Art in New York (acc. no.

2013.37). For a further comparable example, please see Christie’s London, 5 October 2010, lot 41.

£600 - £800

10.2cm diam, 104gr.

Various examples of early Ottoman bowls such as ours have appeared on the auction market in recent years.

Two tazas were successfully sold in these Rooms, 25 October 2019, lot 184 and 29 October 2020, lot 220.

Some of the quintessential features of these bowls are the high-relief vegetal and animal decoration and applied animals to the omphalos, often quadrupeds. A Byzantine influence can be seen in both the decoration itself and the decorative techniques used. For further examples, 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.

£800 - £1,200

236 A TINNED COPPER BOWL Late Safavid Iran, 18th century 13cm high and 25cm diam

£800 - £1,000 237 A TINNED COPPER DISH WITH AN ARMENIAN INSCRIPTION Possibly Armenian quarter in Jerusalem, Ottoman Provinces, dated 1729 19cm diam

£600 - £800

234 A COPPER OPENWORK ‘ALAM (PROCESSIONAL STANDARD)

238 A TINNED COPPER BASIN (TAS)

Possibly Hyderabad, Deccan, Central India, 18th century

16.5cm diam. and 11.5cm high

52.3cm high

Jazira, Syria, early 15th century

£150 - £200

£600 - £800

£1,200 - £1,400

232

100

Details of lot 232 (left)

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237

235

238

236 233

231

234

See page 7 for more information regarding fees

101

239

240

102

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239 A PAIR OF LARGE OTTOMAN BRONZE CANDLESTICKS

240 A PAIR OF QAJAR GOLD-DAMASCENED STEEL CANDLESTICKS

Ottoman Turkey, late 16th - 17th century

Iran, second half 19th century

each 42cm high and 30.5cm widest diameter of the base.

28.7cm x 12.5cm

Provenance: from the private collection of Castlehyde House, Cork, Ireland, sold at Sheppard’s Irish Auction House, 26 November 2020, lot 21.

For a similar example, please see Bonhams London, 4 December 2019, lot 47.

£1,200 - £1,800

Beautifully situated on the banks of the Blackwater, Castlehyde House is a wonderfully restored estate mid-way between Cork and Dublin in Ireland. The house, which originally dates from the late 18th century, is widely renowned as one of the finest examples of structural restorations of a historic Irish home. Built in the Palladian style and following the design of the elder Abraham Hargrave, Castlehyde was completed for John Hyde in ca. 1801 and became the official seat of the Hyde family, of which Douglas Hyde, the founder of the Gaelic League and the first President of Ireland, was a member.

The Neo-classical interiors of the house have been filled with an eclectic array of treasures and artworks from all over the world, from China to the Americas. Therefore, it shouldn’t surprise us that these early Ottoman candlesticks were placed next to a Buddhist South East Asian gilded Bhumisparsamudra Buddha.

£1,500 - £2,000

Fig. 1 Lot 239 featured in photographs of Castlehyde House (Knight Frank, https://www.onthemarket.com/details/3565680/ [Accessed March 2021]).

See page 7 for more information regarding fees

103

241

241 A LARGE BIDRI SILVER-INLAID FIVE-PRONGED CANDLESTICK Bidar, Deccan, Central India, 19th century 51.5cm high and 33.5cm diam £500 - £700

104

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242

242 A DOUBLE PRONGED BIDRI SILVER-INLAID CANDLESTICK Bidar, Deccan, Central India, late 18th - 19th century 41.5cm high and 24.5cm diam

£400 - £600

243

243 A PAIR OF FINELY ENGRAVED JA’FAR SILVER VASES

244

Qajar Iran, ca. 1900

244 AN INDIAN SILVER REPOUSSÉ COMMEMORATIVE VASE

each 19cm high, 1506gr.

Possibly Pune, Maharashtra, Central India, dated 1901 - 1931 25.4cm high, 1072gr.

The epigraphic band running around the shoulders is unique to each vase and does not repeat itself. The text is an extract from the Lama’at (Divine Flashes), a poetical work in the genre of ‘language of love’ by the Persian Sufi master and poet Fakhr al-Din Ibrahim ‘Iraqi (1213 - 1289), often referred as ‘Araqi because he was born in the village of Komeyjan near the city of Arak. In the Lama’at, ‘Iraqi portrays his Weltanschauung, explaining that the world is a mirror reflecting God’s Names and Qualities and not a “veil” which ought to be lifted. The choice of quoting a less well-known poet, unlike Sa’di and Hafez, seems to indicate this pair as a special personal commission to the Ja’far workshop.

£400 - £600

£1,200 - £1,500

See page 7 for more information regarding fees

105

245 246

248

245 A MINIATURE BRASS ASTROLABE Qajar Iran, 19th century 8cm long and 5.5cm diam.

£600 - £800 246 A FINE ENGRAVED AND SILVER-INLAID BRASS ‘DAMASCUS WARE’ DOCUMENT BOX

249

247 A PAIR OF WOODEN COPPER LUSTRE-LACQUERED DECORATIVE PLATES Hoshiarpur, Punjab Hills, India, 20th century

Possibly Hoshiarpur, Punjab, Northern India, late 19th - early 20th 25cm diam.

each 21.7cm diam

£200 - £300

£80 - £100 249 A DECORATIVE KOFTGARI STEEL PANEL HANDLE Northern India, 19th century

Damascus, Ottoman Syria, 19th century

27.8cm long £100 - £200

15.5cm x 17.5cm x 9cm

£600 - £800

247 106

248 A BLACK-ENAMELLED BRASS DISH

250

252

251 250 A LITHOGRAPHED PLATE FROM ‘ART AND INDUSTRY’: THE GLASS MOSAIC OF THE CHEHEL SOTUN PALACE IN ISFAHAN

252 A LARGE ENGRAVED BRASS TRAY WITH FIGURAL DECORATION

253 λ A TEN-SIDED MOTHER-OFPEARL AND IVORY-INLAID OCCASIONAL TABLE

Iran, 19th century

Egypt, 20th century

Published by Delatre, Paris, ca. 1857

58cm x 37.7cm

51cm high and 42.5cm diam.

£200 - £300

£300 - £500

51.5cm x 57 cm including the frame

£200 - £300 251 A LITHOGRAPHED PLATE FROM ‘ART AND INDUSTRY’: THE CEILING DESIGN FOR THE PEARL ROOM IN ISFAHAN Published by Delatre, Paris, ca. 1857 38cm x 58 cm including the frame

253

£200 - £300

107

254 TWO PAINTED AND LACQUERED WINDOW SHUTTERS Iran, 20th century together 57.8cm x 33.5cm

£120 - £180 254 255 THREE POLYCHROME-PAINTED AND LACQUERED PAPIER-MÂCHÉ DUCK CHARPAI LEGS Possibly Deccan, Central India, 18th early 19th century each ca. 27cm high

£200 - £300 256 λ A PAIR OF HARDWOOD MOTHER-OF-PEARL-INLAID FOLDABLE CHAIRS

259

Ottoman Syria, late 19th - 20th century approximately 102cm x 55cm x 32cm

£300 - £500 257 A MUGHAL-STYLE PIETRA DURA INLAID MARBLE TABLETOP PROPERTY FROM A PRIVATE GERMAN COLLECTION

38.4cm diam £200 - £300 256 108

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257

255

258 λ A CARVED HARDWOOD MOTHER-OF-PEARL AND BONE-INLAID CORNER CUPBOARD

258 260 λ AN INDIAN IVORY AND EBONY PICTURE FRAME

Syria, first half 20th century 169.5cm x 65cm x 32.5cm

£300 - £500

260

India, late 19th - 20th century 29.2cm x 21cm

259 THIRTEEN BRASS OIL LAMPS AND A TUBULAR BRASS ELEMENT

£400 - £600 261 AN OTTOMAN SILVER-WIRE-INLAID WOODEN OCCASIONAL LOW TABLE WITH TUGHRA

PROPERTY FROM A PRIVATE GERMAN COLLECTION India, late 19th - 20th century 8.3cm x 8.5cm high; 11cm high; 7.3cm x 7cm; 8cm x 7.3cm; 13.cm high

Ottoman Turkey, circa 1900

£500 - £700

£500 - £700

49cm x 40.5cm

261

109

262 A CARVED WOODEN LINTEL PANEL WITH THE HINDU GODDESS GAJA LAKSHMI PROPERTY FROM A PRIVATE GERMAN COLLECTION India, 20th century 19.5cm x 47.5cm

£200 - £300 263 263 A CAMBODIAN CARVED HARDWOOD ARCHWAY DECORATIVE PANEL PROPERTY FROM A PRIVATE GERMAN COLLECTION Cambodia, South East Asia, 20th century 68cm x 87.5cm

262

£300 - £500 264 A CARVED WOODEN PANEL WITH SHAIVITE FIGURAL DECORATION 265

PROPERTY FROM A PRIVATE GERMAN COLLECTION Southern India, early 20th century 21cm x 74.2cm

£300 - £500 265 λ A PORTABLE MICRO-MOSAIC KHATAMKARI BACKGAMMON BOARD Iran, late 19th - early 20th century

41cm x 53cm when open, 20.5cm x 50cm when closed £150 - £180 268

110

267

266 λ A BONE AND COLOURED WOOD-INLAID PORTABLE GAMING BOARD Egypt, late 19th century

39.5cm x 39.5cm fully open, 19.5cm x 39.5cm closed £300 - £500 267 λ AN IVORY, BONE AND COLOURED WOOD-INLAID LOW TABLE India, 20th century 39.4cm x 45.6cm x 46cm

£100 - £200 264

268 A SET OF BRITISH COLONIAL ROSEWOOD NESTING TABLES PROPERTY FROM A PRIVATE GERMAN COLLECTION India, 20th century the largest 40cm x 30.5cm x 45cm

£200 - £300 266 269 λ AN OCTAGONAL HOSHIARPUR EBONY, IVORY AND BONE-INLAID TEAK OCCASIONAL TABLE Punjab Hills, Northern India, late 19th century 42cm high and 44.5cm diam.

£400 - £600

269

111

270 λ AN HISPANO-MORESQUE IVORY, STAINED WOOD AND SILVER-INLAID WRITING CABINET (VARGUENO) Possibly Granada, Post-Nasrid Spain, 16th - 17th century 33.2cm x 25cm x 43cm Vargueno (Es. bargueño) is a wooden cabinet of mixed Spanish and Oriental origin that first appeared in Europe in the late Middle Ages and became a common article of furniture in the Spanish colonial empire from the 16th century onward. These pieces of furniture together with ivory-inlaid chests became very prominent in Spanish interiors, especially in the 16th and 17th centuries. The hot climate of southern Spain often caused large areas of solid wood to split and warp, providing the perfect excuse for Moorish craftsmen to experiment with inlays and decorations made of small elements of different coloured woods (G. Hardendorff Burr, Hispanic Furniture from the Fifteenth through the Eighteenth Century, 1964, p. 33). Soon after, the mudejar style

112

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was born: complex and repetitive designs of Islamic influence could be scaled down to miniature geometric patterns producing ivory-inlaid star and flower motifs combined with budded scrolls and lattice work, leaving no surface undecorated.

The basic motif usually encountered on pieces of furniture produced in Granada is the eight-pointed star (taracea granadina), which entered the architectural repertoire of Nasrid buildings like the Mezquita and Madina Azahara from pre-Islamic mosaics (Maria Paz Aguilo Alonso, El Mueble en Espana: Siglos XVI - XVII, 1993, p. 164). Comparable chests presenting a very similar decorative arrangement to our writing desk and dated to the 16th - 17th century can be seen in the Museo Arqueologico de la Alhambra (Ibidem, p. 228, fig. 108) and in a private Spanish collection (Ibidem, p. 280, fig. 202). In particular, the last example features the exact same layout of internal drawers, with the upper and lower registers slightly larger and with rectangular panels covering niches to the sides in the centre.

£2000 - £3000

PROPERTY FROM A PRIVATE AMERICAN COLLECTION

271 λ AN HISPANO-MORESQUE IVORY AND BONE-INLAID WRITING CABINET (VARGUENO)

272 λ A LARGE HARDWOOD MOTHER-OF-PEARL-INLAID OTTOMAN CHEST

Central Spain, 16th - 17th century

67cm x 134cm x 60.5cm

29.6cm x 45.5cm x 27.4cm

£300 - £400

Ottoman Turkey, 18th -19th century

The style and decoration of this vargueno suggest an attribution to the central regions of Post-Nasrid Spain rather than the southern ones. Indeed, the taracea mudejar aragonesa and castillana distinguished themselves for inlays of longer and thicker tesserae of bone and ivory, usually displayed in repeating patterns in a subtle balance of measure and spatial rhythm. These styles departed from the taracea granadina of Southern Spain, dominated by the geometric eight-pointed star, and usually featured a more rustic and stronger Western-focused aesthetic (Maria Paz Aguilo Alonso, El Mueble en Espana: Siglos XVI - XVII, 1993, pp. 164 - 165). For a similar exemplar, please see Ibidem, fig.

129, p. 240.

£4000 - £6000

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113

278 276

277

274

273

275

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273 SEVEN QAJAR LACQUERED PAPIER-MÂCHÉ PLAYING CARDS Qajar Iran, 19th century

each approximately 6cm x 4cm £200 - £300 274 λ THREE KHATAMKARI BOXES Iran, 20th century 22cm x 14cm x 6cm and smaller.

£250 - £300 275 λ A KHATAMKARI BOX Iran, 20th century the lengths 38.2cm, the width 12.5cm and 7.2cm, 4.3cm high

£150 - £200 276 λ A MOTHER-OF-PEARL-INLAID INKWELL Jerusalem, Holy Land, 19th century 5cm x 24cm

£250 - £350 277 A FINE THAI GUILLOCHE ENAMELLED AND NIELLOED SILVER INK PLOTTER Thailand, South East Asia, 19th century 7.5cm x 16cm x 9cm Most probably a royal commission, this silver ink plotter features several fine qualities, including the use of precious materials and foreign techniques, like polychrome guilloche enamel. The crown insignia possibly ascribes it to Thai royalty and the fact the plotter is covered by a fine sheet of silver, instead of iron or steel, seems to corroborate a royal attribution.

£1,000 - £1,500

279 278 λ A FINE THAI OFFICIAL IVORY SEAL Thailand, dated 1866 9cm high, 6cm diam Seals of this quality and refined craftsmanship would have only been used by major officials and members of religious orders. The symbol of the winged tiger is associated with blessings for successful people and the “Chao Khun” ranks and offices. The Thai date engraved on the seal (1228) corresponds approximately to 1866 AD, during the reign of King Mongkut (Rama IV) of the current Chakkri dynasty.

£200 - £300 279 A GOLD-INLAID (KOFTGARI) STEEL INKWELL AND TWO SILVER-INLAID STEEL DISHES Possibly Kashmir, Northern India, 19th century the inkwell 8.4cm x 15cm; each dish 22.5cm diam

£120 - £180

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115

280

282

281

283

280 A QAJAR LACQUERED PAPIER-MÂCHÉ QALAMDAN (PEN BOX) Zand, dated 116(?) AH, (1747) and signed Ali Ashraf oval, 23.6cm x 4.4cm x 3.5cm

282 A LACQUERED QALAMDAN (PEN BOX) Qajar Iran, 19th century, in the style of Mohammad Isma’il 22.7cm x 3.9cm x 3.6cm

£2,000 - £3,000

£1,600 - £1,800 281 A QAJAR LACQUERED PAPIER-MÂCHÉ QALAMDAN (PEN BOX) Iran, possibly mid to late 18th century, attributable to Agha Sadegh (active 1740-1790s) 23.6cm x 4.3cm x 3.7cm

£1,600 - £1,800

283 A LARGE LACQUERED PAPIER-MÂCHÉ QALAMDAN (PEN CASE) WITH LEYLA AND MAJNUN Qajar Iran, dated 1259 AH (1843) and signed ‘Ya Shah Najaf’ (Najaf ‘Ali) Iran, 19th century 22.8cm x 3.7cm x 3.5cm

£1,800 - £2,000 116

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284

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286 284 A QAJAR LACQUERED PAPIER-MÂCHÉ MEJRI (CASKET)

286 A QAJAR LACQUERED PAPIER-MÂCHÉ QALAMDAN (PEN BOX)

Iran, dated Rabi al-awwal 1293 AH (March-April 1876)

Iran, 19th century 23.5cm x 3.8cm x 3.6cm

36cm x 24cm x 14.2cm

£3,000 - £4,000

£1,600 - £18,000

285 A LARGE LACQUERED PAPIER-MÂCHÉ QALAMDAN (PEN BOX) Qajar Iran, 19th century 28.5cm x 8.2cm

£180 - £220

See page 7 for more information regarding fees

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287 AN EROTIC TINTED DRAWING Qajar Iran, 19th century 20cm x 29.5cm excluding the frame

£200 - £300 288 A SILVER STORK-SHAPED BIRTH CLAMP

silversmiths in Iran, Ja’far. The owner, possibly a French surgeon, must have been based in Iran and commissioned the clamp in the late 19th - early 20th century, when Ja’far workshop in Isfahan was fully active. European in its essence and conception but Iranian in its craftsmanship, this object embodies the unique merge between Western practices and Iranian culture, typical of the Qajar era.

Qajar Iran, late 19th century 12cm at its highest point Stork clamps, also commonly described as ‘umbilical cord scissors’, were very peculiar and unique tools used by European surgeons and midwives already in the 18th century.

Their fame started rising and by the 19th century, they had become intrinsically connected with birth annoucements. Their effective use is still debated, but it is believed that in France, they served the function of pinching the umbilical cord immediately after the birth, before the placenta was expelled in order to stop the outflow of blood. Being made of silver, they could be boiled and the rounded base let them stand upright, keeping them free from bacterias on working surfaces before use.

289 THREE INDIAN CARVED IVORY DECORATIVE ELEMENTS India, 19th century Figurine of Goddess Pavarti 14.5cm high; the furniture element 7.3cm high; South Indian ivory plaque 10.5cm x 7cm

£120 - £180

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Another source indicates they were used by wealthy families as good omen against the evil eye in the days when there was a high rate of infant mortality. According to the tradition, the stork clamp would be placed on the chimney mantle to announce, in a discreet way, that a birth was expected, without saying it out loud (http:// www.silvercollection.it/dictionaryumbilicalscissors.html).

This stork birth clamp is a rare and unusual memento of a European commission to one of the greatest Qajar

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288

A Private American Collection

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290 AN ILLUSTRATION FROM A RAGAMALA SERIES: THE BANGALI RAGINI

painting was successfully sold at Christie’s London, 25 May 2017, lot 3.

Murshidabad, West Bengal, Eastern India, ca. 1760 - 1780

This work has been attributed to a Ragamala series most of which is preserved in the Chester Beatty Library in Dublin.

Linda Leach states in Mughal and Other Indian Paintings from the Chester Beatty Library (1995, p. 627) that this series could have once belonged to the wife of Sir Elijah Impey. If that was the case, the choice of including the cheetah in the depiction would be in tune with the Impey family’s fascination with the indigenous fauna and flora, of the Subcontinent, a passion which converged into the Company School painting masterpiece known as Impey Album. For further reference on this album and its renowned Cheetah painting, please see W. Dalrymple, Forgotten Masters: Indian Painting for the East India Company, 2019, p.51.

36cm x 28cm including the frame Illustrations from Ragamala series tend to follow very precise compositional standards. Specific iconographies were developed for depicting each mode with minor variations allowed, depending on the geographical area. In the case of the Bangali Ragini, the protagonist is usually an ascetic, or a lady in the guise of one, who is depicted seated in meditation within or beside a small shrine. Prayer beads lie in the ascetic’s hands, and the lower body is often covered with a yellow garment.

£2,000 - £3,000 This description is further supported by the Devanagari text accompanying the scene, found on an Amber Bangali Ragini, 1709, in the Metropolitan Museum of Art’s collection (acc. no. 58.1.8), which provides the following characterisation of the Ragini: “Her sari, soaked with kesara [saffron], is enchanting. [Her] musk caste mark at the forehead bewitches the mind. The lovable [woman has] matted locks and ash in her[?] palms.”. All of these qualities can be easily spotted in our illustration as well. The painting of the MET also features in the back a similar inscription to ours, Bangali Bhairuki Ragini, suggesting that these Ragamala illustrations would have been collected and marked by their owners, making them easier to identify.

The cheetah is a puzzling and intriguing addition to the traditional decorative arrangement of this Ragamala. Indeed, not all Bangali Ragini feature it, but when they do, they depict him close to the Ragini and the shrine, mostly in a tamed, resting, seated pose. A Marwar Bangali Ragini, ca.

1630, in the Arthur M. Sackler Gallery’s collection (acc. no.

S2018.1.50) depicts the cheetah inside the shrine and the Ragini outside. It has been suggested that the Ragini could here be a prince, since he wears the pearl and ruby earrings so en vogue during the reign of the Mughal emperor Jahangir, and the cheetah may be his. The Claudio Moscatelli’s collection of Ragamalas featured another illustration with the cheetah inside the shrine, which was part of the dispersed ‘Berlin’ Ragamala series (see C. Glynn, R. Skelton, A. L. Dallapiccola, Ragamala, Paintings from India from the Claudio Moscatelli Collection, London, 2011, cat. 13, pp. 64-65). The

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PROPERTY FROM A PRIVATE AMERICAN COLLECTION

See page 7 for more information regarding fees

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291 A WINGED PERI IN A CHARIOT LED BY TWO COMPOSITE HORSES Jodhpur, Rajasthan, North-Western India, ca. 1770 26.3cm x 30cm

291

£400 - £800 292 AN ILLUSTRATION FROM A RAGAMALA SERIES: THE KEDAR RAGINI Marwar school, Jodhpur, Rajasthan, North-Western India, late 18th - early 19th century 25cm x 17cm

experiment with a diagonal composition, giving the scene a greater dimensionality and volume, as one can see in the paintings preserved at the Brooklyn Museum (inv. no. 39.86) and sold at Bonhams New York, 14 March 2016, lot 101.

£500 - £700 294 AN ILLUSTRATION TO A RAGAMALA SERIES: THE LOVERS MEET Bundi, Rajasthan, North-Western India, 18th century 32cm x 20cm

£300 - £400

£500 - £700 293 AN ILLUSTRATION FROM A RAGAMALA SERIES: THE LALITA RAGINI Possibly Jaipur, Rajasthan, North-Western India, mid to late 18th century 25cm x 17cm

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The compositional arrangement of the Lalita Ragini’s musical mode tends to follow very precise standards. An almost identical illustration to ours, attributed to the Rajasthani school of Amer and dating ca. 1680, is part of the Victoria and Albert Museum’s collection (IS.68-1952). Most illustrations are divided into two registers: a foreground with the groom waiting for the nobleman; and a middle ground with the three main characters, the lover, the mistress and the sakhi. Some illustrations of this musical theme tend to favour horizontal, almost flat depictions, whilst certain schools

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295 A FEMALE MUSICIAN PRACTICING IN A PALATIAL COURTYARD Lucknow, Awadh, Northern India, ca.

1820 - 1830 22.3cm x 12.5cm

297 TWO LADIES IN A PALATIAL GARDEN Possibly Amritsar, Punjab Hills, Northern India, mid to late 19th century 20.7cm x 15.3cm

£200 - £300

£200 - £400 296 AN ILLUSTRATION FROM A RAGAMALA SERIES: THE GUNAKALI RAGINI Northern Deccan, Central India, late 17th - early 18th century

298 SHAH ‘ALAM II (1728 - 1806) ON THE BANKS OF THE YAMUNA Provincial Mughal school, Northern India, 19th century

295

18.4cm x 13.6cm

39.5cm x 29.5cm A very similar composition from the Bundi school of painting, ca. 1640, is part of the Victoria and Albert Museum’s collection in London (IS.431953). For a comparable example from the same school of Northern Deccan with clear Rajasthani influences, please see the Ashmolean Museum’s collection in Oxford (EA2001.33).

For a comparable painting, presenting the same arrangement and subject, please see the example in the British Library (inv. no. Add.Or.5694) published in J. P. Losty and M. Roy, Mughal India: Art, Culture and Empire, 2012, p.

173, fig. 114.

£200 - £400

£600 - £800

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PROPERTY FROM A PRIVATE AMERICAN COLLECTION

299 A STANDING PORTRAIT OF A MUGHAL NOBLEMAN, POSSIBLY THE EMPEROR BABUR

300 A GROUP OF KANPHATA YOGIS AND YOGINIS IN A FOREST

Mughal School, Northern India, 18th century

Attributable to Mir Kalan Khan, Delhi or Awadh school, Northern India, mid to late 18th century

31.5cm x 20.3cm.

37cm x 26.3cm Hunting coats similar to the one this nobleman is wearing were incredibly popular at the Mughal court in the 17th and 18th centuries. Usually made of embroidered satin with silk, they were decorated in a variety of stitches with images of flowers, trees, green shrubs, vegetation, and animals like peacocks, lions and deer. With soft hues and cool palettes usually hint at an Iranian influence; with time overcoats produced in India became more and more colourful. One of the finest surviving examples of 17th-century Mughal overcoats is at the Victoria and Albert Museum in London (inv. no. IS-18.1947). A similar coat to the one in our portrait can be admired on a page from the Nasir al-Din Shah Album at the Chester Beatty Library in Dublin, portraying the Emperor Shah Jahan gifting a jewel to Dara Shikoh (inv. no.

IN 50.3), published in S. Stronge, Made for Mughal Emperors, 2010, p. 47, pl. 24.

The detail of the fur neck is not accidental. Indeed, the first Emperor of the Mughal dynasty, Babur, was often depicted with coats with fur necks, a clear memento of his Central Asian origin, and predilection for the cold weather of the steppes, rather than the humid hot weather of the Subcontinent. A portrait of Babur in the Khalili Collections (MSS 1028) in London, attributed to the North Deccani school, ca. 1695 - 1700, depicts the young Emperor in similar attire to our lot, wearing a gilt overcoat with vegetal motifs and gold-embroidered madder red velvet boots.

The example in the Khalili Collections is accompanied by a nasta‘liq inscription on the recto, Sultan Babur, and another in Dutch, Baber (‘Babur’), making the subject of the portrait unequivocal.

£1,200 - £1,600

Kanphata Yogis are members of an order of religious Indian ascetics in India venerating the Hindu god Shiva. The name kanphata (ear split) stems from the heavy earrings they often wear. Followers of Gorakhnath, a 12th-century mystic, their aim is to acquire supernatural powers through esoteric practices, in contrast to more common forms of devotion such as bhakti and meditation (https://www.britannica.com/ topic/Kanphata-Yogi). A fine drawing depicting a gathering of Kanphata Yogis, also known as Gorakhnathi, and showcasing the same features present in our painting, like the typical heavy earrings and barely clad bodies, is part of the Windsor Royal Collection (inv. no. RCIN 1005062), published in E. Hannam, Eastern Encounters: Four Centuries of Paintings and Manuscripts from the Indian Subcontinent, 2018, p. 68.

Mir Kalan Khan was one of the leading painters of the 18th-century transitional phase of Awadhi painting. Trained at the Delhi imperial atelier in the Mughal tradition, in his Awadhi compositions Khan broke free and demonstrated a predilection for eclectic compositions and a non-Mughal experimental artistic repertoire (Malini Roy in India’s Fable City: the Art of Courtly Lucknow, LACMA, 2010, p. 168). A painting at the LACMA Museum, “A Princess Visiting a Forest Shrine at Night”, ca. 1760 (inv. no. AC1997.30.1) shares a very similar pictorial quality and scene arrangement to our lot. The stream in the foreground; the verdant forest in the background almost embracing the characters; the leaves painted with thin quick strokes of light green and yellow conveying the impression of being constantly moved by the wind; the main figures displayed in the middle and foreground; and lastly, the composition livened by an intense game of glances: these are all qualities that can be found in both paintings.

Moreover, both works showcase Mir Kalan Khan’s interest in and ability to depict fringe characters such as yogis and villagers usually caught in everyday life scenes, highlighting another peculiar trait of this artist.

For another similar composition by the same artist, please see “A Yogini Listening to Music in a Forest at Night” in the Khalili Collections, published in Masters of Indian Paintings: 1650 - 1900, Vol. 2, 2011, p. 615.

£1,200 - £1,600

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302

301 AN EQUESTRIAN PORTRAIT OF MAHARAJA BAKHT SINGH RATHORE OF MARWAR (1706 - 1752) Marwar (Jodhpur), Rajasthan, North-Western India, mid18th century 29.5cm x 23cm

£400 - £600

301

302 A HAWKING SCENE WITH THE NAWAB VAZIER OF AWADH, SAFDAR JANG (1708 - 1754)

303 A LARGE CLOTH PAINTING OF A TIGER

Possibly Awadh, Northern India, 19th century

103.8cm x 145.2cm

25cm x 40cm

£200 - £300

£300 - £500

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Rajasthan, North-Western India, 20th century

PROPERTY FROM A PRIVATE AMERICAN COLLECTION

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304 THE BHANG SHOP Jaipur, Rajasthan, North-Western India, mid to late 19th century

305

305 SIR CHARLES JAMES NAPIER (1782 - 1853), GOVERNOR OF SINDH, ON HIS RETURN FROM INDIA Possibly England, ca. 1850

51cm x 39.8cm.

18cm x 11cm

£600 - £800

£100 - £200

See page 7 for more information regarding fees

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306 THE HINDU DEITIES SHIVA AND JAGATDHATRI Kalkata, West Bengal, Eastern India, early 19th century 38cm x 24.8cm

£400 - £600

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307 A LACQUERED PAPIER-MÂCHÉ PANEL WITH MOTHER AND CHILD AND ATTENDANTS Northern India, 17th - 18th century 18.3cm x 29.5cm, 20cm x 30.5cm including the base An early tribute to the much-admired Safavid lacquer production, the panel combines Indian elements with Persianate features. The engaged bond between mother and child, however, is an echo of Christian devotional prototypes of the Madonna of Humility, rendering the scene a depiction of the field of heaven.

£800 - £1,200 308 AN ILLUSTRATION FROM A RAMAYANA SERIES: SITA’S FIRE ORDEAL 307

Possibly Jammu, Punjab Hills, Northern India, 19th century 42cm x 33cm including the frame

£600 - £800

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309 A TILKAYAT PERFORMING THE RELIGIOUS RITUAL OF ARTI TO SHRI NATHJI

311 THREE ILLUSTRATIONS FROM AN ASTROLOGY SERIES

Possibly Nathdwara, Rajasthan, North-Western India, 19th century

Jaipur, Rajasthan, North-Western India, 19th century each 23cm x 18.8cm.

48.7cm x 33cm

£500 - £700

Provenance: Private Florida Collection since 1970; Bonhams San Francisco, 17 December 2018, part of lot 346.

310 A LOOSE FOLIO FROM A BHAGAVATA PURANA SERIES: BALAKRISHNA AT PLAY WITH HIS ELDER BROTHER BALADEVA Mewar, Rajasthan, North-Western India, first half 17th century 23.3cm x 40.5cm

£500 - £700

£400 - £600 312 A PORTRAIT OF A SUFI SAINT Hyderabad, Deccan, Central India, mid to late 19th century 26.5cm x 17cm

£300 - £400

See page 7 for more information regarding fees

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313 TWO PORTRAITS OF HINDUSTANI PEOPLE: MEER TALUB ALI AND HIS FATHER SAED SOONDHA, AND A MOTHER WITH HER CHILDREN Possibly Haryana, Northern India, 19th century 20.5cm x 18.8cm It is worthy to point out that Meer Talub Ali is also depicted at the age of 36 in one of the Fraser Album pages, helping to date his pictures in a more precise way. For further reference, please see Falk and Archer, India Revealed: Art and Adventures of James and William Fraser, 1815-26, 1989, cat. 106

£600 - £800

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The Traditional Arts of Orissa 131

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314 A PATTACHITRA PAINTING Puri, Odisha (Orissa), Eastern India, late 19th century 41.8cm x 82cm Pattachitra, occasionally also called Patta Jatri in a regional dialectal variant, is a term used to describe a style and format of painting traditionally attributed to Orissa (now Odisha) and West Bengal. The word itself derives from Sanskrit and it means ‘cloth-picture/painting’. The rise of this style of paintings is thought to be dependant on the city of Puri, where the Jagganath Temple is located, one of the most significant sites of Hindu worship. This pictorial tradition soon evolved in the direction of temple souvenirs, originally mostly related to the cult of Jagannath. But with time, practitioners started commissioning paintings with different deities and stories, creating an incredibly rich and varied repertoire. For further reference, please see https://www.uwa.edu.au/lwag/exhibitions/expressions-of-india/pattachitra.

The scene depicted here stems precisely from this later

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evolution, as it can be ascribed to both the Jagannath and the Ramayana series of pattachitra paintings. The two riders in courtly attire could be interpreted as either Jagannath and Balabhadra or Lakshmana and Rama. The maiden they encounter on their journey could either be the milkmaid Manika or another female character from the Ramayana, possibly Sita. The multi-layered readings in pattachitra paintings perfectly served the purpose of not only temple souvenirs and conduits for devotions, but also educational story-telling panels.

£400 - £600 315 THREE PATTACHITRA PAINTINGS PROPERTY FROM A PRIVATE AMERICAN COLLECTION Puri, Odisha (Orissa), Eastern India, early 20th century Two paintings from the Jagannath series each 37cm x 38cm; one from the Vaishnav series 37.5cm x 39.5cm

£600 - £800

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316 A LARGE PATTACHITRA PAINTING FROM THE RAMAYANA SERIES Puri, Odisha (Orissa), Eastern India, early 20th century approximately 126cm x 97cm This pattachitra painting is a true homage to the Puri Ramayana series and to the Vaishnava cult in general. Among the most easily identifiable scenes from the Ramayana, one can recognise Rama and Lakshmana on their journey to Lanka; the demonic evil King Ravana in his palace in Lanka; Rama and Sugriva’s monkey army in the battlefield fighting the evil giant Kumbhakarna; Hanuman raising the mountain and joining the battle; Hanuman prostrating and showing his devotion to Rama and Sita; Ravana’s defeat and fall; and many more.

portrayals. It lacks instead a sense of volume and perspectival recession. Nevertheless, the composition conveys a strong sense of dynamism and vibrancy, delivered thanks to the presence of bold, primary colours; the centripetal layout of the narrating cartouches; and a variety of ‘filler’ elements, both of figural and ornamental nature. For further reference, please see https://www.uwa.edu.au/lwag/exhibitions/expressions-of-india/pattachitra.

£400 - £600

It is undeniable that pattachitra paintings present strong technical and stylistic similarities with the tradition of Indian wall murals and palm-leaf manuscript illustrations. This style typically features the use of a warm palette and profile

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319 317 317 A SQUARE PATTACHITRA PAINTING FROM THE VAISHNAVA KRISHNA LILA SERIES PROPERTY FROM A PRIVATE GERMAN COLLECTION Puri, Odisha (Orissa), Eastern India, late 19th - early 20th century 87cm x 87cm Pattachitra compositions are usually painted with handmulled paints from readily available plant and mineral pigments, such as chalk or ground shell white, indigo, red lead, Indian yellow, and charcoal-based black. Their folk quality made them beloved souvenirs not only for Hindu pilgrims but also Western officials and travellers, whose presence in India increased dramatically in the 19th century. The fact these paintings were readily available outside temple complexes played an important role in their distribution and in attracting the interest of European buyers, who often sent them back to the West as ‘exotic’ tokens. For further reference, please see https://www.uwa.edu.au/lwag/exhibitions/ expressions-of-india/pattachitra.

£500 - £700

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318 A PALM-LEAF MANUSCRIPT PROPERTY FROM A PRIVATE GERMAN COLLECTION Possibly Orissa, Eastern India, 19th century 36cm x 10cm For a similar but earlier Orissan manuscript, please see Christie’s New York, 5 December 2006, lot 188; and these Rooms, 16 July 2019, lot 234.

£100 - £200

320 319 AN ETCHED PAINTING FROM A VAISHNAVA KRISHNA LILA SERIES ON PALM LEAVES

320 AN ETCHED PAINTING FROM A VAISHNAVA KRISHNA LILA SERIES ON PALM LEAVES

PROPERTY FROM A PRIVATE GERMAN COLLECTION

PROPERTY FROM A PRIVATE GERMAN COLLECTIONI

Odisha (Orissa), Eastern India, early 20th century

Odisha (Orissa), Eastern India, early 20th century

117.5cm x 56cm including the frame

51cm x 39.8cm.

£200 - £300

£500 - £700

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The Pictorial Arts From India

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321 BABY KRISHNA STEALING BUTTER Thanjavur (Tanjore), Tamil Nadu, South India, late 19th century 65.5cm x 50.5cm The image of Baby Krishna as the theif of gee can be considered one of the dearest and most popular subjects in Tanjore’s painting. Usually commissioned by members of the South Indian aristocracy, the devotional scope is still served to this day. For further reference on devotional icons from Tanjore, please see B. Rossi, From the Ocean of Painting, India’s Popular Paintings, 1589 to the Present, 1998, pp.82 89. An almost identical painting successfully sold at Christie’s London, 10 June 2013, lot 172.

£600 - £800

322 BABY KRISHNA FLANKED BY HIS MOTHERS PROPERTY FROM A PRIVATE GERMAN COLLECTION Thanjavur (Tanjore), Tamil Nadu, South India, mid to late 19th century 74cm x 58.5cm including the frame For further reference on devotional icons from Tanjore, please see B. Rossi, From the Ocean of Painting, India’s Popular Paintings, 1589 to the Present, 1998, pp.82 - 89.

£1,200 - £1,800

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323 323 THE HINDU GODDESS OF WEALTH, LAKSHMI, BATHED BY TWO ELEPHANTS PROPERTY FROM A PRIVATE GERMAN COLLECTION

325 325 BHARTI DHAYAL (INDIAN, B. 1961) A MITHILA PAINTING OF SHRI KRISHNA PLAYING THE FLUTE

Thanjavur (Tanjore), Tamil Nadu, South India, mid to late 19th century

PROPERTY FROM A PRIVATE GERMAN COLLECTION

79cm x 64cm including the frame

36cm x 36cm including the frame.

For further reference on devotional icons from Tanjore, please see B. Rossi, From the Ocean of Painting, India’s Popular Paintings, 1589 to the Present, 1998, pp.82 - 89. A similar painting featuring Shiva and Parvati on the Bull Nandi successfully sold in these Rooms, 25 October 2019, lot 341.

Bharti Dayal was born in North Bihar, the Mithila region famous for Madhubani painting. Today, her name features within the group of well-regarded and multi-award-winning Mithila artists, along with Sita Devi, Ganga Devi, Godavari Dutta and Leela Devi. These women all aim to keep this fascinating technique of Indian painting alive. Dayal herself was awarded with the AIFACS (All India Fine Arts and Crafts Society) title and in 2006, India’s National Award for excellence in handicrafts.

£1,200 - £1,800 324 THE GOD KRISHNA AS SRI NATHJI Nathdwara, Rajasthan, North - Western India, 19th century 23cm x 15cm excluding the frame

£300- £500

Mithila region, Bihar, Central India, ca. 1980’s

For the full cataloguing entry of this lot, please check our website.

£150 - £200

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326 A POLYCHROME-PAINTED REVERSE GLASS PORTRAIT OF THE HINDU GOD VISHNU

328 LORD RAMA PRAYING TO A COMPOSITE SHAIVITE MYTHICAL CREATURE

PROPERTY FROM A PRIVATE GERMAN COLLECTION

Pahari Hills school, Northern India, first half 19th century

Thanjavur (Tanjore), Tamil Nadu, Southern India, late 19th

16.3cm x 25cm excluding the mount

67.5cm x 52cm including the frame

£600 - £800

£600 - £800 327 A PAITHAN PAINTING DEPICTING A SCENE FROM A HINDU EPIC PROPERTY FROM A PRIVATE GERMAN COLLECTION Karnataka, Andhra Pradesh, Central India, 18th - early 19th century 34.5cm x 49cm including the frame.

Paithan paintings were created to illustrate scenes from the great Hindu epics, such as the Mahabharata and the Ramayana, used in story-telling by itinerant bards. They frequently included in the original narration local characters and additional scenes. These paintings are characterised by monumental figures with large and bulging ‘fish-eyes’, painted in a palette of primary colours and highly stylised manner with a folkish quality. The link to the shadow-puppet tradition of Karnataka is undeniable.

For a long time, Paithan paintings were ascribed to Maharashtra, but scholars have recently discarded this attribution.

It has instead been suggested that they are typical productions from Andhra Pradesh / Karnataka border areas and not - as was once thought - the town of Paithan (https:// www.britishmuseum.org/collection/term/x110508).

For a discussion on Paithan painting and the collection of sixty illustrations in the British Museum (2007,3014.1 to 60), please see A.L. Dallapiccola, South Indian Paintings – A Catalogue of the British Museum Collections, London, 2010, pp.

278-295. Groups of these paintings have recently performed very well at auction, please see Christie’s New York, 21 - 28 September 2017, lot 644; and 20 March 2019, lot 709.

£500 - £700 326

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328

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332

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333

329 LORD KRISHNA PLAYING THE FLUTE PROPERTY FROM A PRIVATE GERMAN COLLECTION 28.5cm x 21.5cm including the frame

£600 - £800 330 LORD GANESHA ON A THRONE PROPERTY FROM A PRIVATE GERMAN COLLECTION

333 A JAIN ILLUSTRATION: JAIN SHRINES WITH TIRTHANKARAS AT MOUNT KAILASH (SINHNISHDHA) PROPERTY FROM A PRIVATE GERMAN COLLECTION Possibly Jaipur or Amer, Rajasthan, North-Western India, late 17th - 18th century 29cm x 23cm excluding the frame

£500 - £700

Possibly Jaipur School, Rajasthan, North-Western India, early 19th century 31.5cm x 22cm including the frame.

A similar 19th-century painting with the same subject but from the Bikaner school successfully sold at Christie’s New York, 17 - 27 May 2016, lot 65.

£500 - £700 331 TWO JAIN ILLUSTRATIONS: SHRI RAMA MEETING TWO JINAS AND A RAJPUT KACCHAVA RULER IN FRONT OF A TIRTHANKARA PROPERTY FROM A PRIVATE GERMAN COLLECTION Possibly Jaipur or Amer, Rajasthan, North-Western India, late 17th - 18th century both 29cm x 23cm excluding the frame

£400 - £600 332 A JAIN ILLUSTRATION: A PUJA IN FRONT OF A JAIN SHRINE WITH TIRTHANKARA PROPERTY FROM A PRIVATE GERMAN COLLECTION Possibly Jaipur or Amer, Rajasthan, North-Western India, late 17th - 18th century 29cm x 23cm excluding the frame

£500 - £700

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334 AN ILLUSTRATION FROM A RAS LILA SERIES: KRISHNA DANCING WITH THE GOPIS

335 AN ILLUSTRATION FROM A RAGAMALA SERIES: THE VILAVAL RAGINI

336 TWO LADIES IN THE FOREST

PROPERTY FROM A PRIVATE GERMAN COLLECTION

PROPERTY FROM A PRIVATE GERMAN COLLECTION

Bundi or Jaipur, Rajasthan, North-Western India, 19th century

Bundi or Marwar, Rajasthan, North-Western India, 19th century

Bundi School, Rajasthan, North-Western India, late 17th century

33cm x 25.5cm including the frame

25.5cm x 31.8cm including the frame

31.5cm x 27cm including the frame.

£200 - £300 For a very similar composition dating ca. 1680 and also ascribed to the Bundi school, please see the Freer Gallery’s Collection (inv. no. F1990.10).

£500 - £700

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PROPERTY FROM A PRIVATE AMERICAN COLLECTOR

£600 - £800

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339

337 KRISHNA AND RADHA IN A PALATIAL COURTYARD

338 A GATHERING OF COURTLY LADIES IN THE ZENANA

PROPERTY FROM A PRIVATE AMERICAN COLLECTOR

Possibly Delhi School, Northern India, late 19th century

Kangra, Pahari Hills, Northern India, ca.

1840 - 1860

33.5cm x 24cm excluding the mount

330 A RAJPUT WARRIOR BEING OFFERED WATER BY COURTLY LADIES AT A WELL PROPERTY FROM A PRIVATE AMERICAN COLLECTOR

40cm x 30.5cm including the frame

Bundi, Rajasthan, North-Western India, 18th - 19th century

£1,000 - £1,500

35cm x 27cm including the frame

£600 - £800

£600 - £800

See page 7 for more information regarding fees

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340 A PROFILE PORTRAIT OF A SIKH WARRIOR Possibly Punjab Hills, Northern India, mid-19th century 23.5cm x 16.5cm, 40.5cm x 33cm including the frame

£800 - £1,200 341 A TINTED DRAWING OF A MUGHAL PRINCE RIDING AN ELEPHANT

340

Mughal School, Northern India, 18th - early 19th century 22cm x 28cm excluding the frame

£500 - £700 342 SHEYKH ABD AL-QADIR JILANI AND KHAWAJA MU’IN AL-DIN CHISHTI IN CONVERSATION Possibly Delhi School, Northern India, mid to late 19th century 25cm x 18.5cm.

Abd al-Qadir Jilani (1078 - 1166 AD), the founder of the Qadiriyyah tariqa (Sufi order), was a native of the Persian province of Gilan. At the age of eighteen, he went to Baghdad to pursue the study of Hanbali law. After completing his education, he spent twenty-five years wandering in the deserts of Iraq. In 1127, he returned to Baghdad to teach and preach. One of his honorific titles is Muhiyudin, denoting his status as “reviver of religion”.

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Khawaja Mu’in al-Din Chishti (1143 - 1236 AD), instead, was a prominent and charismatic spiritual preacher and teacher in Islamic India. He was also of Persian origin, but rather than settling in the Near East, as Jilani did, he decided to travel to Lahore. He played a crucial role in establishing the Chishti order of Sunni mysticism in the Indian Subcontinent.

£1,000 - £1,500

342 146

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343 TWO LOOSE FOLIOS FROM A MANUSCRIPT OF JAMI’S YUSUF O ZULAIKHA Kashmir, Northern India, late 18th century the text panels 17cm x 9.5cm, 30.8cm x 23.5cm including frames.

Provenance: part of the French Soustiel collection since the early 1970s.

£1,000 - £1,200 344 AN ILLUSTRATION FROM A KASHMIRI SHAHNAMAH SERIES: RUSTAM SLAYING THE DIV Kashmir, Northern India, 18th century 43cm x 30.5cm including the frame.

The painting is accompanied by a hand-written note by Dr. Pratapaditya Pal, Chief Curator of South East Asian Art at the LACMA, dated 13 November 1987. His remarks stated as follows: “Indian miniature, 18th Century, Kashmir, Shah Namah, good colour, good composition, polished with onyx.

Indian hero who killed demons”, accompanied by his address and number.

£300 - £500

343

344 See page 7 for more information regarding fees

147

345

346

345 A BAND OF INDIAN MUSICIANS Possibly Chamba, Pahari Hills, Northern India, late 19th century 25.4cm x 31cm.

346 NINE CHROMOLITHOGRAPH PLATES OF TRADITIONAL INDIAN MUSICAL INSTRUMENTS Possibly Edinburgh, Scotland, 1888 (first edition) each 31cm x 24.5cm excluding the mount

£300 - £400 Provenance: in a private UK collection since the late 1970s.

£500 - £700

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347

348

347 EIGHTEEN INDIAN PAINTINGS ON MICA OF BIRDS, DEITIES AND VILLAGERS

348 TWO WATERCOLOURS OF INDIAN POSTAL RUNNERS

Possibly Kolkata (Calcutta), West Bengal, India, late 19th century

PROPERTY FROM A PRIVATE UK ESTATE

48cm x 52.5cm, 55cm x 70cm, and, 48cm x 35.5cm including frames

each 18cm x 12.5cm excluding their frames

£200 - £300

India, mid to late 19th century

£400 - £600

See page 7 for more information regarding fees

149

349 349 THE DEFENCE OF THE ARRAH HOUSE: A CHROMOLITHOGRAPH AFTER WILLIAM TAYLER (1808-1892)

350 A KEBAB AND NAAN STREET VENDOR PROPERTY FROM A PRIVATE AMERICAN COLLECTOR

PROPERTY FROM A PRIVATE UK ESTATE

Possibly Delhi, Company School style, Northern India, 19th century

England, second half 19th century

40.5cm x 31.5cm including the frame

33.8cm x 50cm excluding the frame.

£600 - £800

During the sepoy rebellion, the House at Arrah situated in the state of Bihar, North-Eastern India, was attacked in early July 1857 by mutineers from Dinapore. Inside the house, there were six officials, the Judge, Collector, Magistrate, Assistant Magistrate, Civil Surgeon and Deputy Opium Agent, together with 3 railway engineers. As the conflict became tenser, the group moved into a two-story billiard room, fortified by Richard Vicars Boyle, one of the railway engineers, by bricking up the verandah arches. The mutineers looted the treasury and attacked the Arrah House laying siege to it and offering bribes to the Sikhs guards to hand over the group of British officials. The defenders numbered under 70 and faced over 3000. Without the loyalty and bravery of the Sikhs, who turned down bribes from the rebels, it is unlikely the Europeans would have survived.

Reference: https://blogs.brown.edu/askb/2016/05/05/williamtaylor-the-defence-of-arrah-house/

£200 - £300

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350

The Dexter Collection Part 1

151

351

351 THE MONKEY GOD HANUMAN Kota, Rajasthan, North-Western India, ca. 1860

352

352 THE HINDU GODDESS DURGA RIDING ON HER MOUNT (VAHANA)

22.7cm x 19cm

Kota, Rajasthan, North-Western India, ca. 1860

£500 - £700

23.6cm x 19.5cm

£500 - £700

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353

353 THE HINDU GOD OF CREATION BRAHMA Jaipur, Rajasthan, North-Western India, mid-19th century 12.3cm x 16cm

£400 - £600

PROPERTY FROM THE DEXTER COLLECTION

354

354 AN ENTHRONED JAIN TIRTHANKARA

355

356

355 MULLAH NASR AL-DIN DO-PIYAZA ON AN EMACIATED HORSE

356 IMAM ‘ALI WITH HIS TWO ‘ROCKS’, HASAN AND HOSSEIN Late Qajar Iran, early 20th century

18cm x 12cm

Possibly Murshidabad, West Bengal, or Awadh, India, mid-18th century

£300 - £500

31cm x 22cm.

Possibly Jaipur or Amer, Rajasthan, North-Western India, 19th century

26.5cm x 16.5cm, 35.5cm x 26.5cm including mount

£400 - £600 For similar paintings of the same subject sold at auction before, please see Christie’s New York, 21 March 2008, lot 715; and Christie’s London, 8 October 2010, lot 461.

£600 - £800

See page 7 for more information regarding fees

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357 THE COURT OF KING SOLOMON WITH ANGELS AND DEMONS

359 PRINCE BHUPAL SINGH (R. 1930 - 1955) AND HIS TEACHERS

Possibly Delhi or Lucknow school, Northern India, early 19th century

Attributed to Liladhar, Udaipur, Rajasthan, North-Western India, ca. 1901

26.5cm x 22cm

30.3cm x 22.7cm.

£600 - £800 358 TWO ILLUSTRATIONS FROM AN ARABIC MANUSCRIPT Possibly Delhi or Jammu school, Northern India, late 18th 19th century 21.6cm x 14cm

£400 - £600

Our painting, though slightly smaller in size, is almost identical to a portrait of Bhupal Singh attributed to the painter Liladhar and dated circa 1901, featuring in the extensive collection of Indian portraits of the Indian art connoisseur Anil Relia (over 3000 exemplars). The painting is published online and in his catalogue The Indian Portrait I - an artistic journey from miniature to modern (http://www.theindianportrait. com/artwork/prince-bhupal-singh/).

Anil Relia attributes the work to the artist Liladhar, the son of Mohanlal, grandson of Tara and nephew of master painter Shivalal. The painting acts like a photograph of the time, recording facts and people in a very realistic way. Bhopal Singh is here portrayed next to Purohit Akshaynath (purple turban), who used to teach him Mewadi and Sanskrit. The Sikh gentleman in the front is Bhishan Singh, who taught the prince sword fighting, horse riding, hunting and royal etiquette. To the left of the prince, there is his caretaker (dhabhai). Paintings like this became more and more common in the 20th century, ignited by the modern thrust produced by the circulation of black and white photography.

The reverse of the painting presents three property stamps, of respectively Bhanwar Devendra Singh, Bh. Suraya Vijay Singh Shekhawat and Kumar Sangram Singh (no. 156), all of Nawalgarh. There is a fourth stamp in red marked with the letters “Museum” (Kumar Sangram Singh Museum ?).

Kumar Sangram Singh of Nawalgarh was a renowned art collector and connoisseur. He organised two exhibitions and published catalogues of his collection, 250 years of Jaipur: an exhibition of Dhundhar painting - from Raja Man Singh to Sawai Man Singh (1977 - 1978) and Catalogue of Indian miniature paintings (collection of Kumar Sangram Singh of Nawalgarh) - an exhibition in the Rajasthan University Library (1965). A standing portrait of Rao Raja Bhim Singh of Uniara, sold at Christie’s London, 12 June 2018, lot 13, presented the exact same property stamps of the three above-mentioned Nawalgarh collectors.

£400 - £600

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PROPERTY FROM THE DEXTER COLLECTION

357

358

359 See page 7 for more information regarding fees

155

360

361

156

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PROPERTY FROM THE DEXTER COLLECTION

360 AN AFRICAN COURTIER RESTING UNDER A TREE Deccan, Central India, 18th century 25.5cm x 18.5cm

£1,500 - £2,000 361 AN ALBUM PAGE WITH A DRAWING OF MAJNUN IN THE WILDERNESS Safavid-style Mughal School, Northern India, mid to late 18th century 32cm x 26.5cm

£800 - £1,200 362 AN ILLUSTRATED MANUSCRIPT FOLIO: POLO PLAYERS Iran, late 18th -19th century 14cm x 10cm, 33.5cm x 21cm including mount

£300 - £500

362

See page 7 for more information regarding fees

157

363

366

365

158

364

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PROPERTY FROM THE DEXTER COLLECTION

363 KRISHNA COMBING RADHA’S HAIR Bundi, Rajasthan, North-Western India, late 18th - early 19th century

366 AN ILLUSTRATION FROM A RAGAMALA SERIES OF THE DIPAK RAGA

27.6cm x 20cm

Possibly Bikaner or Bundi, Rajasthan, North-Western India, late 18th - early 19th century

£300 - £500

27cm x 18.5cm

£300 - £500 364 A PRINCE AND A COURTLY LADY PLAYFULLY TEASING EACH OTHER Possibly Kota or Bundi, Rajasthan, North-Western India, mid to late 19th century

367 AN ILLUSTRATION FROM A RAGAMALA SERIES: THE VIBHASA RAGINI Possibly Jaipur, Rajasthan, North-Western India, 19th century

24.8cm x 17cm

25.3cm x 18cm

£600 - £800

£300 - £500

365 A LADY ATTENDING HER DAILY TOILETTE Bundi, Rajasthan, North-Western India, ca. 1860 - 1880

368 AN ILLUSTRATION FROM A RAGAMALA SERIES: A NAYIKA AWAITING HER LOVER

24.4cm x 19.5cm

Jaipur, Rajasthan, North-Western India, early 19th century

£400 - £600

29.5cm x 22cm

£300 - £500

367

368

See page 7 for more information regarding fees

159

369 THE SADHU’S ARRIVAL FOR THE PUJA TO BEGIN Guler artist in Kangra, Pahari Hills, Northern India, ca. 1820 - 1830 29.5cm x 25cm Guler and Kangra were two of the most prominent schools of Pahari paintings, and to this day their productions are very sought-after and collected all around the world. Guler was administered by Sikh rulers from 1813 until 1849, when following the Second Anglo-Sikh War it officially became part of the British district of Kangra. t was specifically

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during this period that accomplished Guler artists were commissioned by wealthy Sikh patrons to paint in a special Sikh style, developed further in Adinangar, Lahore and Amritsar’s later productions. For further reference, please see W. G. Archer, Paintings of the Sikhs, 1966 and W. G. Archer, Indian Paintings from the Punjab Hills, 1973, Vol. 1, pp. 129 133.

For similar examples from the same series, please see Sotheby’s New York, 22 March 2018, lot 1001; and Bonhams London, 18 October 2016, lot 323.

£2,000 - £3,000

PROPERTY FROM THE DEXTER COLLECTION

370 SHRI RAMA AND SITA ON A THRONE Chamba or Basohli, Punjab Hills, Northern India, 18th century 18.4cm x 27.5cm The vibrant and dramatic effect of this painting is achieved through the use of limited compositional elements which are magnified to a larger size suited to fill the picture. This arrangement is one of the typical features of the 17th and 18th-century painting production of the Punjab Hills area, especially in the centres of Basohli, Nurpur and Chamba.

Another typical element featuring in the creations of these schools was the use of a pulsating, vivid background with ochre yellow as primary colour encapsulated within bright red borders, a chromatic duo which not only exalted the figures but also provided the perfect backdrop for the artist to depict further coloured and patterned textiles as ornaments for his subjects (C. Glynn in Ragamala: Paintings from India, 2011, p. 47). A similar composition attributed to the same school and with a Vaishnava subject, Vishnu in his Matsyavatara form, is being offered next week at Christie’s London, 1 April 2021, lot 39.

£1,500 - £2,000

See page 7 for more information regarding fees

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Terms and Conditions for Buyers at Chiswick Auctions 1. BEFORE THE SALE

1.1 Agent for the seller Unless otherwise agreed, Chiswick Auctions Ltd, hereafter referred to as CA LTD acts as agent for the seller. The contract for sale of the property is therefore made between the Seller and the Buyer.

1.2 Definitions For the purposes of the current Terms and Conditions, the Seller shall be defined as the owner of the Goods. It is implied that the Seller is the legitimate owner and is authorised to sell the Lot. The Bidder is any registered person participating in the auction, and the Buyer is the successful Bidder for a particular Lot. The Lot means the item(s) put up for sale by CA Ltd and to which the present Terms and Conditions apply.

1.3 Catalogue descriptions Any representation in any catalogue or otherwise as to the origin, date, age, attribution, authenticity or estimated selling price of any lot is a statement of opinion only.

Such statements do not constitute a representation warranty or assumption of liability by CA Ltd in relation to the Lot. Any prospective Buyer should satisfy themselves prior to the sale as to the reliability of the catalogue description.

The absence of mention related to prior restorations in the catalogue descriptions does not imply that the good is exempt thereof.

Photographs of any Lot provided by CA Ltd are for indicative purposes only and are not deemed to be a precise representation of the said Lot. The Buyer is advised to seek independent expert advice in order to be assured of the authenticity and true state of the good.

1.4 Inspection Prior to auction, prospective purchasers are strongly advised to personally examine any property in which they are interested to satisfy themselves in relation to matters which may concern them.

1.5 Condition report CA Ltd may issue a Condition Report on request prior to the sale.

This Condition Report is for identification purposes only and cannot be considered as giving a precise account of the Lot’s true state. Thus, some imperfections and faults may not be accounted for in the Condition Report.

As aforementioned, and in the absence of any contractual value of the Condition report, it is the Buyer’s sole duty to inspect in person the Lot in order to be assured of its true condition and CA Ltd shall not be responsible for assertions within the Condition Report hereto.

1.6 Electricals All electrical items are sold as seen and CA Ltd offers no guarantee as to the working condition of such items or their safety.

It is the Buyer’s duty to take necessary steps to be assured that the Lot is safe for normal use.

1.7 Estimates Estimates are based on various factors inherent to the situation of the market at the time of the sale, as well as considerations such as the condition, rarity, or quality of the item etc.

Estimates are only indicative and represent the opinion of CA Ltd. Estimates provided by CA Ltd cannot constitute a guarantee as to the value of the good. Subsequently, goods may sell at prices lower or higher than the provided estimates.

1.8 Reserves Many Lots are offered subject to a reserve, which is the confidential minimum sale price. The reserve will never exceed the low estimate printed in the catalogue. CA Ltd may open the bidding on any Lot below the reserve by placing a bid on behalf of the seller, and may in their discretion continue to bid up to the reserve price. This can be achieved by bidding in response to other bidders or alternatively by placing consecutive bids.

1.9 Registration to the sale New bidders will need to register prior to the sale. It is strongly advised bidders register

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at least 24 hours before the sale. Registration thereafter shall be at the auctioneer’s entire discretion.

International bidders may be required to register 48 hours before the sale and to submit bank details.

A deposit may be requested prior to each sale.

Failure to register shall result in the impossibility for the bidder to purchase a Lot.

1.10 Proof of identity Bidders not previously known to CA Ltd will be required to provide:

• Official proof of identity in the form of a passport or photocard driving licence. No other forms of ID are acceptable.

• Proof of address of main residence. Only official documents showing name and address will be accepted.

• Both landline and mobile telephone numbers • A bank reference for foreign bidders may be requested • Corporate clients will have to provide a certificate of incorporation prior to the auction, along with the representative’s ID in accordance with the above-mentioned requirements for proof of identity.

Any Bidder that does not match the provided identity for registration may not purchase during the sale.

2. DURING THE SALE

2.1 Attendance at auction Attending the auction in person is recommended.

CA Ltd has the right at their absolute discretion to refuse participation in any auction, to reject any bid, and to refuse admission to the premises.

Bidders are not obliged to be present in person at the auction.

Absentee bidders shall be required to make necessary arrangements with CA Ltd prior to the sale.

2.2 Personal bidding Bidders attending the auction in person shall be required to collect a unique bidding paddle prior to bidding in the sale.

2.3 Commission bids CA Ltd will use reasonable efforts to carry out Commission bids received by them prior to the sale for the convenience of clients who are not present at the auction in person. Execution of Commission bids is a free service provided to help clients and CA Ltd does not accept liability for any failure to execute a Commission bid or for errors and omissions in connection with it.

Commission bids shall be executed at the lowest possible price, subject to competing bids and reserves. Although CA Ltd will endeavour to inform Buyers, it is the Buyer’s responsibility to check if they have been successful in purchasing a Lot. In the event of multiple commission bids set at the same price, the first registered commission bid will take priority.

2.4 Telephone bids If a bidder is not able to attend in person an auction, CA Ltd will use reasonable efforts to contact prospective Buyers who make arrangements prior to commencement of the sale to bid by telephone.

CA Ltd cannot be held responsible in the event of issues affecting connectivity, resulting in the loss of a chance of purchasing the Lot for the Bidder.

2.5 Internet bids Some sales may be available to internet bidding, as well as personal attendance. In this event, CA Ltd shall not be held responsible for issues affecting connection. In addition to having our own in-house online bidding platform, some sales are also offered with online live bidding by third party platforms, CA Ltd is not responsible for any issues that may arise during registration or utilising said platforms. CA ltd encourages prospective bidders to bid directly with Chiswick Live or via traditional direct in-house means wherever possible.

2.6 Bidding on behalf of someone

Terms and Conditions for Buyers at Chiswick Auctions A Buyer may bid by proxy. In this event, proof of identity of both the Buyer and the proxy must be communicated to CA Ltd prior to the sale. A copy of the mandate shall also be required.

2.7 Bidding on an item Bid incrementation is at the auctioneer’s entire discretion.

2.8 Video transmission For the purpose of the sale, Lots may be displayed on video during the auction. In the event of transmission issues, CA Ltd shall not be held responsible for any subsequent outcome.

2.9 Online-only auctions Some auctions may only be available to bidders via an online platform sale. In this event, Buyers have a 14 day period from the receipt of goods to withdraw from the sale, in accordance with EU Consumer Law. This returns policy relates only to lots where physical viewing of lots prior to sale is not offered by CA Ltd.

2.10 Dispute resolution during the auction Any dispute shall be settled at the auctioneer’s absolute discretion. Under no circumstances will a sale be cancelled after the fall of the hammer, except at the auctioneer’s entire discretion.

3. CONTRACT FORMATION AND EFFECTS

3.1 Contract of sale The contract of sale is between the Buyer and the Seller.

The Buyer shall be the bidder at the highest price at the fall of the hammer. The sale is deemed complete once the auctioneer announces its completion by the fall of the hammer and the contract shall be binding thereafter between the Buyer and the Seller and CA Ltd. When a Buyer purchases multiple Lots, each Lot is the subject of a separate contract of sale.

3.2 Transfer of property Property of the goods shall pass to the Buyer only once CA Ltd has received full payment for the goods, this includes the price at the fall of the hammer as well as Buyer’s premium, relevant taxes, and costs in relation to shipping.

3.3 Transfer of risks Purchased Lots shall be at the Buyer’s risk in all respects from the fall of the hammer, and neither CA Ltd nor their agents shall be responsible for any loss or damage of any kind, whether caused by negligence or otherwise.

3.4 Cancellation of the sale At the fall of the hammer, the contract is formed between the Buyer and CA Ltd and is binding thereafter.

Under no circumstances can the Buyer cancel the sale.

CA Ltd may at its entire discretion, during or after the auction, cancel the sale of the Lot or reoffer and resell the Lot if it becomes aware of any error or dispute of any nature, whether or not title has passed to the Buyer, and up to a period of 6 months after the said sale.

Grounds for cancellation under the present section shall include but not be limited to any dispute relating to the attribution or provenance of the Lot, ownership and title, fraud or deceit, lack of relevant licences or certificates, any subsequent changes in domestic or international legislations restricting the sale of export of goods etc.

In the event of internet-only auctions (where are no offered advanced physical viewing times), the Buyer shall have a 14 day right to retract, after receipt of the Lot, under EU Consumer Law. Public auctions are not covered by this right to retract.

4. AFTER THE SALE

4.1 Payment All purchased lots must be paid for on the day of the auction. Commission bids must be paid for no later than the day after the auction. Payment must be made by cash, debit, credit card or bank transfer. We do not accept cheques. We do not currently accept American Express.

CA ltd adheres strictly to current anti-money laundering regulations and reserves the right

to refuse payment or cancel the sale of any lot, should suspicion or evidence of regulation infringement arise. The 2020 guidelines reference ‘Art Works’, but are as yet to be fully defined. As such, CA Ltd reserves the right to adapt buying/selling rules at any time, in order to maintain compliance.

Cash payments shall not be receivable for amounts over €10,000, regardless of the payment being for one or multiple Lots. As of 2020, new directives also extend to other forms of payment where the amount is in excess of €10,000 and this may require further information sharing covering both buyers and sellers.

Should it encounter contravention of said regulations, or is unable to bring buyers/sellers into line with said regulations through advice and support, CA ltd reserves the right to cancel any lot transaction and offer said lots to underbidders and where applicable will notify the relevant authority of the suspected contravention if deemed intentional.

Payments made by someone other than the registered Buyer shall not be accepted.

Title will not pass to the Buyer until CA Ltd has received all amounts due to them in cleared funds even if the Lot has been released to the Buyer.

4.2 Buyer’s Premium The Buyer will pay CA Ltd a premium of 25% on the hammer price plus VAT on that commission on the first £500,000 and 12% plus VAT on the balance thereafter. A Buyer’s Premium of 21% plus VAT is charged on Wine & Spirits Lots.

The VAT payable varies by symbol as below: No Symbol: The standard rate of VAT is charged on the premium under the Auctioneers Margin Scheme in accordance with Art. 333 of 2006/112/EC. Standard UK VAT will be charged on the buyers’ premium and invoiced on an inclusive basis. †: Normal VAT rules?apply and the standard rate of VAT will be charged on both hammer price and premium. *: These lots have been imported from outside the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on the invoice.

4.3 Taxes The Buyer is responsible for paying VAT on any Lot, above hammer price and Buyer’s premium. The rate applicable shall be the legal rate at the date of the sale.

Goods such as books and antique books, music, maps and charts etc. are subject to zerorated VAT. In addition, any import taxes that may be incurred shall be paid by the Buyer above hammer price, VAT and Buyer’s premium. The present paragraph applies in particular to imports within the United-States and Australia. The Buyer is advised to verify such matters prior to the sale.

4.4 Artist Resale Rights / Droit de Suite Lots marked with ‘ARR’ may be subject to a levy.

Droit de Suite is a royalty payable to a qualifying artist or to the artist’s heir each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a cumulative sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to Lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single Lot is the sterling equivalent of €12,500.

Royalties for Droit de Suite are as follows:

• From 0 to €50,000 4% • From €50,000.01 to €200,000 3% • From €200,000.01 to €350,000 1% • From €350,000.01 to €500,000 0.5% • Exceeding €500,000 0.25%

4.5 Remedies for non-payment If the Buyer fails to make full payment in cleared funds within the time required as aforementioned, CA Ltd shall be entitled to exercise any one or more of the following rights or remedies additional to such other rights or remedies available:

• To cancel the sale • To charge interest at 4% per annum above the base rate of Lloyds Bank Plc.

See page 7 for more information regarding fees

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Terms and Conditions for Buyers at Chiswick Auctions • To resell the Lot on such terms by auction or otherwise entirely at CA Ltd’s discretion.

The Buyer will be liable for all costs including legal fees incurred in the sale and will remain liable for any shortfall arising upon sale.

• To offset against any sums which CA Ltd may owe the Buyer the outstanding sums unpaid by the said Buyer • Where the Buyer owes sums to CA Ltd in respect of different transactions, to discretionarily apply any sum paid by the Buyer for discharge of any owed sums.

• To refuse entry to the Buyer at any future auction and/or reject any future bids by the Buyer and/or seek a deposit from the Buyer entirely in the discretion of CA Ltd. • To exercise a lien over the Buyer’s property in the possession of CA Ltd as collateral for any outstanding sums owed and to exercise all the rights and remedies of a person holding security over any such property, whether by way of pledge, security interest or in any other way to the extent permitted by Law. • To commence legal proceedings for the recovery of the total amount due together with interest, legal fees and costs.

• To take such other action as is permissible by Law and in the discretion of CA Ltd. 4.6 Collection Purchased Lots can be collected from the auction room after the sale has ended or between 10am and 6pm up until close of business on the Friday following the sale. Special arrangements may be made for collection on Saturday at CA Ltd’s discretion. Any delay in collection must be communicated clearly to CA Ltd in advance of the collection deadline and CA Ltd reserves the right to impose charges thereafter at its utter discretion (see 4.7).

4.7 Storage CA Ltd offers a discretionary 14 days free storage on purchased and unsold Lots from the date of the sale. Thereafter Lots not collected shall incur storage charges of £5.00 per lot, per day or part thereof for smalls and pictures (defined as anything that can be handled by one person) and £10.00 per lot, per day for furniture and other larger lots. CA Ltd shall be entitled to retain said Lots until all sums due have been paid to CA Ltd. If any lot remains uncollected 21 days after the sale, storage charges shall thereafter be £10/£20 (smalls/larger items) per day and CA Ltd shall, in accordance with the Law, have the right to sell the purchased Lot to recover payment of storage charges outstanding. Any balance proceeds of sale received after payment of all sums outstanding and due to CA Ltd shall be held for the account of the Buyer.

4.8 Shipping Any shipping costs that may arise subsequent to the sale shall be at the Buyer’s expense. Such costs may include but not limited to postage, import and export permits where required and any other licence necessary for goods to be shipped outside of the European Union.

CA Ltd does not offer insurance for shipping. However, CA Ltd may arrange insurance upon the Buyer’s request and at the Buyer’s expense.

CA Ltd cannot be held responsible for any damages that may be incurred to goods prior to the fall of the hammer.

4.9 Loss or Damage CA Ltd does not accept liability for loss or damage occurring to Lots after the sale. CA Ltd will use reasonable efforts when handling Lots, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third party’s care.

4.10 Cultural Goods import and export restrictions Cultural goods may be subject to import and export restrictions. Under EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the item’s value exceeds the EU threshold. Under UK Law, a licence may also be required for intra-EU trade.

Licenses are issued by Arts Council England and it is the Buyer’s duty to obtain them. Some countries restrict the import of specific cultural goods. For example, the United States prohibits the import of pre-Columbian monumental or architectural sculpture or murals, as well as any cultural goods in provenance from some countries subject to armed conflicts.

The Buyer must verify local legislation prior to the sale in order to be assured that import or export is possible.

4.11 CITES Import and export restrictions Certain endangered species are listed in the CITES Convention. Listed specimens and any

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parts or products thereof are subject to issuance of an export permit when leaving the European Union.

Appendix I species, are also subject to issuance of a prior import permit from the country in which the goods are to be imported. Such permits are necessary before applying for export permits and it is the Buyer’s duty to initiate the proceedings with the relevant authority.

The Buyer must be aware that certain countries prohibit the import of some species or any parts or products derived thereof. For example, the United States prohibit all import of African elephant ivory, and any item containing parts that may merely resemble African elephant ivory must be accompanied by relevant documentation stating it is not the latter.

Worked items that are dated before 1947 are exempt from import restrictions for intra-EU trade and shall not require export licences.

Please be aware that all Lots marked with the symbol λ are subject to CITES regulations.

4.12 Limitation of liability regarding CITES export licenses Where licences are required for importing or exporting outside of the European Union, it is the Buyer’s duty to obtain them.

CA Ltd cannot be held responsible if the Buyer’s application for an export permit is unsuccessful. Subsequently, in the event of failure thereof, CA Ltd shall not permit cancellation or rescission of the sale.

4.13 Warranties CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law.

4.14 Authenticity warranty In the event of a Lot being sold as authentic under the catalogue description and the Buyer provides evidence in the form of a written report by a recognised expert or test results that the said Lot is not authentic, CA Ltd will refund the purchase price.

The Buyer shall give notice to CA Ltd within 28 days from knowledge or any event giving reasons for suspecting that the item is not authentic, and within one year of the said sale.

Any claim thereafter shall not be receivable. For the purposes of the present paragraph, authenticity shall be defined as the state of a Lot that is genuine and not a forgery or a copy.

5. ANTIQUITIES AND TRIBAL ART

5.1 Import and export restrictions and regulations Archaeological goods over 100 years of age, unless covered by exemption of limited scientific interest, will require an EU Licence for export to a third country, regardless of their value.

It is recommended that the Buyer contact the Export Licensing Unit at Arts Council England in order to be assured the good is or not of limited archaeological or scientific interest.

Archaeological goods found on United-Kingdom soil or in UK territorial waters over 50 years of age shall require a UK Licence regardless of their value and regardless of the export destination. Other archaeological objects regardless of their origin will require an Individual Licence or OGEL depending on their value.

Both European-Union and UK Licences may be required simultaneously for some items. It is the Buyer’s duty to undertake the necessary steps. CA Ltd cannot be held responsible and the sale cannot be cancelled in the event of failure to obtain the relevant licences.

6. JEWELLERY

6.1 Gemstone treatment and estimates Many gemstones on the market have been treated so as to augment their appearance, in a reversible or permanent manner. Treatments under the present section may be but not limited to:

• Heat treatment to enhance sapphires and rubies’ clarity and colour • Oil and resin treatments for emeralds applied in different ways, to enhance clarity of the stone • Staining • Irradiation • Coating

Estimates provided by CA Ltd are deemed to be based on the fact that the gemstone may have been subject to any type of treatment in the past. CA Ltd shall not be responsible in the

Terms and Conditions for Buyers at Chiswick Auctions absence of mention thereof.

A certificate may be issued by a laboratory, providing with detailed information on the condition of the gemstone and any treatment applied thereto. The Buyer must be aware that different laboratories have different approaches as to the degree or type of treatment for a particular gemstone.

If a certificate accompanies the Lot, the Buyer must be aware that it is merely a statement of the laboratory’s opinion and in no way can CA Ltd be held responsible for any mentions therein. Such certificates are deemed to be delivered with the Lot for informative purposes only.

6.2 Estimated weights If a stone’s exact weight appears within the body of the description, the stone has been unmounted and weighed by CA Ltd. If the weight of a stone is stated to be approximate, the stone has been assessed by CA Ltd within its setting, and the defined weight is a statement of opinion only. This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy.

6.3 Signatures ‘A diamond ring, by X’: When the maker’s name appears in the title, in Chiswick Auctions’ opinion the piece is by that maker.

‘A diamond ring, signed X’: Has a signature that, in Chiswick Auctions’ opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered.

‘A diamond ring, mounted by X’: Has been created by the jeweller, in Chiswick Auctions’ opinion, but using stones or designs supplied by the client.

‘Maker’s mark for X’: Has a maker’s mark which in Chiswick Auctions’ opinion is authentic.

Some items may include parts or products derived from endangered species, such as ivory or coral. Such items may be subject to import or export restrictions. See section on CITES regulations for more details.

7. CLOCKS AND WATCHES

All Lots are sold as seen. Clocks and watches are therefore not deemed to be sold in working condition. Absence of reference thereof in the description does not imply that the Lot is in good condition and without defects, or has been subject to repair or restoration.

CA Ltd makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary.

Most clocks and watches are likely to have been repaired in the past, and as a result may include parts that are not original thereto.

The United-States restrict the importation of watches such as Rolex, Frank Muller or Corum.

Such models can only be imported personally by the Buyer and CA Ltd cannot assist with shipping thereof.

Some watches may include leather straps derived from endangered species. Buyers may be required to obtain appropriate permits for import or export purposes in accordance with CITES regulations.

CA Ltd acts in compliance with such legislations and shall take necessary steps where required.

Subsequently, watches may be deemed sold without their straps.

8. FURNITURE

8.1 Upholstered furniture after 1950 According to The Furniture and Furnishings (Fire Safety) Regulations 1988, furniture that was upholstered after the 1st of January 1950 is subject to restrictions in the United-Kingdom.

Exempt upholstered furniture that does not meet such requirements is deemed sold for purely aesthetic purposes. CA Ltd shall not be responsible for later alterations to the furniture, making it unfit for sale.

9. GLOSSARY OF PICTURE CATALOGUING TERMS

Any Statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserve the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable.

1 JMW Turner: In our opinion a work by the artist. When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named.

2 Attributed to JMW Turner: In our opinion probably a work by the artist, but less certainly as to the authorship expressed than in the preceding category.

3 Studio of JMW Turner: In our opinion probably a work by an unknown hand in the studio of the artist, which may or may not have been executed under the artist’s direction.

4 Circle of JMW Turner: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist and of the period, but not necessarily his pupil.

5 Style of; Follower of JMW Turner: In our opinion a work by a painter working in the artist’s style, but not necessarily his pupil.

6 Manner of JMW Turner: In our opinion a work in the style of the artist and of a later date.

7 After JMW Turner: In our opinion a copy (of any date) of a known work of the artist.

8 The term ‘signed’ and/or ‘dated’ and/or ‘inscribed’ means that in our opinion the signature and/or date and/or inscription are from the hand of the artist.

9 The term ‘with signature’ and/or ‘with date’ and/or ‘with inscription’ means that in our opinion the signature and/or date and/or inscription have been added by another hand than that of the artist.

10 Pictures are framed unless otherwise stated.

10. ASIAN ARTS

10.1 Import and export restrictions When dealing with Asian Arts and more specifically with items made of exotic wood (e.g. all species of rosewood) or elephant ivory, the Buyer must be aware of import and export restrictions in accordance with CITES Regulations. As aforementioned in the Section relating to such matters, import and export permits or re-export certificates may be required.

Verification letters will be required for re-export of worked Rhinoceros items.

10.2 Fine Chinese Paintings Current scholarship in the field of Chinese Paintings and Calligraphy does not permit unqualified statements as to the authorship or date of execution. The limited right of rescission contained in the present terms and conditions does not apply to Chinese paintings.

Notwithstanding, if within 28 days of the sale of any such Lot, the original purchaser gives written notice to CA Ltd that the Lot is a forgery and within fourteen days after giving such notice, the original purchaser returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is a forgery, CA Ltd will rescind the sale and refund the purchase price received. For this purpose, a ‘forgery’ is defined as a work created with the intent to deceive.

11. BOOKS AND MANUSCRIPTS

Books and manuscripts sold as incomplete are not subject to returns.

Printed books may be returned for a full refund only if they prove to be defective in text or illustration. This shall not apply to the absence of blanks, half titles or advertisements, to unnamed books or to books sold under the heading of ‘binding’ or ‘bindings’.

12. WINES AND SPIRITS

In accordance with agreed standards in the trade, estimates shall be deemed to have taken into account the fill level.

For the purposes of the present Terms and Conditions, the ‘Fill Level’ refers to the space between the base of the cork and the liquid in the bottle. Fill levels may vary with age or depending on the condition of the wine or spirit.

Lack of mention thereof in the description is not a representation of an ‘acceptable’ fill level from CA Ltd. CA Ltd offers no guarantee as to suitability for drinking of the wine or spirit. The Buyer must be aware of the risk that the taste of a wine or spirit may be altered due to factors such as age, storage conditions, oxidation, etc.

13. COPYRIGHT

CA Ltd shall own the copyright on all images, illustrations and written material produced by or for CA Ltd relating to a Lot, including catalogue contents. Such copyright shall remain at

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Terms and Conditions for Buyers at Chiswick Auctions all times the property of CA Ltd. Neither the Buyer nor anyone else shall use the abovementioned materials without the prior written consent of CA Ltd. Some Lots may be subject to copyright protection, CA Ltd does not guarantee said Lots are free thereof.

14. DATA PROTECTION

The Buyer agrees that personal information transmitted to CA Ltd may be disclosed exclusively for the purposes of business, or as required by Law. CA Ltd shall not use personal information for any other purpose without the Buyer’s prior consent.

CA Ltd never sell, lend or trade in personal data provided by any Bidder.

15. SEVERABILITY

Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, such provision is to take effect only in so far as it may do so without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way to be affected or impaired as a result.

16. AMENDMENTS

The current Terms and Conditions may be amended, verbally or in writing, prior to the sale.

17. LAW AND JURISDICTION

The rights and obligations of the parties with respect to these Conditions of Sale and the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with the Law of England and Wales.

For the benefit of CA Ltd all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship warranty relate or apply.

All parties agree that CA Ltd shall retain the right to bring proceedings in any court other than the Courts of England.

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